• Journal of the Korean Home Economics Association
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• v.33 no.5
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• pp.167-176
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• 1995

This study is to present various curtain design by simulating method of the 32 case's combination of the styles, the patterns, the colors of curtain design for 50 woman collage students by photo shop program. The major findings of this study can be summarized as follow : The evaluation factors of curtains design was classified into three groups ; emotionality, harmoniousness, stimulus. The best choice to emphasize the atmosphere for "emotionality" of the first factor is curtain with the valance of cloud style, mixed Diagram pattern and ivory color(NO.16). The best choice to emphasize the atmosphere for "harmoniousness" as well as "stimulus" is curtain with the valance of two pieces cloud style, flower pattern and pink color(NO.18). The best choice to emphasize the atmosphere for "emotionality" and "stimulus" as well as "emotionality" and "harmoniousness" is curtain with the valance of natural fold style, stripes pattern and pink color(NO.6). The best choice to emphasize the atmosphere for "harmoney" and "stimulus" is curtain with the valance of two pieces cloud style, flower pattern and pink color(NO.18). The best choice to emphasize the atmosphere for "emotionality", "harmoniousness" and "stimulus" is curtain with the valance of two pieces cloud style, flower pattern and pink color(NO.18).

• Journal of the Korean housing association
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• v.21 no.6
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• pp.109-117
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• 2010

With the IMF crisis in the late 1990's, coupled with the excessive supply of housing stock from the past, construction companies are adopting various differentiating strategies to address the decreasing apartment sales rates. Most of those strategies tend to follow the recent trend of 'eco-friendliness,' creating images of the apartments as 'well-being housing types.' In doing so, green spaces and water features are actively being used in outdoor landscapes design. One specific trend that can be witnessed is the efforts to make reference to the traditional Korean design languages, known as the 'Korean Style.' However, the applications of the 'Korea Style' on landscape design are being explored only by the construction companies, while most researches on the 'Korean Style' focus on its application on the indoor housing units. In this context, this series of case studies of the application of 'Korea Style' on landscape design attempts to extract design elements that can be set as basic guidelines.

• Archives of design research
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• v.19 no.1 s.63
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• pp.243-252
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• 2006

This essay studies local design style in globalization era through investigation of the restaurants which are located at suburb of big cities in Korea. All regional memory and history is disappeared in 'The world time' and world design style in globalization era. Thus to study local design means to study the history of certain region and the memory of the people who lives in that area and how they represent their past and memory. Post colonial theory, everyday aesthetics and the way of using past and memory are preresearched for the theoretical background. Post colonial theory is discourse for the countries which have the experience of colonialism. History and memory are used for defining present political, social, economical and cultural situation. In this essay, the way using past and memory were classified in three dimension - by government, company, and individuals. The past which is represented by government is conceptual and defined as only sign without on going history. When it is represented by company, it is also uses as a sign and imitation without contextual meaning. However, when the past is used by individuals, it is alive in daily life. This essay argues that those restaurants which have the style of 'the Koreaness' symbolize the suppressed desire to represent the lost past and memory which are forced to be exduded during the colonial period and fast modern development. And the design style can be defined as epic design, for it has it's own main character, story, memory and plot too. This word 'epic' imply the main point of local design style. In conclusion, this essay will ask the role of design in the country which has colonial memory in globalization era.

• Fashion & Textile Research Journal
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• v.3 no.4
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• pp.337-343
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• 2001

This study was purposed to see how men's hair styles of Japan had changed throughout history and results of the study was as follows. There are such evidences as topknots in its primitive styles and wooden combs that several hair styles were tried already in the primitive Jomon Period. In the Yayoi period, bare topknot style without crowns and Mizura style in which hair drop down both ears were popular. In the period of ancient burial mounds, Mizura style was dominative style and varied its form and shape according to classes and status. In the Aska and Nara era, topknot-in-the-crown style in which hair bound in one as in continental style and put in crown or hood, which style was influenced by the Sui and the Tang periods of China. Since the Heian period, topknot-in-the-Ebosi style, binding style, and Karawa style as well as topknot-in-the-crown style came in sight and Sakayaki style became popular in the Kamakura and Muromachi periods. In the Momoyama period, Chasenmage style and Ichomage style were spread widely. In the early Edo era, Wakashumage style and Yaromage style as well as Ichomage style were preferred. In the middle of Edo era in which form and shape of topknot was more distinct symbol of class, status and job than in any other period, Tachmach style under the influence of the Punkin and Honda modes. Sonno style was popular in the late Edo era. There was a drastic disappearance of topknot style by the hair-cutting order during the Meiji Restoration period and civilized hair style of the Jankiri style, a kind of dishevelled hair style without making a topknot was in fashion and continued to the present.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.11a
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• pp.86-90
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• 2006

Through this study, I conducted surveys on apartments with western style furniture to investigate perception on the western style furniture and its use. For the subject of survey, I selected three apartment complexes at Suji-gu, Yongin city which has been recently developed as a new town. Out of total 150 copies of survey sheets 142 fully answered copies were adopted as a final analysis data. Considering supply rate and application, sofa and chair of dining table were chosen to refer as western style furniture. As a result, most of the respondents had inconvenience in using western style furniture. Further study on side effects of adopting western style furniture should be followed.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.8
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• pp.946-958
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• 2011

This study develops Korean Style Loungewear as a cultural fashion product. Through the use of surveys, Korean sentiments about Korean traditional clothing and Korean style fashion have been examined. The survey was conducted for 5,000 people in Korea; 3,500 responses of meaningful data were statistically analyzed. The data was processed by a SAS system; frequency and percentage were performed. It was found that Korean people have a high preference for Korean traditional clothing; however, they are not satisfied with its comfort, maintenance, or price. They answered that they would wear Korean style fashion if the design, comfort, and price were improved. They responded positively on the development of Korean Style Loungewear and its effectiveness as a cultural product. Based on the survey and basic geometric structures of Korean traditional costumes, silhouette designs of Loungewear have been developed. The designs are divided into one-piece styles and two-piece styles. The characteristic design details are git (Korean neckline) and goreum (Korean tie ribbon). The results have been shown on the "Han Style Fashion Show" by Jeonju City and exhibited in the "Seoul Living Design Fair" and the "International Art & Craft Trend Fair" in COEX, Seoul.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.159-171
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• 2004

The purpose of this study was to compare the characteristic of Chanel style between modern and postmodern period. The documentary research method was used for this study. The modem period was limited from around 1920 through 1939 and the postmodern period from 1990 through present for this research. The results were summarized as follows: The characteristics of clothing style in modem period were 1) the preference of slim & straight body figure as ideal one and slim & straight clothing silhouette, 2) the high fashion image for the elite by simple & basic design, 3) the emphasis on the harmony by the unity, 4) the tendency of eliminating ornaments on clothing, 5) the discontinuation of traditional way of dress code & style, and 6) the modern style. The characteristics of clothing style in postmodern period were 1) the emphasis on erotic aspects of female body and sexy design, 2) the popularization of high fashion and certain social group's fashion, 3) the tendency of harmony by mix-match, 4) the preference of ornaments in clothing, 5) the preference of retro-fashion, and 6) the continuation of modem style.

• Journal of the Korea Furniture Society
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• v.26 no.4
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• pp.314-327
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• 2015

20th century, beginning of modern, the style of art and design, separated reasonable and sensitive code. Art form including cubism, constructivism, futurism and different form including fauvism, expressionism, surrealism and abstract expressionism coexist two code in early modern. But the style of design was separated each period with geometric and organic form, reasonable and sensitive code. Replacement timing on two design style was the transition period of the production-oriented step to the sale-oriented step in marketing. In early stage modern it was stable production-oriented step. Geometric style include G. Rietvevld (Red and Blue chair), M. Breuer (Wassily chair), Fanizon and Martinelli (I-Ching) was simple and functional, received the absolute support. An aggressive demand generation and sales promotion for the design change was needed so that excess supply in the market with a stable production. In sale-oriented step for sales promotion in mid modernism, it was accepted transitions to the sensual organic volume with elegant and sleek style include C. Eames (LCW chair), V. Panton (Panton chair) and C. Mollino (Arabesco Tea table).

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.117-133
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• 2016

Fashion reflects various cultures, including the spirit and the lifestyle of the period. South Korea has experienced rapid social changes, including the Korean War, industrial development, and the inflow of Western influence. Modern Korean fashion has developed along with these changes. Acceptance of suits and the reformism of the Hanbok are the two notable changes in Korean fashion. Gyungja Choi, and her fashion show, is known for combining modern fashion and traditional beauty by entwining traditional Korean fashion design elements into modern fashion. This research investigated Gyungja Choi as a fashion designer, a fashion education executive who cultivated fashion designers through the education business, and a fashion publisher who published the first professional costume magazine. This research classified the Korean-style design elements in Gyungja Choi's fashion show by analyzing the clothes exhibited in her fashion shows. In conclusion, Choi's design utilized Korean-style fashion design elements, such as line, colors, patterns, and materials. Which can be said to be the introduction period that expressed Korean style image in fashion considering the period.

• The Research Journal of the Costume Culture
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• v.10 no.2
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• pp.146-159
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• 2002

This study examines the textile pattern design of Italian fashion brands and their brand extensions by comparing their images. Five Italian fashion brands are chosen and the textile pattern design of their brand extensions, which were presented during the eight collection. Then their design style is compared with the design style of their main brands. The five main brands and their brand extensions are as fellows: Anna Molinari-Blumarine, Dolce & Gabbana-D&G, Girogio Armani-Emporio Armani, Gian Franco Ferre'-GFF, and Prada-MiuMiu. Their color, motive type, motive layout, motive expression, and pattern drawing technique are examined and compared. Results suggest that most brand extensions generally use color, motive type motive layout. and motive expression similar to their main brands. In particular, their pattern drawing technique is a painting style white their main brands use a graphic style. This result suggests that to create and develop new brand extensions, Italian fashion (main brand) firms in general employ color, motive type, motive layout, and motive expression technique similar to main brands, but different drawing technique to differentiate from their main brands. The results of this study suggest that textile pattern design plays an important role in developing new brand extensions and thus should be considered as a crucial part of the product.