• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.20-33
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• 2011

This study aims to analyze the expressive aspect of men's shirts through examining the characteristics of men's shirts with the trend of men's clothing well represented and considering the image based on high fashion. As a method of study, I have conducted the theoretical study through the literature data, and the content analysis through photographs from S/S collection in 2005 to F/W collection in 2010. Especially, in the recent men's shirts, the materials of glossy silk, wavering chiffon and jersey tend to appear and various images are represented with the tasteful decoration such as ruffle, pin tuck and embroidery together with pastel color. Thus, the result of this study is as follows: Firstly, the masculine and romantic images are researched as the image emphasizing the beautiful and soft masculine beauty which doesn't lose the masculinity even though they are seasonedwith the feminine elements. Soft masculine beauty is emphasized by using romantic image decoration of frills, beads and pin tuck or silk, jersey and openwork materials etc. Secondly, practical fusion images have been studied as the images emphasizing the freshness with practicality through grafting more than two items onto one shirt. Many designs have appeared representing new shapes by grafting more than two items onto one shirt or obscuring the border line between the items. Thirdly, the avant-garde chic images have been researched as the image emphasizing the chick image through representing unique and odd designs by excessively expressing the silhouette in general shapes of shirts. I come. to find that the mainly the designs, emphasizing the uniqueness and the distinction with transformed shapes of sleeves, cuffs and the length of shirts in exaggerated manners, are appearing. Thus, I intend to provide a reference material which will be useful for the newly created design and researches of figurative characteristics in the future fashion.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• Journal of the Korea Furniture Society
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• v.19 no.1
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• pp.44-54
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• 2008

The blur phenomenon, in which the boundaries of fields or roles become vague, has become an important concept of design in the 21st century. In furniture design, the physical boundary between furniture and space and that between space and furniture has been broken down and their meaning tends to be redundant. This concept was begun by a variety of furniture designers who led the trends about 30 years ago. A progressive exhibition titled ${\ulcorner}$Living Tomorrow${\lrcorner}$, which was included in the Koln International Mobelmess from 1968 to 1970, showed that the blur phenomenon in furniture design has never actually been novel. These exhibitions and the works exhibited in the events are still recognized as progressive examples that proposed an avant-garde concept of life. They are in line with the current furniture design based on spatial concepts, which has been created by the blur phenomenon. The purposes of this study are to determine the cases of furniture design that enable the so-called spatial functions beyond the simple functions of seating, use, and display, from those of furniture design and to research their characteristics. In this study, furniture based on spatial concepts means furniture that creates 3D spaces consisting of the floor, walls, and ceiling by the blur phenomenon that occurs from the spaces among these pieces of furniture. The organization of this study is as follows; In Chapter 2, a background on the generation of furniture design based on spatial concepts is described based on the research literature of this socio-cultural phenomena. In Chapter 3, the cases of relevant furniture design redescribed. In Chapter 4, the collected cases are analyzed and their characteristics described. In Chapter 5, Chapter 1 to Chapter 4 are summarized and conclusions are given. In addition, future research is proposed.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1003-1013
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• 2009

This study offers data that can be used to direct the styles of black dresses by looking into the characteristics of coordination in black fashion, which is continuously appearing at modem. fashion collections with a unique aesthetic value and image. This study examined the characteristic of fashion coordination of black color: First, to look at the fashion image of black color, second, to look at the characteristic of black color coordination appearing in black fashion, and third, to look at the method of coordination appearing in black color. This study collected and selected 560 black pictures that showed the fashion collections from 2005 S/S until 2007 F/W. As for data analysis, the researcher made a content analysis by classifying the pictures by item, material, accessory, and a coordination method. The research results are as follows: First, the fashion image of black color was expressed as sexy feminine, modern chic, modern future, genderless, and avant-garde images. Second, the fashion coordination of black color has the characteristics of sexiness and dignity by the use of body exposure, concealment, and a subdued line that expresses a modern, minimal atmosphere. The mix & match of materials expressed the monotony of one color as refined beauty and the use of accessories appeared to bring the image into relief. Third, as for the coordination method, pants on skirts, pants on dresses, piece coordination of code matching, plus- one coordination through vivid colors and accessories, and cross-over coordination relying on shape, material, and sense were prominent.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.87-96
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• 2007

This study analyzes the place of modem architecture based on the place theory of C. N, Schultz. For applying Schultz's theory to the modern architecture, It is required to examine the modern cityscape, features of inner space of architecture and features of program. By analyzing the avant-garde architecture of Rem Koolhaas on such basis, the potentiality of placeness of modern architecture could be verified and the alternatives would be searched. It is inferred that the placeness features of Rem Koolhaas' public architecture is under the influence of the interpretation of program based on the humane background rather than the physical aspects of surroundings. The inner space shows the non-linear features, the metaphor of city. The obscurity of physical boundary illustrates the flexible features with ambiguous boundary. Consequently, the inner space expresses the surreal atmosphere that doesn't match the purposes of usage of architecture, the traditional concept. The outer shape is recognized as the by-product from the interpretation of internal program rather than it considered the surrounding context. The outer shape has the relatively simple formative shape and contrasts against the complicated inner space by using the non-physical materials. It is found that Koolhaas' architecture doesn't pursue the features of placeness of traditional concept. However, It is inferred that his architecture has the possibility of placeness by attaching the meaning through the social roles of each architecture. It gives the substantial suggestion to the modern architecture that can't easily acquire the placeness of traditional concept due to the environment of modern city.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.278-286
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• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.74-83
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• 2012

This study is an historical consideration about the modern discourse of Japanese spacial tradition driven from cultural background. The purpose of this study is to establish a cartographic map of historical progress, and to shed light on the forming of identity in Japanese traditional space design on the schizo-analytical aspect. It adopts F. Guattari's psychoanalytic theory to the structural analysis of Japanese traditional space design. The process of this study is illustrated as follows: At first, it mentions Guattari's theory of Mechanical Unconscious, Schizo-analysis, Cartography, and Abstract machine as theoretical background. And, it considers the identity of Japanese traditional space constructed by various cultural sign over a long period of time as the statement of apriority. Secondly, it clarifies semiologic generation of Japanese traditional space design based on the analysis of spacial morphemes about each design stemmed from modernization process of Japan. Thirdly, it ascertains semiologic topography the representamens draw, i.e. schizo-analytic cartography from synchronic and diachronic point of view. Fourthly, it analyses traditional discourse structure in terms of generative schizo-analysis and transformational schizo-analysis with four categories- object, style, concept, strategy. Through this process, it studies the reproduction of Japanese tradition in terms of the 'social organization', and explores the way vitalized on the space-time coordinate system by the schizo-analysis of the mechanical unconscious. In conclusion, it clarifies Generative-schizo is accomplished in the level of formulating representamen, and Transformational-Schizo involves experimental mind that induce implantation of the heteromorphic elements and avant-garde experiments of abstract mechanical operation in the schizo-analysis of Japanese traditional space design. The significance of this study is to arrange an opportunity of introspection on Korean-ness seriously from inspecting logic of Japan-ness closely in traditional space design.

• Journal of Intelligence and Information Systems
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• v.10 no.2
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• pp.65-77
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• 2004

This paper presents a priori and the local font classification method. The font classification uses ascenders, descenders, and serifs extracted from a word image. The gradient features of those sub-images are extracted, and used as an input to a neural network classifier to produce font classification results. The font classification determines 2 font styles (upright or slant), 3 font groups (serif sans-serif or typewriter), and 7-font names (Postscript fonts such as Avant Garde, Helvetica, Bookman, New Century Schoolbook, Palatine, Times, and Courier). The proposed a priori and local font classification method allows an OCR system consisting of various font-specific character segmentation tools and various mono-font character recognizers. Experiments have shown font classification accuracies reach high performance levels of about 95.4 percent even with severely touching characters. The technique developed for tile selected 7 fonts in this paper can be applied to any other fonts.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.3
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• pp.63-78
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• 2018

This study analyzed gender-fluid images as expressions of feminism and gender identity expressed in fashion collections. As for the research method, this study searched the fashion collections, with the theme of feminism, utilizing key words related to feminism on an online portal, and collected the photo materials of fashion collections provided by vogue.com. This study classified the photo materials of 31 fashion collections, with the theme of feminism, into femininity, masculinity, androgyny, and avant-garde, according to the fashion design elements that divide gender identity. As a result of the classification, 326 photos were collected, in which gender identity was expressed ambiguously. This study reclassified the collected photos according to their fashion items and styles. As a result of the study, it was noticed that the fashion collections with the theme of feminism expressed the messages, using lettering graphic images, and performance. In addition, they showed a form in which men's collections and women's collections were integrated according to the change of the perceptions of gender identity, of feminism, and delivered body positive expressions, respecting differences and diversity as individual subjects, by casting diverse models in terms of age, body size, race, and culture. As for the gender identity expressed in the fashion collections, the gender-fluid images were classified into empowerment images, that expresses social rights and dignity; agender images that expresses the possibility of a gender-flexible transition; rational images that expresses the rational and practical characteristics that removed the boundary of fashion; and images of pro-sexism that expresses a new gender identity.