• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• The Journal of the Convergence on Culture Technology
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• v.1 no.4
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• pp.79-86
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• 2015

Cheongpungho and riversides are located in the center of South Korea Jecheon Peninsula, cheongpungho be formed by a chungju hydroelectric dam built in 1984 has now been changed as a freshwater lake created by the center of the South Han River upstream over the past 30 years. Recent Jecheon-sigovernment is developing the entertainment and natural healing resorts for the future, this research is using remote sensing techniques and field survey plan in comparison to the feasibility study of the cultural festival of the area was conducted in geographic research and analysis very effective to conduct the natural environment and terrain analysis by aerial photography and remote sensing techniques that can be proven integration and cultural content, in the riverside area of future business creation and tourism resources of the facilities and events in the new brand through research It was envisioned. As a result, we propose a new direction for the future of cultural tourism to participate in the new state-of-the-art digital imaging technology to traditional cultural content in fusion experiments to be more multi-cultural festival is formed.

• Journal of Conservation Science
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• v.36 no.4
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• pp.296-305
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• 2020

Konbaung Dynasty was the last unified dynasty that ruled Myanmar from 18^th to 19^th century. During this time Buddhist art flourished in Myanmar due to the interest of the rulers toward their traditional culture. Metal decorative artifacts in the 18^th century are classified into structures and Buddha statues. They are further subdivided into gilt-bronze and bronze objects, depending on their material component. Three-dimensional gilt-bronze decorative artifacts were cast with a brass alloy of Cu-Zn-Sn-Pb and their surfaces were gilded with extremely thin gold leaves (less than 1 ㎛ in thickness). The gilded layer approximately comprised 10 wt% silver in addition to the main element, gold. The lack of Hg in the gilded layer, indicated that the amalgam gilding technique was not applied. The analysis results indicated that the lacquered gilding technique was applied to the objects. Bronze decorative artifacts without gilding were cast with materials containing Cu-Sn-Pb. The bronze pavilions and bronze Buddha staues were crafted using the same alloy of high-tin bronze, which approximately contained 20 wt% Sn. No heat treatment was applied to reduce the brittleness of the objects after they were cast with a large amount of Sn. The most significant difference between the gilt-bronze and bronze decorative artifacts lie in their elemental compositions. The gilt-bronze decorative artifacts with their gilded surface were manufactured using brass containing zinc, while the unplated bronze decorative artifacts were composed of bronze containing tin. Artifacts of the same type and size are classified differently depending on the materials utilized in the surface treatment such as gilding.

• Journal of Fashion Business
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• v.12 no.2
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• pp.100-116
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• 2008

This study aims to analyze the characteristics of deconstruction-ism expressed in the fashion of Alexander McQueen. The method and contents of this study are as follows. The three large categories for analysis are indeterminacy, decentralization, and intertextuality. The indeterminacy of meaning is divided into unstructured and unorganized factors in fashion, while decentralization can be categorized into cross-gender, subculture, and post-humanism. Lastly, inter-textuality is classified into factors of mixing mode and mixed styles. Materials for analysis were chosen from a total of 616 designs from the website, www.firstview.com, which carries McQueen's collection from 2000 S/S through 2007 F/W. My analysis qualitatively evaluates the frequency of each category and the characteristics of design. The result of this study is as followed. First, the avant-garde facets of inter-textuality are most prominent. In particular, McQueen has introduced retro fashion and ethnic factors of the third world, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has enjoyed using two fabrics of different texture in order to inflict a shock and contrast, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of McQueen's fashion design. McQueen has employed unstructured expression techniques, which dismantle harmony and balance, the basic rule of design, and has presented unorganized images free from basic forms of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. Third, the aspects of decentralization were also shown in McQueen's design. His trans-gender clothing dissolves the traditional division of men and women and adopts a mixed gender expression. Furthermore, he has even tried to express a fourth gender by connecting the human with machine or animal or by connecting the material with the non-material.

• Journal of Fashion Business
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• v.21 no.5
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• pp.136-150
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• 2017

3D printing has grown tremendously as the most noteworthy new technology in the manufacturing industries. In addition, the rapid development of computer science technology with 3D printing has created a new paradigm called Fractal Geometry, or a new form of digital art. This study explores the formative characteristics of 3D printing jewelry based on presentation of fractal geometry by classification of 3D printing jewelry's morphological types that except for producible shape with traditional mold manufacturing methods. The results of the study are as follows. The morphological characteristics of 3D printed jewelry are divided into their constitutive shapes by the repetition of the unit. The organic shape determined by superposition or overlapping, the systematic shape by distortion caused by distortion, and the variation in scaling by scaling. The formative characteristics, which are drawn from a study on the shape expression of 3D printed jewelry design using fractal geometry, consist of continuity, geometrical characteristics, and exaggeration. Continuity creates a new and self-assigned new space through a recursive structure through a cyclic structure that is formed along a single directional basis. The geometry of the geometry forms a three-dimensional and constructive structure comprised of the same size and structure of the same sized unit under the mathematical order of the geometry of Fractal's geometry. Exaggeration demonstrates the informal beauty and the maximization of the shape by expanding the scaling or superposition of a unit, by scaling the scale or he distortion of the units.

• Journal of Fashion Business
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• v.24 no.4
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• pp.144-160
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• 2020

Today, the development of innovative technologies is accompanied by changes in the industrial structure and the Big Blur phenomenon, where the boundaries in various fields are blurred. The purpose of this study was to view the Big Blur phenomenon as a big paradigm shift in the 21st century and derive environmental changes and characteristics of the Korean fashion market. The research method included an analysis of the fashion brands after 2015. Through this study, we intended to establish a framework for understanding the changes in the fashion market from the perspective of Big Blur and discuss the direction of brand marketing. The research results showed the hyperlinks, connectivity, openness, homeostasis, synchronicity, mobility, interactivity, and brand experience of online and offline spaces beyond the boundaries of virtual space and offline physical spaces such as online physical and spatial viewpoints. It also showed the characteristics. The characteristics from the socio-cultural point of view were characteristic of diversity, mixture, coexistence, composability, and pluralism beyond the traditional socio-cultural and regulatory scopes. Hip hop fashion, street fashion, unisex, genderless, androgynous fashion, and kid fashion are the backbone of the Big Blur and are becoming important factors in fashion. The characteristics of the market and economic viewpoint are prosumers that play roles both as producers and consumers. It shows the extensibility of consumers as producers, the cohesiveness of producers and consumers, the cooperation, and the interconnectivity.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.11 no.9
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• pp.4398-4417
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• 2017

Multi-user Multiple-Input and Multiple-Output (MU-MIMO) has potential for prominently enhancing the capacity of wireless network by simultaneously transmitting to multiple users. User selection is an unavoidable problem which bottlenecks the gain of MU-MIMO to a great extent. Major state-of-the-art works are focusing on improving network throughput by using Channel State Information (CSI), however, the overhead of CSI feedback becomes unacceptable when the number of users is large. Some work does well in balancing tradeoff between complexity and achievable throughput but is lack of consideration of fairness. Current works universally ignore the rational utilizing of time resources, which may lead the improvements of network throughput to a standstill. In this paper, we propose TOUSE, a scalable and fair user selection scheme for MU-MIMO. The core design is dynamic-time-warping-based user selection mechanism for downlink MU-MIMO, which could make full use of concurrent transmitting time. TOUSE also presents a novel data-rate estimation method without any CSI feedback, providing supports for user selections. Simulation result shows that TOUSE significantly outperforms traditional contention-based user selection schemes in both throughput and fairness in an indoor condition.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.14 no.7
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• pp.2938-2956
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• 2020

Objective image quality assessment (IQA) models have been developed by effective features to imitate the characteristics of human visual system (HVS). Actually, HVS is extremely sensitive to color degradation and complex texture changes. In this paper, we firstly reveal that many existing full reference image quality assessment (FR-IQA) methods can hardly measure the image quality with contrast and masking texture changes. To solve this problem, considering texture masking effect, we proposed a novel FR-IQA method, called Texture and Color Quality Index (TCQI). The proposed method considers both in the masking effect texture and color visual perceptual threshold, which adopts three kinds of features to reflect masking texture, color difference and structural information. Furthermore, random forest (RF) is used to address the drawbacks of existing pooling technologies. Compared with other traditional learning-based tools (support vector regression and neural network), RF can achieve the better prediction performance. Experiments conducted on five large-scale databases demonstrate that our approach is highly consistent with subjective perception, outperforms twelve the state-of-the-art IQA models in terms of prediction accuracy and keeps a moderate computational complexity. The cross database validation also validates our approach achieves the ability to maintain high robustness.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.8 s.145
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• pp.1057-1067
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• 2005

In the modem society, people try to represent and protect their traditional arts in aesthetic way along with the global society. The proposal of this thesis is about the fashion illustration that has adopted the folklike formative arts. 1 prefer the formative character rather then the universal character and I would like to use of folk paintings far the fashion illustration. Because the formative character of folk paintings is very expressional, we are able to draw a fashion illustration in easy, new, creative and less difficult way. The fashion illustration has to be a specialized field from the formative arts, and we need to study in a new way as well. We draw fashion illustration through the understanding of folk paintings and the study of analysis in formative. As a result of this study, we could draw a fashion illustration which is very abstract, exaggerative and simple. We also could expect the free hand drawing lines on this illustration. In these fashion illustrations, the human bodies let us fret the artists' tense, speed, and power. According to the important character of folk painting, which is the beauty of color, these fashion illustrations have expressed more color intensive. In the falk paintings there is a kind of rules to make color order, so the fashion illustrations that we drew have the bright and clear color combination. Because the folk paintings shouldn't be the artistic but should be the realistic, the fashion illustrations concentrate on the real subject. It is very natural looking that use the natural dyes in the fashion illustrations. According to this kind of art task, fashion illustration will be a certain part of the illustration in the modem society.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.1
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• pp.80-91
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• 2009

The purpose of this study is to examine how he successfully connected his ideas of fashion design for art with the commerciality without a conflict about for 40 years. It is expected that this study will be a precedent in the aspect of the symmetry between artistry and commercialization in Issey Miyake's works. We will examine Issey Miyake's idea of fashion design and its development for the commercialization since 1970s that he started to give shape to his ideas in the fashion works to exactly commercialize in the market. 1. Re-creation of tradition(a piece of cloth): throughout the 1970s, Miyake continued to experiment with a variety of Eastern design elements. The elements of Japanese or oriental tradition made him to be at the very center of supreme of the world of fashion. He took advantages of his identity, and developed the tradition for mass produce. 2. Design for mass(Pleats Please): Miyake decided to make clothes for the people, not only for the top class of the society. This thought developed the designs for the mass, which were functional, universal for the modem buyer, and accessible to a wide market. He realized his ideal by the medium of pleats, which were made through industrial processes, while he tried variously the aspect of formative of the pleats in the collections. His designs concept is summarized by the industrial product design and anonymous design. 3. Innovation of manufacturing system(A-POC): Miyake in 1999 developed A-POC. A-POC is used modern computers in conjunction with traditional technology. A-POC does not make only a new cloth but also makes a new manufacturing system of clothes.