• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.79-86
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• 2015

This study started from the concern for Bjrake Ingels, an emerging architect in the architecture circle, who is creative and popular. Recently, the architecture field provides architects with a foundation to express a process on a new form creation through various new expressive languages, design concepts, and methods. The global Danish group BIG(Bjarke Ingels Group) develops a story by their distinctive architectural language. The storytelling is being used in various fields and now the tool called 'story' is settling down as an important element in the life that human lives. Bjarke Ingels leading the group BIG aims for the form expression by the scientific analysis and adaptation after being affected by Danish regional background and OMA. It creates a form to share stories with local members by visually simplifying the region, culture, environment, social phenomenon, economy, and politics that are invisible and do not have the form in the modern society. The elements and expressive features of the space storytelling include locality, cultural, natural environment, and connectivity which are the content structure(story) that enables you to intervene in the story according to the main agent to imagine a new space. The expressive element includes the watching moving line story of the successive, hierarchical, and organic structures which are constructive elements creating various spaces through the mixture, transmutability, and relocation of the program and inducing users to the space. The space storytelling is composed of the symbolism, community, and eco-friendliness to appear diversely through BIG's case analysis. This study will have significance that it drew a method and feature looked at by many contemporary architects from the storytelling viewpoint in the form-creating process, classified the form-creating process through a new storytelling type, and showed a possibility on the development of various methodologies.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.17-32
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• 2017

Modern society has been transformed into a digital emotional society that could gradually be seen, felt, and enjoyed by the diversification of personal consumption desires due to digital development. Accordingly, in fashion, an original fashion sense that arose out of classical and conventional thinking has become important and there is an increasing interest in patchwork quilts. The purpose of this study lies in contributing to the development and utilization of creative and emotional fashion design by expanding the mental changes that have emerged in modern society to creative areas after analyzing the classification and expression characteristics of the type cases of patchwork quilt techniques expressed in modern fashion. In addition, it is meaningful to examine how the expressive characteristics of patchwork quilts are expressed in the digital emotion era. This study paralleled literature research and empirical case studies. In the scope and method of research, the theatrical research was centered on literature data. For visual data, website photos were collected, limited to women's clothing among the collections from Fall & Winter 2014 to Spring & Summer 2017. After drawing the expression types of patchwork quilts extracted from the previous research based on the design formative factors, the fashion-related expert group analyzed the expressive characteristics of 501 photographs in which the patchwork quilt of the designer clothing collection were reflected. As a result of analysis, the expressive types appeared in the order of diversification of techniques and materials, extended dual images, new formative composition, and reconstruction of traditional patchwork. In this study, the expressive characteristics of patchwork quilts expressed in contemporary fashion are analyzed and drawn as variability, compromise, convergence, and playfulness. Through this, it is hoped that this study can be used variously in the development of fashion design by expanding the interpretation of costume culture.

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.5-30
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• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.

• Journal of Fashion Business
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• v.20 no.5
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• pp.87-101
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• 2016

In this study, a variety of influence in the field of design and analysis about the value of a Grunge Design and the creative design inspirations in the field of hair design to help the development of the quality of research. The research methods use the Internet publications such as local and foreign information, analysis and related research and book form, such as the network search, library goes for consideration by a literature search. The contents of this study used review of the case and by Grunge design, expressive characteristics by color, texture and form of Grunge hair design, from 2014 to 2016 trend collections in the last three years through the analysis of design by date of the case. The result of this study is, Grunge design appearing in the areas of hair design, that are grunge anti fashion like the beauty of the disorder, the disharmony, the incomplete, the kitsch, the poverty. Although Grunge means dirt, filth, rubbish as a slang but it is valuable which was raised from the anti fashion to high fashion and alternative of main stream fashion and the hair design in modern fashion also brought. In this study, we can understand the grunge hair design in modern fashion was started from lower place as alternative and forecast the potentialities, the formativeness of the grunge design and value of the beauty and grunge anti fashion the identity and the spirit appearing steadily a modern fashion influence are reflected in our next fashion and design characteristics.

• Journal of the Korean Home Economics Association
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• v.47 no.3
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• pp.1-9
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• 2009

This study was conducted to examine how patchwork was expressed in fashion based on theoretical background on its brief history and expression styles and to show its possibility of creating ways for new expression in modern fashion. This study reviewed literatures on definition, history and styles of patchwork and investigated mainly works, which had been presented in collections home and abroad since 2000, to analyze its expressive characteristics shown in modern fashion. According to analysis on the expression of patchwork, it used various painting techniques such as patterns, colors and surface effect. It included patchwork having patterns provoking elusion of fairy tails; containing painting expression of reproducing works of artists; using colors boldly and contrasting strong primary colors directly to establish purity of painting and to pursuit characteristic expression; and using expression techniques of pure art such as gradation and cutting. Second, it used a compromise expression in materials, methods and substances. Patchwork which had used cloth without a pattern or printed fabric, utilized various materials like vinyl, paper, leather, metal and plastic and had a figurative value showing a solid expression as an objet itself with new techniques and changes of connecting methods. Thirdly, it used tradition patchwork techniques. Pieced patchwork, crazy patchwork and images of traditional odd ends of cloth covering a meal were applied to a whole area or a part of cloth to avoid monotony of design and to use it as a decoration.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.61-77
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• 2013

The purpose of this study is to analyze the concept and characteristics of parody, and consider how parody was reflected in Thom Browne's collection centering on the expressive method. Thus, this study will attempt to shed new light on the creative possibility and artistic value of parody in men's fashion design. The methods are as follows. The ideas, characteristics and expressive methods that represent parody was considered by referencing various related books, papers, art critiques, etc. Based on this theoretical study, a case of Thom Browne's collection (Thom Browne menswear: 2004 S/S-2012 F/W) was observed to find types of parody, attributes and significance. Photo material was collected through websites such as www.thombrowne.com, www.style.com, etc. The type and characteristics of parody expressed in Thom Browne's collection was considered in the following aspects: imitative parody, critical parody and pastiche parody. Through such consideration, it was possible to realize the fashion designs that adapt Thom Browne's parody are very deliberate and calculative. The designs convey exaggeration, destruction of form, emphasis on discontinuity, transition into attraction, aesthetics of unfamiliarity, characteristic aspects of irrationality and contradiction. Through the study, it was possible to see Thom Browne's collection with parody adaptation shaping new creativity and broadening formative aspects in fashion design.

• Journal of Fashion Business
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• v.12 no.2
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• pp.42-58
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• 2008

The purpose of this study is to examine actual design cases of decorative detail in the Art Nouveau style from the end of 19th century to the beginning of 20th century, and create designs and fashion works to meet our contemporary fashion trends by means of over-decorative style, a characteristic of decorative detail. The characteristics of decorative detail in the Art Nouveau style can be outlined as follows: First, pleats appear with two major feels of solidity, undulated and curvilinear solidity based on gather(ruffle, frill/ flare and flounce) and regular and linear solidity based on linear pleats or tucks. Second, embroidery appears in various patterns developed with stitch of solid feel as well as a variety of coloration effects. Third, attachments are expressed by means of independent motif(applique, gloss effects(beads, sequins), affluent texture and mobility(fur, feather). Moreover, according to technical characteristics and expressive aspects of pleats, embroidery and attachments, it is found that decoration detail in the era of Art Nouveau is over-decoration style. Indeed, it appears in major expressive aspects such as rhythmical solid type, detailed prominence type, superficial touch type and profound volume type.

• Archives of design research
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• v.20
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• pp.25-36
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• 1997

Design style is studied to examine the design essence more clearly which is revealed as a formative substance. First of all, every effort can be made to understand the peculiar characteristic of design style by considering the linguistic source and meaning of design style. On the basis of this, picturesque style, mechanical style and expressive style are searched to establish the types of design style, inspect the every style's characteristic and focus on revealing the relations between the creation of design value and the style. Finally, changing factors of design style is researched to suggest the effect and direction of design development.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.138-154
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• 2014

The purpose of this study was to propose up-cycling fashion designs, based on guidelines derived from up-cycling fashion brand products and their required elements of the design. The study thus categorized required elements into environment, significance, economy, function, design, and material, then extracted a set of design guidelines. The guidelines for waste resource-based up-cycling fashion design include the followings: First, authenticity, taking mutual environmental relations into account. Second, rarity of products beyond the domain of standardized ready-made goods thanks to manual operation. Third, storytelling, reflecting the consumer history. Fourth, sustainability to signify the circulation of matters. Fifth, experimental characteristic to fulfill creative innovation. Sixth, changeability through interactions with wearers. The investigator decided design concepts based on them and created up-cycling design works with waste plastic bags, shirts, stockings, neckties, outdoor mats, and backpacks in a variety of formative expressive techniques.