• Journal of the Korean Society of Costume
• /
• v.53 no.2
• /
• pp.35-55
• /
• 2003

The purpose of the study is to get some pieces of prior information to eventually develop competitive swimming suit designs with Korean traditional images. The study has been accomplished in following steps. First, as theoretical research, the history of swimming suit design and the requirements in designing competitive swimming suits were studied. Second, as practical research, at first, the trend of the competitive swimming suit designs in the national swimming suit market was examined. And then. the questionnaire surveys of both professional and amateur swimmers about their design preferences with purchasing and fabric-related tendencies were conducted for understanding professionals' characters more exactly. This data were analyzed through cross-analysis and multi-response analysis and x 2 was used. The results of this study can be summarized as follows : First, athletes' preferential design tendency for the swimming suit designs were examined in the aspects of style, color, pattern, logo, and accessary. In style, female athletes preferred an athletic one-piece style and male ones preferred a brief style. In color. neutral, mostly black was preferred most and cold color group like dark blue and navy blue next, regardless of sex. In addition, they preferred similar color coordination. In pattern, though solid fabrics were mostly preferred in both sexes, especially Taeguk motive were considered the most appropriate pattern to show Korean image. Besides, logo was considered importantly, and swimming caps and goggles of accessaries were generally used. Second, athletes' swimming suit purchasing tendency was as a following. the number of swimming suits possessed was more than 4 pieces. the durable period was less than 3 months. and the most important point considered in purchasing was an easy fitting for men and a design with an easy fitting for women. And most of swimming athletes preferred foreign products than domestic ones, which was attributed to excellent quality, easy fitting, and good design. and so on. Third, in fabric-related tendency, food touch, easy fitting. and opaqueness were considered importantly. and durability to chlorine, elasticity, color fastness, easy draining, lightness, and so on were demanded forward.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.22 no.8
• /
• pp.1001-1010
• /
• 1998

The purpose of this study was to investigate the images and characteristic formative elements of Korean traditional patterns. The Korean pattern image could be interpreted into visual elements of design based on the images, the characteristic formative elements of Korean traditional patterns, and their relationships. Fourteen patterns selected from 5 groups of Korean patterns were used as stimuli. An image evaluation using a 2-point sementica scale of 19 bipolar adjectives, and an impression evaluation of which results were presented by visual drawing using lines and shapes were carried out. The data were analyzed by correspondence analysis and cluster analysis. The major findings are as follows; 1. Fourteen patterns and 19 adjectives were marked on a perception map composed of two (x and y-) axes. The bipoles of x- and y axes were soft-hard and splendid-artless, respectively. 2. Four clusters semerged to account for the dimensional sturucture of 14 patterns and 19 adjectives. These were splendid image, soft image, individualistic image, and sophisticated image. However there was no pattern which belonged to the cluster, sophisticated image. The Korean pattern image was founded to be better related to the kind of patterns than the type of patterns. 3. The characteristic formative elements obtained from the impression test were contour of motif, repeated line or shape, various curved lines, and decorative elements. 4. The splendid image was related to Bongwhang patterns and detailed line and complexity. The individualistic image was related to the abstractive form of Bongwhang pattern and the decorative form of Cloud pattern both of which have the characteristics of point-symmetry and abstraction, and Turtle-back pattern. In this case, the related charac-teristic formative element was identified to be repeated lines. The soft image was related to Moran, Cloud, and Taegeuk patterns. The related characteristic elements were various types of curved lines, decorative elements, and rounded contours.

• Journal of the Korean Society of Costume
• /
• v.60 no.10
• /
• pp.1-15
• /
• 2010

A Korean knot is one of the ornamental elements that our ancestors used intimately in their daily lives, and the diverse forms and structural features of the Korean knot have sufficient creative and aesthetic value for it to be recognized as one of beautiful products that was relished by individuals of the times. Starting from two strands, Korean knots make unique forms as they are overlapped or plaited, crossing each other in many ways. The forms of Korean knots were given names such as "nabi maedeup"(butterfly knots) and "gukwa maedeup" (chrysanthemum knots), in reference to things in the surrounding environment that were perceived as being similar in their appearance. It is considered that with their unique structure, such Korean knots may provide a good motif for creative design. As well, it is believed that combining the traditional beauty of Korean knots with a contemporary sensibility will lead to the creation of truly forward-looking design. Against this backdrop, this study aims to inquire into and analyze the formative characteristics and aesthetics of Korean knots, with an eye to their use in future design. In addition, it aims to help to put such historical knotting practices into practical and functional use in the future, through a study of previous uses of historical knotting practices with a modern sensibility. It is thus expected that this work will contribute to the inheriting and development of traditional culture, and ultimately to enhancing the status of Korean design in the world.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.2
• /
• pp.54-60
• /
• 2018

The purpose of this study is to analyze the garden details of Carla Scarpa in order to understand his selection and composition of materials, detailing style and symbolism of the spaces. Literature review and a field trip were conducted for the study and the results are as follows. First, Scarpa used vernacular materials such as Murano glass and Istrian limestone, and juxtaposed various materials using contrast of color and texture. His mixed uses of traditional and modern materials shows the passage of time. Second, he create his own detail style such as ziggurat and geometric motif, which make the garden space to look more interesting and rich. Scarpa respected local craftsmanship like glass design and used textile design style such as overlaying. Third, symbolic uses of water features help make narrative and poetic gardens. Scarpa's unique detail style and respects for traditional craftsmanship provide lessons on how to interpretate traditional design style in modern garden.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.22 no.2
• /
• pp.739-744
• /
• 2021

This study examined the fantasy drama series Tale of the Nine Tailed, which uses the world view of a folktale and adopts the motif of reincarnation. Tale of the Nine Tailed adopted a cyclical structure where the fate of the past repeats itself in modern life. The traditional Korean folktales that are used in the drama series all share the same topic, but they also vary slightly by region or era. Tale of the Nine Tailed changes people's common negative perception of the nine-tailed fox. First of all, the series portrays the nine-tailed fox as an attractive male, rather than a seductive female. It also incorporated various episodes to tell the story of a heroic nine-tailed fox that uses supernatural powers to save not only those whom he loves, but also the general public. Furthermore, it was a new attempt to bring the nine-tailed fox together with other characters from different folktales into a story to make different world views merge into one. This study analyzes how the narrative structures of traditional folktales are adapted and changed in fantasy drama series, and it explains how various types of result can be created from the storylines of traditional folktales and the imaginations of the authors.

• Journal of the Korean Society of Costume
• /
• v.26
• /
• pp.69-85
• /
• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• Journal of Fashion Business
• /
• v.6 no.2
• /
• pp.53-66
• /
• 2002

The spiral form, which comes from the organic form of natural phenomenon such as growth of creatures, has been used as a factor of formative shape in various fields of art until now. In conjunction herewith, this study intends to discover and express the life force and the formative beauty of natural substances with the organic spiral forms into clothing design, using various creating methods and materials such as Korean traditional paper. The natural substances with the spiral structure, such as seashells, land snails, passion flower, curled flower, growing chart of plants, Impatiens textori was used as subjects of the designs. The seven pieces of work were completed with attempts to develop aesthetic forms through the presentation techniques and methods via restructuring process of simplification, partial transformation and consolidation. Through such process the conclusion of this study is as follows: First, the nature, with unlimited possibilities, could be subject of human formative activities, leading to the creative world of formative art for designers. Second, adaptation of the spiral organic forms of nature into the contemporary clothing designs proved the motif as a source of inspiration of diverse subject, in recognition with its innate formative beauty as well as external shape. Third, design expressions via restructuring process of simplification, partial transformation and consolidation with designer's subjective point of view were adequate for the creations of contemporary fashion designs. Fourth, the Korean traditional paper, as a fine material for various shape according to the handling method, could be used appropriately in the contemporary clothing designs, expressing our aesthetic senses. Fifth and finally, expansion of the realm of formative expression of clothing through the development of possibilities of expression in contemporary clothing would enhance the creative possibilities of clothing design as formative art. In conclusion, the expression of clothing design as formative art was developed on the emphasis of re-creation of natural objects of the organic spiral form. For the future study, the applications of spiral form into everyday clothing designs, consolidating artistic senses and practical senses, are expected as opportunity of proposing developmental possibilities of the contemporary clothing designs.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.1
• /
• pp.90-104
• /
• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• The Research Journal of the Costume Culture
• /
• v.4 no.3
• /
• pp.349-359
• /
• 1996

The research was designed to find out the effects of design elements ; ①color, ②pattern, on image perception of clothing by using a qualitative depth interview method. The subjects were 40 women who lived in Taejon and aged 20 to 40. The interview results were both hand recorded and tape recorded for further analysis by researchers and judge groups. And the results were as follows. 1. The most preferred colors appeared to be blue and black, while stripes, checks and flowers were most favorite patterns. 2. There were individual difference in color and pattern perception, however the color image of yellow was brightness, red was dashing, green comfortable, blue cool, and black tightness. The image of geometric pattern was modesty and natural motif pattern was dynamics. 3. The tow major forces which affected the image of design elements were appeared as followed : 1) Color images affected by the image of natural objects which obtained the color. 2) Individuals past experience and emotional status also affected the personal image perception. 4. The color and pattern preference for the Koran traditional customes and Western tow piece were significantly different and this result imply cultural stereotyping on image perception of design elements. On conclusion, the results supported the research model of form perception and image evaluation.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.7 no.1
• /
• pp.15-31
• /
• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.