• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• Journal of Fashion Business
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• v.27 no.5
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• pp.78-92
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• 2023

Fashion trends are actively disseminated through social media, which influences both their propagation and consumption. This study explored how users perceive subversive basic fashion in social media videos, by examining the associated concepts and characteristics. In addition, the factors contributing to the style's social media dissemination were identified and its distinctive features were analyzed. Through text mining analysis, 80 keywords were selected for semantic network and CONCOR analysis. TF-IDF and N-gram results indicate that subversive basic fashion involves transformative design techniques such as cutting or layering garments, emphasizing the body with thin fabrics, and creating bold visual effects. Topic modeling suggests that this fashion forms a subculture that resists mainstream norms, seeking individuality by creatively transforming the existing garments. CONCOR analysis categorized the style into six groups: forward-thinking unconventional fashion, bold and unique style, creative reworking, item utilization and combination, pursuit of easy and convenient fashion, and contemporary sensibility. Consumer actions, linked to social media, were shown to involve easily transforming and pursuing personalized styles. Furthermore, creating new styles through the existing clothing is seen as an economic and creative activity that fosters network formation and interaction. This study is significant as it addresses language expression limitations and subjectivity issues in fashion image analysis, revealing factors contributing to content reproduction through user-perceived design concepts and social media-conveyed fashion characteristics.

• Archives of design research
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• v.11 no.1
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• pp.219-228
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• 1998

Seymour Chwast, who has worked in various fields as in illustrator, graphic designer, and art director since 1950's, opened a new possibility in the field of visual design. Pushpin Graphics, founded by Chwast and his collegues, played a vital role in experimentation based on their creativity and courage. Amazingly enough his field covers Illustration, graphic design, poster, typography, and publication. His works, in which he sa tired people or events severely using his own lanb'Uage styit', appeals public powerfully and is remembered for a long time. He gives various forms to his creative ideas throughout many fields he deals with including caricature, giving all designers fresh and b'Teat inspiration. The fact that Chwast dose not limit himself to anyone style but uses various styles freely indicates his creative thinking process. The Creative Thinking, which is embedded in all his works, is so interesting and tactful that it may fulfill the requirement of the times, which wants to see something new and epochmaking. The aim of this study is to find creativity of Chwast's new visual language and its meaning through the analysis of unique caricatures among his works based on his philosophy, creative work process, and, particularly, creative thinking.

• Journal of Fashion Business
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• v.13 no.1
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• pp.152-166
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• 2009

By virtue of the development of mass media, the cinema, the composite space art taking the visual and auditory elements together, exhibits the actual life of the realities, thereby having a mutually close relationship to social, cultural and economic fields and continuing to generate the fashion code as well as reflecting the image of the times. Especially, fashion style in movies delivers their image and atmosphere and becomes the means for containing the personality, spiritual world and inner thinking of the characters in the movie and inducing its plot. Therefore, this study was intended to make clear that fashion fuses and shares with a diversity of genres such as movies and the like, becomes the cultural model that proceeds to create a new culture in relation to daily life and induces and presents the trend of contemporary fashion. For this purpose, this study attempted to analyze fashion style in the movie. Lolita is the fiction published by the Russian?American writer Vladimir Nabokov($1899{\sim}1977$) in 1954. It is the fiction that portrays the unethical love between Humbert, a middleaged man, and Lolita, a girl in her 10s. It was cinematized by the director Stanley Kubrick for the first time in 1962 and revived by the movie director Adrian Lyne in 1997. The character of Lolita has a younger look like a girl and looks immature in the movie directed by the movie director Stanley Kubrick and the movie director Adrian Lyne. But the character of Lolita has the commonality that she showed an incomplete female image of having a sexually freewheeling thinking. Thereby, this study sought to prove that the created fashion style of the character in the film not only became the clue to enable us to know the time and space background in the film but also helped the film develop effectively by performing a role of portraying the character in the movie. And it attempted to present that it becomes both the foundation for leading the fashion trend shown in contemporary fashion and the code of mass culture. Fashion style of Lolita in the movie appears to be reflected diversely in mass culture as well as fashion style in the contemporary times.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.95-111
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• 2008

Now when Wests meet Easts, they approach with a motive of acknowledging Eastern or Asian value, concretizing and sharing philosophy. As the result of this study through comparing Eastern and Western view of thinking, First, East is the cosmic beauty of harmony that pursues the harmony with the nature involving emotional and humane affection, and West has the tendency of proportional beauty of harmony involving order and balance. Second, East pursues the metaphorical beauty of mimesis which implies more in invisible parts, and West has the tendency of pursuing visual beauty of mimesis which has contents in visible parts. Third, East is the sublime beauty of nothingness which suggests a blank is endless infinitude of doctrines and mind breath, and West pursues the sublime beauty of being which desires to fill tangible existence without blank. Fourth, East is the expressive beauty that has the intuition of pleasure, which gives weight on non-clearness, emotional joke, and satire, and emphasizes a comic phase, and in West pursuing clearness of order, the concept of the ugliness of disformation is the intuition of defiance, and close to intuition of sadness.

• Archives of design research
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• v.16 no.3
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• pp.111-122
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• 2003

We must not consider a culture as means of economy. Specially, it is not possible that is supposed to incorporate a cultural identity in a shape of product, but also international competitiveness can not be raised by it. Because an identify is based on the system of symbol such as language, it can be understood only in a same cultural area. While, the value-in-use of technology can be accepted universally as a formative language of international style. Therefore, the competitiveness of design will say as a special quality that can be acquired in connection with technology. For instance, that Korean mobile telephone could be recognized worldwide is not because it has the Koreanized shape but has a high technology. The public have only a superficial understanding about design. Because that is limited in the visual aspect of product, so called 'the pretty design', which exclude the value-in-use and the organic correlation of form and function in general, it may be a cause of socio-ethical dysfunction. It is providing an elbowroom for making a mistake that can regard the product design as an artistic experiment and try to raise the international competitiveness simply with the visual aspect. And the distorted understanding about design has been diffused rapidly owing to spread of black box products because the over-designed shape is known to the public as a proper result of designing. That reorganize the design category will do as a starting point that can get rid of such a misunderstanding, and do to achieve an ideological role of design for human and society. And it will be a warning to the moral slackening that is due to regarding a style as means of competitiveness and the blindness due to thinking culture as means of economy, and we may expect to offer a basic understanding about design which can prevent products from being visualized.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.164-179
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• 2008

The Purposes of this study are to analyze the couture-like design characteristics expressed in modern fashion and to grasp its sociocultural meaning. For this, the documentary study and practical case study have been executed. Fashion writings and visual sources in Gap Pret-a-porter Collection, www.style.com, www.firstviewkorea.com are used. The results are as follows. First, couture ran be featured as a luxurious made-to-order design for individual clients with high quality fabrics, hand-craftsmanship, painstakingly perfect details and finishing. It is valued on authentic originality, uniqueness, aestheticism, and luxury. As the relationship between couture and mass fashion has changed, there appeared not only traditional couture for few privileged people, but also demi-couture which bridges the gap between luxurious couture and pret-a-porter. Second, couture-like designs in modern fashion are classified as (1)the adaption of house archive (2)retro with couture-like silhouette (3)hand-craftsmanship in details and finishing (4)individualization for only one client. They have sociocultural meanings, which are the reaction to the crisis of originality, new luxury for differentiation, the pursuit of new individualism thinking. Ultimately, it ran be thought that couture-like design in modern fashion results from the mutual needs between elitism fashion designer struggling in the hegemony of originality and reproduction, and modern consumer seeking for luxury, individualization.

• East Asian Journal of Business Economics (EAJBE)
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• v.11 no.3
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• pp.37-45
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• 2023

Purpose - This research contributes to the existing literature by shedding light on a unique intersection of creativity and leadership, carving out a niche that calls for further exploration. Thus, this study addresses the questions regarding how creative leadership manifests within the context of art education and what the distinct types of business leadership from applying creative leadership principles are in art education? Research design, data, and methodology - This research is made up of two stages to collect textual data from the literature. The first stage involves screening titles and abstracts to weed out studies that overtly lack alignment with the research's focus. The second stage involves a full-text review of the remaining studies to ascertain their suitability based on the research objectives. Result: There are four types of business leadership on Creative Leadership in Art Education, such as Visionary Artistic Leadership, Collaborative Expressionist Leadership, Adaptive Impressionist Leadership, Experimental Abstract Leadership, Experimental Abstract Leadership. Conclusion - The research could conclude that 'Visionary Artistic Leadership' offers practitioners a compelling strategy for igniting innovation within their teams and organizations. HR practitioners can foster a culture of daring creativity by encouraging leaders to embrace visionary thinking. To implement this style, HR professionals can nurture individuals strongly inclined towards innovative ideation.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.333-339
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• 2020

The lifestyle of the new consumer class of people with diversified social structures and tastes is affecting society as a whole. As of now, emerging lots of complex cultural space with unique sensibility and individuality, this paper is about proposing the branding of a complex cultural space. I selected Sounds Hannam as a cultural complex and conducted in-depth interviews about brand experience and Ethnography. The study found that Sounds Hannam needs sense of hearing and smell because the sensory factors of the Sounds Hannam are concentrated in the visual field, and also, there is a need to create an appropriate communication channel through SNS. The Sounds Hannam had the characteristic factors of sensibility, relaxation and content based on a diversity different from the existing one. Throughout research, it was derived that planning space as a place to inspire people through spatial composition that triggers behavior and creative thinking is the goal of a complex cultural space and at the same time, an effective way to reflect the lifestyle of those in 20s.

• Journal of Intelligence and Information Systems
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• v.24 no.4
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• pp.171-196
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• 2018

With the development of the web, two-way communication and evaluation became possible and marketing paradigms shifted. In order to meet the needs of consumers, web design trends are continuously responding to consumer feedback. As the web becomes more and more important, both academics and businesses are studying consumer emotions and satisfaction on the web. However, some consumer characteristics are not well considered. Demographic characteristics such as age and sex have been studied extensively, but few studies consider psychological characteristics such as regulatory focus (i.e., emotional regulation). In this study, we analyze the effect of web style on consumer emotion. Many studies analyze the relationship between the web and regulatory focus, but most concentrate on the purpose of web use, particularly motivation and information search, rather than on web style and design. The web communicates with users through visual elements. Because the human brain is influenced by all five senses, both design factors and emotional responses are important in the web environment. Therefore, in this study, we examine the relationship between consumer emotion and satisfaction and web style and design. Previous studies have considered the effects of web layout, structure, and color on emotions. In this study, however, we excluded these web components, in contrast to earlier studies, and analyzed the relationship between consumer satisfaction and emotional indexes of web-style only. To perform this analysis, we collected consumer surveys presenting 40 web style themes to 204 consumers. Each consumer evaluated four themes. The emotional adjectives evaluated by consumers were composed of 18 contrast pairs, and the upper emotional indexes were extracted through factor analysis. The emotional indexes were 'softness,' 'modernity,' 'clearness,' and 'jam.' Hypotheses were established based on the assumption that emotional indexes have different effects on consumer satisfaction. After the analysis, hypotheses 1, 2, and 3 were accepted and hypothesis 4 was rejected. While hypothesis 4 was rejected, its effect on consumer satisfaction was negative, not positive. This means that emotional indexes such as 'softness,' 'modernity,' and 'clearness' have a positive effect on consumer satisfaction. In other words, consumers prefer emotions that are soft, emotional, natural, rounded, dynamic, modern, elaborate, unique, bright, pure, and clear. 'Jam' has a negative effect on consumer satisfaction. It means, consumer prefer the emotion which is empty, plain, and simple. Regulatory focus shows differences in motivation and propensity in various domains. It is important to consider organizational behavior and decision making according to the regulatory focus tendency, and it affects not only political, cultural, ethical judgments and behavior but also broad psychological problems. Regulatory focus also differs from emotional response. Promotion focus responds more strongly to positive emotional responses. On the other hand, prevention focus has a strong response to negative emotions. Web style is a type of service, and consumer satisfaction is affected not only by cognitive evaluation but also by emotion. This emotional response depends on whether the consumer will benefit or harm himself. Therefore, it is necessary to confirm the difference of the consumer's emotional response according to the regulatory focus which is one of the characteristics and viewpoint of the consumers about the web style. After MMR analysis result, hypothesis 5.3 was accepted, and hypothesis 5.4 was rejected. But hypothesis 5.4 supported in the opposite direction to the hypothesis. After validation, we confirmed the mechanism of emotional response according to the tendency of regulatory focus. Using the results, we developed the structure of web-style recommendation system and recommend methods through regulatory focus. We classified the regulatory focus group in to three categories that promotion, grey, prevention. Then, we suggest web-style recommend method along the group. If we further develop this study, we expect that the existing regulatory focus theory can be extended not only to the motivational part but also to the emotional behavioral response according to the regulatory focus tendency. Moreover, we believe that it is possible to recommend web-style according to regulatory focus and emotional desire which consumers most prefer.