• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.595-603
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• 2015

The influence of Japonism, which is the post-mid-$19^{th}$ century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early $20^{th}$ century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in $20^{th}$-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.705-714
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• 2010

This study has the purpose of classifying the types of decoration techniques applied to the Korean traditional costume of modern style which are shown in relevant monthly magazines and analyzing the characteristics of the techniques. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are classified into single and composite types according to decorative components. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, gold and silver foils and embroideries, embroideries and seonchigi or embroideries and stitches is usually used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. More notably, Korean traditional costumes for women shown in monthly magazines released during the period as mentioned above were investigated to find that a part of the women's clothes, that is, skirt was in most cases decorated with brilliant embroideries. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have brilliant patterns on the surface and are commercially available irrespective of season. Consequently, since 2010, flower motive patterns which are important in modern fashion trend will be used in embroideries, gold and silver foils. Additionally, embroideries such as seakdong, applique, drawing made with modern style will be the main stream of new HanBok style.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.111-126
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• 2011

Cultural collage phenomena came to the fore where various differing elements combined to make a reality in the post-modern culture. Collage, a technique with which to express a unique sense of texture has been used since a long time ago by fashion illustrators, finds itself expressed in much more diverse forms and characteristics, and its meanings changed, too. The purpose of this study is to analyze the formative characteristics of collage as expressed in fashion illustrations since 2000s and look into its aesthetic meanings, and in doing so, examine effects of changes along the times that have sought plural diversity on fashion illustrations. This study selected and examined from various collage techniques three collage expression techniques including papier colle, photo montage and assemblage frequently used as techniques of fashion illustrations. Papier colle technique expressed in fashion illustration simplify forms, thereby stressing linear elements, and express lines and planes At the same time, such works provide depth to planar spaces by overlapping objects and putting together differing elements, In fashion illustrations utilizing photo montage more than one images taken from photos are cut up and reconstructed, where illusory and sometimes shocking images are conveyed through particular forms or unrealistic compositions created by casual combination of unrelated images. Unique and eccentric images are conveyed by means of assemblage through the combination of various kinds of heterogeneous materials in fashion illustrations. This not only conveys fashion images sensitively but presents each fragment as objets regardless of its original functions, and attempts at new concepts.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.53-64
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• 2014

The main objective of this research was to understand the characteristics of printed geometric patterns through the statistical & qualitative analysis of fashion appeared in contemporary female collections 2011 S/S to 2013 A/W. Data collection of 294 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency was conducted. Also qualitative interpretation of natural print design' characteristics were completed. The main findings were as followed; 1,636 of the total 15,852 designs were printed patterns in 12 Collections and the occurrence rate of printed geometric patterns in three collections were 8.6% in Milan, 9.2% in Paris and 12.9% in N.Y. Most geometric patterns were the types of compact or medium density in a front patterns with a variety of sizes and mainly applied to the one piece dress or two piece clothing item combination styles. Formative Characteristics of printed geometric patterns were classified into four types. First, a variety of thicknesses and shapes, such as a line or a rectangle shape to take advantage of the types of the typical geometric pattern. Second types were using the motifs which inspired by geometric shapes such as point, circle star and other special geometric shapes and arranging them regularly with various sizes and density. The third was repeated particular motifs which based on complex and sophisticated mathematical formulas. Fourth were the specific diagram types of bold and free shapes or dividing the flat and arranging them without rules, or the combination type of various geometric motifs.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.965-981
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• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.

• Journal of the Korean housing association
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• v.15 no.5
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• pp.21-32
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• 2004

The purpose of this study is to interpret Gaudi's philosophy of architecture through an analysis of the design characteristics in his remodeling of Casa Battlo. A review of the literature related to Casa Battlo as well as a field study in Barcelona to see the building were made for this study. The conclusions were as follows; Casa Battle is one of the best examples of Gaudi's attempts at creating a surreal atmosphere and should be evaluated in light of the following considerations: 1) Casa Battle as a remodeled house presented its own restrictions to Gaudi that he overcame by introducing characteristic design elements into the remodeling process; 2) the achievement, a perfect sculpture expressing continuity through a gorgeous colour scheme using different materials and design motifs with a dynamic spiral shape, originated from Gaudi's observations of nature and his experiences working in modeling studios; 3) a visualized embodiment of Gaudi's naturalism and functionalism through the impression of perpetual movement and continuity as formative symbols of genesis, life, death, and transmigration of the soul, originated from Gaudi's personal experiences of the early deaths of several close family members; 4) the design is meant to show the same processes of creation used by nature rather than a mere imitation of nature. Gaudi was not only a person dedicated obsessively to his profession as an architect, but also a rationalist fundamentally in the way he operated. It was expected that this study could be employed as a small stimulus to challenge the paradigm of housing remodeling projects -a hot issue in today's Korea- especially in their philosophical aspect.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.200-217
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• 2012

The purpose of this research is to examine the specificity of grids to define the characteristics of clothes styles in the Joseon Dynasty period. The significance of examining of the specificity of grids is to find out arbitrary types of the features of grids involved in structuring the Jeogori in the Joseon Dynasty period one by one. The Visual Linguistic Theory was introduced as a methodological tool to exquisitely analyze the characteristics of grids in deep structures of Jeogori in the Joseon Dynasty period. This theory strives to examine sample distribution, the distribution of samples by quality and the distribution of the types of ploidy features. Through the examination, the results are as follows. The grid systems of the Jeogori consisted of diverse proportion systems reaching 86 cases, that is, sequence systems composed of multi-functional, multi-combined bodies. Most ornamental grids had feature angles distributed in a range of $2-20^{\circ}$ that showed a common preference for low sloped diagonal lines or small curvature. Although the preference for certain feature angles were prominent, the feature angles that were used were generally distributed evenly among diverse feature angles to show the characteristics of separation. Therefore, Jeogori makers in the Joseon Dynasty period can be considered as having experimented with many proportion systems to show their aesthetics. In conclusion, based on the results of the examination of feature distributions and related methods to allocate ploidy features, O-type accounted for 66% and thus it was identified that the Jeogori was characterized by O-type. Therefore, it was identified that the characteristic of the Jeogori in the Joseon Dynasty period consisted of O-type fractal structures which are formative structures unique to our nation.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.3
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• pp.371-385
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• 2013

This study considers types of expression and examines aesthetic characteristics through analyzing designs (such as the Coca-Cola contour bottle as fashion) which has actively progressed in the collaboration of fashion designers and fashion brands. The conclusions of this study are as follows. The types of fashion expression on the Coca-Cola contour bottle are a presentation of diverse fashion images through a digital print expression that allow people-friendly images to be three-dimensional (or by adding a formative element) and the use of accessories or clothes. The symbolism characteristic were first indicated for the aesthetic characteristics on the Coca-Cola contour bottle. Symbolism is indicated through the identification of an implicit meaning towards a specific object. The symbolism of fashion was highlighted by designing the Coca-Cola's contour bottle with a typical material and pattern pursued by fashion designers and fashion brands. Second, the characteristic of playfulness was presented to expresses the instinctive desire in human nature for pleasure. The expression of visual playfulness is emphasized through the combination of item and image or by changing and re-analyzing a form through refuting stereotypes. Third, the characteristic of femininity was shown to express beauty in external image or a woman's delicate and soft inner propensity. Femininity was created by presenting a sensual femininity that recognized the voluminous curve silhouette of the Coca-Cola bottle such as a sexy female body or through the combination of a women's inner beauty with the sensory image of the object.

• Archives of design research
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• v.14 no.1
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• pp.119-134
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• 2001

It can be said that Italian designs are unrestrained, aesthetic and art for arts sake, and they come to stylize their character based on geographical features, racial traits and culture. The Italian architects work for the reconstruction of their devastated country and spare no pains to produce competitive goods on international markets since the second wend war. In spite of a inherent scarcity of resources, Italian furniture is the product of mixture of aesthetic material and new material with creative gifts. A lot of companies succeed in finding and training capable designers and devote themselves to modem furniture industry. As a result, Italy becomes one of the worlds most eminent furniture industrial countries now. And the fame is owed to Italy's national awareness of the importance of the matter and endeavor without sparing systematic support. This research is to find out which factors have an influence on the progress of furniture design in Italy and to analyze how these factors build up formative arts combining with historical background in Italy. Moreover, this research suggests how to make contributions to the cause of furniture design growth when considering our geographical features, racial characteristics, culture and industrial circumstances, by analyzing the process of development and strategy in Italian design industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1255-1263
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• 2008

Study on Hwal-ot, woman's wedding robe of the Joseon Dynasty, has been limited to the Princess Bock-on's Hwal-ot and some folk remains. In this study, I tried to identify formative characteristics of Hwal-ot by studying embroidery design patterns in the royal Hwal-ot. On Mar 26, 2007, I inspected total of 15 pieces of embroidery design patterns for Hwal-ot held at the National Palace Museum of Korea. I classified them into three types of Hwal-ot by considering characteristics in embroidery design patterns as well as composition of embroidery design patterns held by the private. For the Hwal-ot embroidery design pattern type I, there is a calligraphy called "Embroidery Design Pattern of Red Long Robe for leo-dong Palace", which is presumed to be the embroidery design pattern of Princess Deok-on, the third daughter of King Sunjo and a little sister to Princess Bock-on. Its patterns are very similar to that of Princess Bock-on's, with similar flower patterns and treasure patterns, as well as overall stripy structure. The Hwal-ot embroidery design pattern type II maintains the same flower patterns and butterfly patterns as in the type I, but does not have the striped decorative. The Hwal-ot embroidery design pattern type III has illustrative design with waves and mountain at the background and a pair of water birds flying around lotus. In particular, the type III design has a nine phoenix pattern at the front part of the robe, illustrating nine baby phoenixes (four in the left, five in the right) under a mother phoenix, which is closer to characteristics found in the Hwal-ot embroidery design patterns at the end of the Joseon dynasty.