• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.251-268
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• 2018

This study suggests a fashion design using aesthetic characteristics of works by Kate MccGwire, a modern sculptor paying attention to soft sculpture materials such as feathers. In this research on MccGwire works, their internal meanings may be derived as the dualism of familiarity, movement and consciousness. Works also have aesthetic characteristics of overlapping, fluidity and twist. Using such characteristics, 4 one piece dresses and 2 vest dresses were made. Research findings are as follows. First, aesthetic characteristics of MccGwire works could be expanded into expressive areas of silhouettes and details in fashion. Second, visual flow and concentration could be expressed by gradual coloration of feather colors. Third, dart manipulation could be applied naturally by details and curve silhouettes of fashion design. Fourth, touch of feather material could be expressed fully by leaving the edge of garments raw. Fifth, spatiality of fashion could be implemented partially by applying decorative saddle stitching to costume design details. This study explored a potential of soft sculpture occurred during a transitional process of objet pursued by 20th century's avant-garde artists applicable to fashion design ideas that suggested methods for contemporary creative design.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.111-118
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• 2010

The Buddhist reliquaries of these 6 Reliquaries(松林寺, 感恩寺, 法門寺, 慶山寺, 唐招提寺, 法隆寺 玉蟲廚子), when compared with those of China, Japan and Korea in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa, Kam-Eun-Sa, Famensi, Qingshansi, Toshodaiji, and the Horyuji Tamamushi Zushi, the most important ones in this research, were in the precious tent and the inner and outer Coffins shapes having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• Journal of Fashion Business
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• v.24 no.4
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• pp.19-29
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• 2020

The purpose of this study was to investigate Renaissance wall-covering fabrics through Flemish paintings, that provides the details of the origin and development of background of modern wallcovering. The methods of the study are as follows. First, the background of textile development of Flanders in the 14^th to 16^th centuries were examined through a prior study. Second, the shape and use of wallcoverings in paintings painted during that time were analyzed and the process of changing to modern forms was studied. The residential environment with many stone buildings in relatively humid and cold weather created a need for decorative fabrics. Back then, the wool and flax fabric were not allowed to be worn on the body, so the materials were used for the development of interior fabrics. The characteristics of wall covering in Flemish paint can be summarized with movable, allegory, and decoration. Movable stems from the arrival of the emerging aristocrats of Flanders, who had enormous commercial trade and carried decorative fabrics; the mobility has become an allegory in reality as the royal and aristocratic use of wall-decorated fabrics is the symbol of authority. In addition, unlike Italy, where silk was procured from the East, fabrics manufactured using flax and wool were not suitable for clothing in terms of religion and practicality and were used to decorate walls.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.113-127
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• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• Journal of Fashion Business
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• v.7 no.2
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.1-13
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• 2015

The purpose of this study is to make a contribution to men's fashion by analyzing changes related to excessive and decorative expressions of latest men's wear design in the viewpoint of Maximalism, and using the results to develop a new fashion style. Results of the study are as follows: The characteristics of Maximalism in men's wear collection in the last 5 years can be classified as 'Fusion Maximalism, 'Decorative Maximalism', 'Exaggerative Maximalism', 'Humorous Maximalism', and 'Duplicative Maximalism'. The characteristics of each type of Maximalism can be summarized as follows: First, Fusion Maximalism creates new men's fashion style by fusing designs from different cultures in clothing items as well as dismantling gender boundaries in clothing design, and by having designs which transcends time and space. Second, Decorative Maximalism expresses ambiguous decadence by implementing feminine decoration that applies handicraft technique, as well as exaggeratedly using details and trimmings of contrasting images, and applying women's clothing items. Third, Exaggerative Maximalism represents extreme avant-garde that changes the idea of fashion design by changing the styling or the exaggerated silhouette. Fourth, Humorous Maximalism expresses not only the creation of new men's fashion look, but also expresses humanism with exaggerative enjoyment and pleasant ideas. Fifth, Duplicative Maximalism expresses creative design by implementing vivid images of different period and culture, and reproducing successful images of the past into modern fashion.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.3-11
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• 2007

We study, in this paper, on the decorative design of the Treasure-architectural form for the Silla Buddhist reliquary and this research went through the observation on the Buddhist Reliquaries of the Song-Lim-Sa, the Eastern-Western three floor pagodas in the Kam-Eun-Sa, the three floor pagodas in the Bul-Guk-Sa and the reportedly discovered Nam-Won. The Buddhist reliquaries of these 5 Reliquaries, when compared with those of China and Japan in the same period, they worshiped the Buddhist reliquary as a Buddhist God itself and put them as a part of the architectural decoration, being installed in the construction forms. In the form and the composition of the architecture, we can see those having been designed with very detailed and brightly decorated form. The Buddhist reliquaries in the Song-Lim-Sa and Kam-Eun-Sa, the most important ones in this research, were in a royal palace shape having completely the altar part, interior space part, and the ceiling part, which inform us the whole structure of the architecture in details. In particular, for the case of Kam-Eun-Sa, the columns in the shape of bamboo trees, the expression of the gates, the terrace of double parts formed of word-shape Man, and the statue of a general with superhuman ability in the shrine explain us the description of the Gyun-Bo-Tap-Pum of Lotus Sutra. After all these researches, we conclude that the Buddhist reliquaries in form of the Treasure-architecture represented the architectural style of the same period as a form of industrial arts and we can see that they tried to use all of their highly skilled and talented methods to describe the Buddhist Pure Land.

• Fashion & Textile Research Journal
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• v.6 no.4
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• pp.433-439
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• 2004

Hanji costumes has four aspects that allow the creator or artist to create many variations. The pictorial effects of Hanji costumes are produced through variations in the dyes and brushes used for its application. The amount of water and texture of the Hanji mixture also influences the Hanji clothing. This effect was expressed using a dry brush technique, a dripping technique, India inks, and fragments from other Hanji works. A second aspect of Hanji clothing is the coloring effect in the Hanji costumes. The coloring is due to the fibers in the preparation mixture and the uniqueness of the dyes. The Hanji clothing was dyed various colors and patterns by dip dyeing, block dyeing, silk screens, digital printing. The third aspect of Hanji imagination in clothing is the decorative details. The details in Hanji clothing can be seen using frills, pleats, tucks and ribbons. The last variation of Hanji clothing can be expressed through crafting techniques. These techniques are the quality of paper string, cuts in the paper and paste ingredients. With Hanji cloth, it is possible to plait, roll, and crample into other flexible & useful materials.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.946-959
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• 2005

The purpose of this study was to examine the Korean red carpet fashion of Daejong, Bluedragon, Korean Film Awards from 2002 to 2004, focusing on nominates of female movie stars and presidents. Leading colors were black and white but pale and vivid colors were also chosen. Dresses were made of satin, chiffon, lace and velvet mainly, and patterned fabrics made strong statements among them. Based on the long and slim silhouette, there were lots of details using beads, sequins and crystal stones for manipulating lighting effects. Fur shawls along with diamond jewelry were favorite items of many stars. They preferred dresses of international brands to that of domestic brands. Esthetic qualities of red carpet fashion were categorized as decorative gorgeousness, sophisticated elegance, glamourous sensuality, paradoxical presentation, pure innocence, and Korean refinement.