• 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.

• Journal of Fashion Business
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• v.8 no.6
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• pp.15-24
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• 2004

This study is to propose the minimalism, which swept the modern society of the 20th century, in fashion illustration with an asymmetric composition adding the globalized oriental taste in the 21th century. To do this, this study reviews various literatures and real materials reflecting the minimalism in art, architecture and fashion, defines aesthetic characteristics of the minimalism in each area, then based on the results, creates a basic unit of a fashion illustration and finally bring 6 works of the unit together to an integral fashion illustration while adding several oriental features.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.47-55
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• 2016

This article explores an extended sense of autonomy in contemporary architecture activated through the practice of fashion, by taking architect Rem Koolhaas' work Prada Epicenter in New York as a case. In doing so, it argues that throughout the work Koolhaas sets up a world in which the corporate and the individual are entangled together in complex ways. Instead of considering Prada Epicenter to be the exemplar illustrating that the global company-Prada-institutionalizes the designed commercial space in a top-down manner, this article claims that such a space imbricates a multiplicity of meaning that is generated at the intersections of the local and the global, the ordinary and the spectacular, and the individual and the institutional. In this respect French philosopher Gilles Lipovetsky's fashion theory works as a critical point: his claim that the ambivalence of fashion-both as corporate power and individual freedom-is a threshold encouraging us to better understand the operativity of late capitalism in daily life is extended to Koolhaas' case. In other words, Koolhaas' Prada Epicenter brings forth possibilities that the ostensibly technocratic and institutionalized space in fact works as a resillient field where senses of individual autonomy arise in the aid of corporative practice of branding.

• The Research Journal of the Costume Culture
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• v.23 no.5
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• pp.861-875
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• 2015

This study examines the formative characteristics of Fold architecture and how its properties are shown in the fashion of the modern work of Issey Miyake through analysis. In this research, the Fold classification criteria for analysis features that appeared in Issey Miyake fashion features were established through research literature on Fold architecture and leading research. Empirical data collection was conducted for Issey Miyake's work and collection by collecting photo materials, and design concepts and the results are analyzed in terms of features. Study ranges of Issey Miyake's creative design development are Pleats Please, A-POC, 132.5 project, and collections from 2000 to 2014. The conclusion is as follows. First, design concepts presented in the Issey Miyake fashion features of Fold are Hybrid, topology, and uncertainty. Hybrid look for the meaning of fashion, which is the interaction between the wearer and garments. The concept of topology designs clothing, focusing on interrelationship of the body and clothing, and pays no attention to absolute size or the form of the clothing. The concept of uncertainty is an uncertain form that is infinitely expandable because all the elements have openness and uncertainty due to the determined incomplete state by the creator. Second, in the results presented in the Issey Miyake fashion features is the destruction of the boundary and diagram form. The destruction of the boundary is free from traditional clothing. The diagram form is a geometric form which does not create a Dart or Princess line.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.155-167
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• 2021

The latest innovation in the field of fashion comes in the form of 3D-printed clothing. This study explores the composition and characteristics of the shapes in the architecture of Zaha Hadid, a representative architectural designer who expresses space in three dimensions. Hadid applies his aesthetic to fashion design using these distinctive geometric shapes to create design motifs as well as develop new clothing material with 3D printing technology. The research was conducted as follows. First, the lines and arrangement of the geometric shapes in Zaha Hadid's architecture were analyzed so that his design principles could be used as a theoretical basis for this study. The study also reviewed geometric fashion designs using 3D printing technology over the last ten years. Second, we developed triangular modules with rods and tongs that could be fashioned into clothing using fused deposition modeling (FDM) 3D printers. Lastly, the 3D printing fashion design was developed to explore new silhouettes, textures, and a novel way of producing clothing. This study hopes to serve as a stepping-stone for further research on innovations that combine fashion with technology.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.122-139
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• 1999

Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. The purpose of this study is to analyze the various factors, including some major artistic movements, which influenced on the formative characteristics of Paco Rabanne\`s fashion design. First, Paco Rabanne\`s fantastic new materials is also influenced by his study in architecture and his own fantasies -which other people can hardly imagine- during his early childhood. Second, light one of the most important element in Paco Ranbanne\`s fashion design, shows some influence of medieval symbols of love and salvation. Third, the artistic trends which influenced on Paco Rabanne\`s fashion include surrealism, opart, and kinetic art. His use of new materials and avant -garde style represents the influence of surrealism. his experimental use of waving plastics and glittering metal during his early period is especially related with opart and kinetic art in the early 1960s which emphasize the artistic effect of light and movement. Fourth, the geometrical figures like triangles, rectangles, and circles represent the influence of Egyptian architecture like pyramids and the geometrical characteristics of Eguptian art. Fifth, Paco Rabanne\`s distinctive use of metal chains in his fashion shows the influence of the chain mail hauberk, the medieval knightly armour. By using the medieval material Paco Rabanne properly expressed the modern person\`s pain and suffering. Sixth, the ethnic elements of Egypt, Africa, Spain, and Japan reflect the experience in his former lives he insists he lived. The ethnic elements of his dresses emphasize the natural vitality and inheritance from the past.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.67-83
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• 2001

The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being's subjectivity operated as a principal force. In the late Modernism fashion, the appreciator's aesthetic experience became more important, and the appreciator's psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator's aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today's fashion style.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.351-363
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• 2015

This research explores diachronic fashion design trends through a structure analysis of a connection network based on fashion show concepts implemented by modern fashion designers from S/S 2009 to F/W 2013. The findings from this research are as follows. First, four categories affect the inspiration and thinking of design: the experience of the designer, social atmosphere and phenomena, natural sensitivity (or formative characteristics of natural objects), and the influence and quality of other fields. Second, in cases where the designers' experiences influenced design inspiration and thinking, designers express personal memories with keywords like high school, grandmother's closet, prom, beauty and the beast, heritage, past, and reminiscence through design elements such as lines, silhouettes, materials, and colors. Third, the representative example of the social atmosphere and phenomena that influenced design inspiration and thinking was the 2008 Global Financial Crisis that reflected the social climate through design concepts of keywords such as Recession, Black, Economy, US, Depression, Gray, Dark Age, White and New York. Fourth, inspired by nature and the formative characteristics in design, the designers employed ornamental elements to collections and design concepts that focused on nature words connected to light, sun, wild, dirt, rock, moss, and trees. Fifth, the designers took their ideas from different fields of personal interest in the arts, science and humanities (sports, architecture, sculpture, painting, and literature) that were decisive in determining materials, design colors and silhouettes. The theme of architecture was analyzed as a central element that had an ongoing impact on the concepts of designers.

• Journal of the Korean Home Economics Association
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• v.35 no.3
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• pp.89-100
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• 1997

The formal constructions of deconstructive architecture in the contemporary fashion expressed as intertexruality, difference and trace and the working of DIS and DE, and intertextuality in deconstructive has manifested itself as the intertextuality of material, hybridization of items, the blending of modes and the bi-sexuality of sexes. And the difference and trace found in fashion are fantastic and playful and come to exist as historicity. DIS and DE in fashion shows the retrogression of gravity through non-structural silhouette. Their disentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in fuctional terms.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.59-80
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• 2000

In February 1947, Christian Dior startled the world with his spring collection. He transformed the unflattering square shouldered outline of women's wartime fashion overnight. It was not only fashion that made a pivotal point for opulence and elegance, The style of architecture, furniture, glass, and silverware also made a radical change. The new style emerged after war called " organic modernism'. This study is to define the visual characteristics of fashion, architecture, furniture and craft after World War II and examine the social factors and aesthetics that generated a new style. The common asthetic characteristics are freedom, abstraction of symbolic from, asymmetry, and exaggeration of form. The social factors, values and aesthetics are economic reconstruction and renaissance of design , technical development and new materials, fredom and optimistic view after the holocaust of war, and organic aesthetics and humanism.