• 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 the Korean Society of Costume
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• v.58 no.7
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• pp.31-42
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• 2008

The fashion of the 19C had been through many diverse styles, i.e. Empire style, Romantic style, Crinoline style and the Bustle style. These styles had emphasized a certain figures, such as exaggerated hourglass silhouette of crinoline style or S silhouette of bustle style. Following the trends, corsets became more than underwears. Actually they supported the fashion of the 19C. Apparently, the corsets had been evolved in many aspects. Patterns, materials and trimmings were developed and refined to make torso figures desirable. The initial purpose of the research is to find out how they developed corset patterns to make such a diverse figures, so that the techniques can be adopted in contemporary pattern design. The 16 corsets and their patterns were quoted from books related the subject. The patterns were redrawn of same scale for the comparative study concerning cutting lines and measurements. Coming to the late, more curved lines and more segmented cutting were used to make body more of glamour and natural. Gussets were another key technique to make them work. Various sized and shaped gussets were used to follow the trends of ever changing.

• Journal of Fashion Business
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• v.9 no.2
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• pp.100-112
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• 2005

Although Korean first ladies are not very big in changes in their hair style, American first ladies have greatly influenced clothing as well as hair style, exercising their influence over the apparel industry and fashion. Historically, American first ladies' fashion tastes have been on the center of attention and taken the lead in fashion. Although Korea first ladies' hair style are not very new or sensible enough to lead the fashion among the public, they have a sense of fashion and some influence on women of the upper classes. Beauty artists creating first lady hair style are representative of the times and have great value to the research. However, this study will not concentrate on their research. This study will analyze Korea first ladies' hair style, examine hair design and hair technique in fashion in those days. This study intends to provide important materials for Korean beauty history that has not been established by systematically arranging fashion style in the times analyzed through first ladies' hair style. Also, this study aims at researching in the aspect of beauty aesthetic concept through analyzing Korea first ladies' hair style.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.35-59
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• 2002

The purpose of the study is to clarify the relationship between hair style and personal character. This is elucidated by using the standard model of their preferred hair style to their individual to their personality. The study is primarily centered around college woman, who reside in Young dong area. The research suggested that In the age group 19-25 subjects preferred their hair to be shoulder length or longer. This is in contrast to the older age group preferring a shorter hair style. Certainly most subjects under the age of 25 preferred their natural hair texture as opposed to permed hair fashioned by older subject. Difference is personality traits was not a factor here. There is a relationship between personality traits, personal background and whether or not subjects dyed or decolored their hair. Subjects responded "yes" which means that they are easily affected by the two factors. The response to the other question of which color they chose, if they dyed and decolored, was that the most of the cases preferred brown color because brown is a natural looking hair color. Their responses from the question "what kind of style they want, if they can change their style differently", they preferred a fashionable hair style. In most cases, individual responded that they change their hair style once in every two or three months. Of all the personality traits, 48.1% were adventurous, changingtheir hair style more than once in every 6 months. The main reason they change their hair style is that they are bored with their old style. In the under 25 age group, the cost of changing their hair style is usually paid for by the subjects parents, however a few responded that they paid for themselves. Over the age of 25 years 80% usually paid for themselves. Additionally students who supported themselves financially paid for hair restyling themselves. When changing a hair style most subjects consider that new hair style should go with their existing image. "What kind of image they want to show others？" almost all of them responded that they want to look sophisticated and fashionable, In the age group 25 and over who belong to the upper class want their hair to look healthy and a full of body. They also responded about their changing their hair style to show a different appearance positively,fferent appearance positively.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.74-76
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• 2004

• Proceedings of the Korea Society of Design Studies Conference
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• 1998.10a
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• pp.16-17
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• 1998

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.122-123
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• 2002

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.05a
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• pp.34-35
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• 2001

• Archives of design research
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• v.17 no.3
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• pp.293-302
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• 2004

The austere standard for industrial design and the machine aesthetic reinforced modernism and lasted more than a half century. Pop art and Pop design movements, which were opposite of the elite culture, began to appear as anti-modernism in the late 1950s. With the development of technology, the movements helped to establish humanism design style that reflected the life style of young generation and their culture. From the 1960s. it was a try in order to fulfill psychologically users' needs beyond tasks for physical considerations. The efforts appeared as a various appearance in different contexts. It could settle down on industrial design, based on humanism both from the physical and psychological points ol views, through anti-modernism in the 1960s, commercialism, consumerism and hi-tech in the 1970s, and postmodernism in the 1980s. The design, as a specific style in industrial design, delivers both physical and psychological satisfaction to consumers by using a mixture of human emotions with high technology. Accordingly, this study is to find out and to define the design style that was applied by human emotion and sensibility in design history from the 1960s to the 1980s. It will be underpinnings for the next research about how the design style has developed nowadays.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.749-757
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• 2012

The purpose of this study is to consider the characteristics of Latin American style expressed in modern fashion. Latin American fashion has been overlooked the influences, scope and diversity of dress within this world culture region. So, this study aim to unravel the history and significance of Latin American fashion. As for the research methodology, to classify types of the Latin American fashion style theoretical study and content analysis for Vogue magazine has been undertaken. In this study, the term of Latin American fashion style refers to the dress of common characteristics involving Latin American culture. To inquire into the characteristics of the types, various cases has been searched through books, internet, and designer's collections. The results of this study can be summarized as followings. The major types of Latin American fashion style are Indio-ethnic style, tropical-exotic style, and latin-romantic style. First, Indio-ethnic style has been involving traditional costumes and patterns which are originated in ancient Mexico and Peru. Second, tropical-exotic style has been involving bright color, tropical fruit and African flower pattern, various textures, and relaxed silhouette which are inspired by free and easy culture in Brazil and the Caribbean. Third, latin-romantic style has been involving the mix of Latin American tradition and romantic detail such as see-through material, lace, ruffle, spanish flower motif. In conclusion, Latin American style on contemporary fashion is based on interest to cannibalize folk theme, technique, icons and exotic others.