• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.124-131
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• 2011

Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for "the new," consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country's own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a "periodization" of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.

• Fashion & Textile Research Journal
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• v.4 no.3
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• pp.284-288
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• 2002

In this research, a new quantitative fabric drape evaluation system has been developed using image processing technology. The purpose of this research is to get the more detailed information of fabric drapability quantitatively from digital images captured with a digital camera generally commercialized. The shape parameters of a 3-dimensional geometric drape model were defined as the number of nodes, frequency and amplitude. Also, various statistical information of drape shapes can be obtained using image processing technology and frequency analysis as well as traditional drape coefficients. Hardware system to capture drape images is simply composed of three parts including a digital USB (Universal Serial Bus) camera, a frame cover and a stand for camera to attach to traditional drape tester. The evaluation software coded with the MS Visual C++ is operated under the MS windows 9x above.

• Journal of the Korean Society of Costume
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• v.43
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• pp.225-242
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• 1999

Generally people and their lives are the basic object of literary works. Although each literary work possesses a different degree of significance depending upon the author's intention the description of costume becomes an indispensable factor in the formation of characters and the social background. In this paper the types of men's and women's clothing in fashion from 1895 to 1942 are studied fior the purpose of understanding the correlation between hyo-Suk's description of the attire and the vogue of the time. Consequently it was clarified that his descriptions of costume have an analogy with the fashion during the era. Especially this study ascertains that the beauty of costume as a formative art emphasizes the altered inherited and developing traditional Korean beauty influenced by exoticism. In conclusion the aesthetic consciousness of Hyo-Suk Lee tells us clearly that the beauty of Korea is the universal beauty apprecialted regardless of place and time. Such an aestheitic consciousness is not rigid but continously transforming. his literarywork clearly shows a new aesthetic categry formed by combination of traditonal Korean beauty and the aesthetic consciousness of exoticism.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.611-628
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• 2017

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea's cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO's World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea's world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.156-166
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• 2011

This study investigated the casual jacket design preferences of women aged 50s and 60s and suggested a prototype design for functional clothing. All age groups liked the casual jacket with a length between the waist and hip, a convertible collar, and a single-breasted design. Those in their 50s preferred fitted or semi-fitted casual jackets while those in their 60s preferred semi-fitted casual jackets. Although, there were significant differences between the preferred jacket designs and ready-made brand jacket designs, most brand jacket designs were casual, semi-fitted, middle-hip length, single-breasted, and with stand-rolled or convertible collars. The analysis of the sleeve styles in brand jackets showed that consumers needed designs that are more decorative. Fashion designers for senior citizens need to design elderly clothing that is comfortable, fashionable, functional, and considers a universal design for ease of clothing function. It will also make the senior citizen fashion market more appealing to consumers. To provide jacket designs for senior citizens, we suggested casual jacket designs for embedding a functional device as well as a new jacket design library for women in their 50s and 60s.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.62-78
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• 2005

The modern period was the time that the most radical and extensive social and mental changes were occurring throughout the history, and modernism was prevailing as a general cognition system of people. Modernism, which carries principles of progress, belief in application of scientific technology, worship of reason, ideal of liberty as a col-e value of civilization, was plated as a leading ideology in the realm of society, culture and art In the early 20th century. In this study, the formative characteristics of modernism seen in architecture and fashion are analogized and analyzed in four ways ell the basis of the theory of p. Greenhalgh. First, 'Standardization for mass-production', which is analogized which P. Greenhalgh's 'Decompart-mentalisation', 'Social Morality', and' Technology'. Standardization for mass-production in architecture focuses on the development of a design prototype in order to mass produce; the development of ready-made clothes is actively done ill the fashion area for the same purpose as well. Second, 'Rational functionality' coming from P. Greenhalgh's 'The total work of art' and 'Function'. While rational functionality in architecture puts an emphasis on the rational operation of all the functions in regard to the relation between each part and the whole, rational functionality in fashion call be mainly seen in a dramatic increase in physical activity which could be hardly found before the modernism period. Namely, all the fashion design elements are developed for a certain rational and functional design on each part as well as on the whole in order to greatly increase physical activity. Third, 'the pursuit for genuineness of objects and universality of beauty' is on the analogy of P Greenhalgh's 'Truth', 'Anti-historicism', 'Abstraction', 'Internationalism/Universality'. This idea is adopted in architecture in the form of design of geometrical abstraction. In the same way, design using geometrical abstraction comes to have a significant meaning in fashion of the modernism period. So to speak, modernism architecture and fashion can be reborn to become an inter·national style by giving up the decorative and regional design prevailing before modernism and by expressing universal aesthetics in the form of simplicity and abstraction instead. Fourth, 'Expression of progress through a change in a viewpoint' stems from P. Greenhalgh's 'Progress', 'Transformation of Consciousness', 'Theology'. In architecture, this concept appears by using new construction materials and methods and by representing new aesthetical idea. As a result, it makes it possible for people to make progress for better lives. Like in architecture, new attempts for material application and processing are made in fashion. This gives rise to a general change in a viewpoint related to fashion, so that a flew fashion design which there has never been before can come out.

• 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.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.185-203
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• 2021

The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia's Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• Archives of design research
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• v.25 no.5
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• pp.113-119
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• 2012

Under the paradigm of 'Eco', the core of sustainability management, this study aims to establish both domestic and international markets and secure competitiveness in the global markets through the development of children's furniture composed of recycled and unharmful materials. Currently, in Europe and in the Western regions, the concepts of 'eco-friendly', 'children', and 'DIY' are well-placed in the daily lives of the people. On the other hand, compared to the domestic demand for eco-friendly children's furniture, the essential approach and the qualitative improvements about the subject are being slowly progressed. Particularly, the process of applying eco-friendly materials and finishing materials to the children's furnitures are mostly in a non-existent state. Thus, in this study, simple application of basic eco-friendly materials such as natural woods or imitation of overseas furniture designs were avoided to create transformable eco-friendly one-touch DIY children's furniture for children's growth and development through the application of eco-friendly processes of technology, design, and other stages of the development process. In other words, under the big category of eco-friendly children's furniture, the furniture was developed through an environmentally-friendly process of universal design that is suitable for children of all ages, and thus, ultimately maximizing the economical effective value and reducing consumption of resources and environmental pollutions.