• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.1
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• pp.103-122
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• 2007

Fashion have been expressed by a face through various a period, social change, and various culture changing. Human expresses as "Transformation" by applying these needs of changing to the fashion. A origin tribe expressed its own self by using direct body transformation and extreme decorations in the past. However, human express creative and esthetic desire based on shape, material, and transformation method in the present time characteristics of the body. Exceptional transformation breaking a existing fixed idea appeared frequently due to dissolution through transformation which is positive expression method in the fashion from 20th century. As a results, followings are obtained in this study. First, human body transforms by using a tool or intermediation in investigation of aesthetic meaning for human body. The object, Transformation, is stably transformed by disintegration, distortion, exaggeration and simplification reduction, as design's sensitivity. Second, transformation from relation of clothing composition is expressed by extension, reduction, simplification, and dissolution. In transformation from original tribe's sensitivity, past decorative desire lead to transformation of human body. To give variable change from past to present fashion, external formative will is introduced. Then, extreme expression is made by direct transformation of clothing type. It seems to be accomplished that human body's expression method is continuously changed into extension, exaggeration, reduction, and dissolution from transformation method as described before. Transformation of modem fashion is expression method by creative supervision. Extreme transformation substituted body's each part is based on immanent play and representative satisfaction. Through these transformation, it is judged that variety of creative type is achieved.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.143-158
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• 2007

This study considers enlargement phenomenon in hair style as one of Costume types and analyzes its artistic characteristics based on the comparison between Hair style in the late Chosun Dynasty and that of the Rococo. First, its formative property, one of the common aesthetic characteristics, breaks the concept of traditional balance in Clothing and emphasizes its transformation, changes, and space beauty. This formative property shows the Enlargement and exaggeration beyond the concept of Space. Its sensuous property reflects women's psychological minds; exaggeration and sensualism. Artistic property doesn't focus on hair style only or clothing style only and considers hair style as renter of beauty as well as its important element. It shows the traditional beauty of nature and creativity in the Chosun Dynasty. Second, its formative property, one of the differential aesthetic characteristics, shows these following differences considering the aesthetic characteristics in the late Chosun Dynasty and that of the Rococo; mutual transformation, independent transformation, focus on distortion, harmony in scale, disharmony between irregularity and exception, extension and separation in space, etc. Sensuous property shows the temperate beauty and metaphorical sense, affected by the Practical Science, in the late Chosun Dynasty while it shows the secular sense and exaggerated beauty, affected by the Enlightenment, in the Rococo. Artistic property shows the harmony with the Clothing style, balanced wearing lines, and natural beauty, as one part of Clothing, in the late Chosun Dynasty. However it shows creativity, as separate part from Clothing, in the Rococo.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.4 s.44
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• pp.357-369
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• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.

• Journal of Fashion Business
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• v.21 no.5
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• pp.136-150
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• 2017

3D printing has grown tremendously as the most noteworthy new technology in the manufacturing industries. In addition, the rapid development of computer science technology with 3D printing has created a new paradigm called Fractal Geometry, or a new form of digital art. This study explores the formative characteristics of 3D printing jewelry based on presentation of fractal geometry by classification of 3D printing jewelry's morphological types that except for producible shape with traditional mold manufacturing methods. The results of the study are as follows. The morphological characteristics of 3D printed jewelry are divided into their constitutive shapes by the repetition of the unit. The organic shape determined by superposition or overlapping, the systematic shape by distortion caused by distortion, and the variation in scaling by scaling. The formative characteristics, which are drawn from a study on the shape expression of 3D printed jewelry design using fractal geometry, consist of continuity, geometrical characteristics, and exaggeration. Continuity creates a new and self-assigned new space through a recursive structure through a cyclic structure that is formed along a single directional basis. The geometry of the geometry forms a three-dimensional and constructive structure comprised of the same size and structure of the same sized unit under the mathematical order of the geometry of Fractal's geometry. Exaggeration demonstrates the informal beauty and the maximization of the shape by expanding the scaling or superposition of a unit, by scaling the scale or he distortion of the units.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.6
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• pp.994-1009
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• 2016

Applying the S-O-R Model within an online context, a hypothesized model incorporates three review characteristics (perceived concreteness, exaggeration, and sufficient quantity of reviews) for apparel products in order to present their impact on consumer perceptions of review usefulness and consumer attitude toward and patronage intent for the online stores hosting the reviews. An online survey of Korean women (N=299) reported their experiences in purchasing apparel products online and reading apparel reviews on a regular basis. Testing of the hypothesized model showed the usefulness of reviews were determined by two review characteristics (S: perceived concreteness and sufficient quantity of reviews); however, the negative effect of exaggerated reviews were insignificant. In addition, the perceived usefulness of reviews (O-cognitive) hosted by an online store influenced online store attitude (O-affective) which subsequently led to online store patronage intent (R). This study systemically advances online retail literature by showing how the characteristics of online reviews (as a part of the online store environment) can influence attitude toward online stores and patronage intent for online stores. Long term relationships with consumers can be achieved through the building of mechanisms to enhance the perceived usefulness of reviews by employing the strategies of hosting concrete reviews and offering a sufficient quantity of reviews. This study addresses removes research gaps by testing an adapted the S-O-R Model that frames review information as an element of an online store environment using a large sample.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.381-402
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• 2022

This study aimed to identify sub-dimensions of the authenticity and fictionality of a brand story and analyze the effects of authenticity and fictionality on customer-based brand equity. Data were obtained from a group of 213 males and females in their 20s and 30s living in Korea using an online survey institute. Results showed that the authenticity and fictionality of a brand story are composed of reality, excitement, exaggeration, fictional symbolism, influence, sincerity, relativeness, mysteriousness, and unreality. Of these, sincerity, excitement, reality, influence, and mysteriousness had significant effects on brand imagery; sincerity particularly exerted a relatively more substantial influence on brand imagery. Also, influence, mysteriousness, excitement, and relativeness impacted performance positively, and exaggeration impacted performance negatively. This indicated that a well-constructed brand story with authenticity and fictionality had a positive impact on the brand image. Excitement, mysteriousness, reality, relativeness, sincerity, and influence of a brand story had significant effects on brand judgement. In contrast, only excitement and influence positively impacted brand feelings, and unreality had a negative impact on feelings. The exciting and influential brand story impacted brand attitude. Also, brand image and attitude positively impacted sharing and purchase intention, while brand performance did not affect recommendation intention. These findings contribute to identifying a brand story's attributes, authenticity, and fictionality and provide insights for marketers on creating brand stories to increase brand image and attitude and to build customer-based brand equity.

• Journal of Fashion Business
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• v.25 no.5
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• pp.73-87
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• 2021

This study aimed to develop fashion designs by applying the PO (Provocative Operation) method as a 3D virtual clothing program and to derive the PO application method in fashion design. The first T-shirt design was presented as an existing thinking method, and the second design was developed by applying escape, reversal, exaggeration, distortion, and hopeful thinking techniques, which are techniques for 'provocation' of the PO method, to the first design. Thus, 18 T-shirt designs were developed as 3D virtual clothing, with 3 sets of 6 designs, including the 1st and 2nd designs. The method of using the 'provocation' techniques of the PO method in the development of fashion design derived from this was as follows. First, the 'escape' technique was designed in such a way that a part of the detail or structure was deleted, or a part of the structure or expression element of another item was applied. Second, the 'inversion' technique was expressed by inverting the position or shape of a detail or structure up, down, left, and right; fitting the structural detail or reversing the shape; or converting the structure and form. Third, the 'exaggeration' technique exaggerated the size, length, and volume of a structure's form or detail. Fourth, the 'distortion' technique was expressed as a distortion of lines or shapes or a visual distortion using the Trompe l'oeil technique. Fifth, the 'hopeful thinking' technique was developed and expressed from the idea of an hypothetical 'if' it was absurd, irrational, and unrealistic.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.91-106
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• 2023

This study examines how the concept of gender fluidity-viewing gender identity as a fluid and wide spectrum-is represented in modern knit fashion collections. The period spring/summer 2017-fall/winter 2021, when gender-related fashion keywords started attracting attention, was limited to the last five years, and the results of a case analysis focused on a total of 357 knit fashion photos are as follows. First, the androgynous compromise through the mixing of heterogeneous elements appears as a mix-and-match style due to the patchwork of heterogeneous materials and forms that borrow or share masculinity and femininity. Second, it was confirmed that the dismantling exaggeration caused by the destruction of the size and form of clothes was an avant-garde image that exaggerated the size or length of clothes or destroyed ideas and forms. Third, the exposed sensuality caused by the deformation of the fluid knitting technique was shown in the form of proudly expressing sexuality by exposing the body either using the cut-out technique or through the loose texture of the knit. Knit fashion can highlight decorative effects using handcrafted techniques and express a detailed or coarse sense of organization depending on the density. In addition, since it is possible to create a complex image by juxtaposing and mixing various knit structures, it was confirmed that it is a suitable material for expressing gender fluidity flowing between men and women in fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.4
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• pp.511-518
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• 2009

Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. Deformation of the body denotes the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. Bodily deformation carried out historical and cultural pastiche opposes the sartorial convention and symbolism which results in the discord between signifiant and $signifi{\acute{e}}$ of clothing. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily deformation as pastiche, focusing on the relationship between clothes and the body. In order to inquire the deformation of the body in fashion, my study examines subjects of the fashion collections of the turn of the 21st century, using the method of literature research and content analysis.