• 한국의류산업학회지
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• 제16권2호
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• pp.255-265
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• 2014

This study developed and proposed a pattern that can fit the body and compensate for the defects of the body type by applying shoulder princess line to the torso pattern and including formative characteristics of each object on the study of body shape's change in 40-59 year old middle aged women. The results of this study are as follows; First, according to the analysis of 'Size Korea 2010' such as average, standard deviation, minimum value, and maximum value of 48 items, women showed increase in most of the items except height as they became aged. Second, factor analysis was made to understand the shape component factors of middle aged women and to use them for the body type classification. Third, cluster analysis was made according to the shape of front and sides which should be considered in pattern production based on the factor analysis results, and the body type with the measurement values most similar to the average of direct measurement of 'Size Korea 2010' was set as standard. Fourth, in designing torso patterns through the $1^{st}$ and the $2^{nd}$ wearing experiments according to the body type, body shapes such as Chest Circumference, Waist Circumference, Hip Circumference, and Waist Back Length were considered in pattern design, goodness-of-fit was enhanced with difference in margin according to body type and different margins in front and back, and fitting satisfaction was improved by applying princess line.

• 복식문화연구
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• 제13권5호
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• 한국생활과학회지
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• 제18권4호
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• pp.891-902
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• 2009

The purpose of this study is to analyze sexual images in the 21th century men's fashion, including phenomenal formative changes and characteristics. Theoretical framework was developed based on literature reviews. Photo images were collected from collections presented in 2001 to 2008 on the internet sites. By focusing on sexual image. men's fashion design was analyzed. Since 21th century, men have expressed their own fashion sense and sexual image quite freely. Men's fashion has expanded its scope into region which are not exclusively of men's traditional fashion identity realm. The result of this study is as follows: First, Noble Dandyism is common among noble dandies whose desired image is luxurious, soft, and sophisticated. Second, Bisexual Caportism is another appealing 'Youth is beautiful' trend of our modern age. Beyond age and gender, modern people pay a special attention to the Caports look which aims to project an image of healthiness, dynamism, youth, and pure balanced beauty combined with fashion. Third, Macho Narcissism enjoys showing and exposing well-trained and beautiful bodies, compared to the old masculine image which was more known for expressing an authoritative and dominant strength. Fourth, Homme Fatale Vampicism seeks to accentuate deconstructed femininity and bare legs, matted make-up, long and curly hair, especially aims to emphasize sexual charms, which naturally makes its image more fascinating.

• 복식
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• 제52권3호
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• pp.149-160
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• 2002

Symbolism found in a certain object inherits characteristics from the culture that contains the objects. The purpose of this study was investigate the formative beauty of Korean trousers twisted the pieces together based on the way of Korean thinks and the Topology. The shape is formed by cutting from the fabric. From the perspective of semiology, the fabric and the pattern shape correspond to ground and figure. Ground and figure are identical with the principle of the whole and the part, which is the same in Korea, China, and the West. But In Korea, the 3-dimensional garment is made by adding a twist. This is very important and defines the difference in the way of thinking and topology. Korean trousers consist of three parts : Hury, Marupok, and Sapok. The small Sapok can be made by removing the Marupok and large Sapok (figure) from the fabric (ground) when making Korean trousers. A Mobius strip is made when the large Sapok is adjoined with the small Sapok by reversing the small Sapok, making a 180$^{\circ}$twist and then stitching together. The theory of Mobius strip can be applied in Joining Bajiburi. thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strop. The theory of Mobius strip can be applied in Joining Bajiburi, thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strip. Hury is cylinder while the small and large Sapok make up the Mobius strip. As a result, Mobius strip, Kleins'bottle, protective plan can be applied in cutting Hanbok used in the countryside, so I have come to see that the traditional Korean way of thinking is closely related to the theory of topological.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 복식
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• 제59권7호
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• pp.65-76
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• 2009

Korea has established a code for the economic and cultural industry that covers a wide range of classes unlike the old information era which was limited to the simple knowledge, technology, tools, morals, and customers that had been established in our society. On the other hand, 'culture marketing' is a series of marketing activities in which value-added items are created and shared. The combination of business management and culture seemed pretty awkward considering how rapidly the world was changing, however, the nature of today's culture has changed and the economic nature of culture products has resulted from those changes. In this paper, two authors who expressed the cultural identity in the culture products are studied through a comparison analysis; the author Min Yeongsoon expressed the identity confusion that she experienced in a foreign country and how she overcame homesickness in her work; and the author Kim Ata expressed his confidence in Asia and used his clear and loud voice to express the culture in his work. In addition, today's culture products are affected by the surrounding cultures such as the member's traditional society, environmental culture, and individual's culture. It is a good source for good works of art. In this study, the efforts of seeking the cultural identity, structuring the concept, seeking a new market and possibilities are used to make a consistent process in order to make a series of the systems required for planning and developing culture products.

• 복식
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• 제58권6호
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• pp.1-11
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• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• 한국조경학회지
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• 제35권4호
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• pp.48-56
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• 2007

This study was to understand the component that affects the formative beauty and to present the direction of bridge design for improving the image of urban landscape to survey the visual effect and landscape Preference by the change of bridge type. The results of this study are as follows. In the results of image analysis by bridge types, the images of one-arch bridges are unique and interesting, whereas more than two successive arched bridge were harmonize, stable, consecutive and regular. In the case of the arch rib, braced-rib arch bridge was assessed that complicated, diverse and interesting more than solid-rib arch bridge. The results of factor analysis on the psychological factor were classified into three categories: orderliness, aesthetic and symbolism. In the results of analysis on psychological factors by bridge types, the orderliness and symbolism were different in the position of path, and the number of arches, too. In case of arch rib, symbolism was different. In the preference analysis, they showed a sensitive reaction in the background of building. In the results of the relativity preference and psychological factor, according to aesthetic, symbolism and orderliness, there was an effect on the background of building. And, there showed the high effect in order of aesthetic, orderliness and symbolism in the background of mountain and building. This study should be objective raw data of the arch bridge design for improving the urban landscape. In the future, aesthetic variables like colors or textures should be considered for more exact evaluation.

• 스마트미디어저널
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• 제5권4호
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• pp.103-110
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• 2016

본 연구는 유사 목적을 가진 제품들을 형태적 특성에 따라 분류하고, 기능적 유사성을 기반으로 범주화하여 전형성 추출함으로써 기구디자인 개발 시, 개발방향의 기준 마련에 목적을 둔다. 전형성 추출을 위한 본 연구의 표본영역은 선험 사례연구와 전문가자문을 통해 팬던트형과 천정부착형으로 제한을 두고, 한국과 일본에 출시된 2015년 12월 이전 출시 제품을 표본으로 국내 주요 6개 도시 관련업무 종사자 및 전공자를 대상으로 조사를 실시하였다. 조사는 형태적 분류를 위한 1차 조사와 전형성 추출에 관한 2차 조사, 형태적 디자인속성 분류에 관한 3차 조사로 이루어졌으며, 기능 및 형태적 분류와 조형원리를 기준으로 디자인 속성을 도출하고 개별 요소를 추출함으로써 디자인 가중치 측정에 대한 향후 연구의 기반을 마련하고자 하였다. 연구결과의 산업적 적용으로 광원 대체로 인한 조명기구 시장변화에 디자인기술의 효율적 역할 정립과 기업의 연구개발 및 조명기구관련 제품디자인 타입 변화 가속화에 신속한 대응방향 제시 효과를 기대할 수 있다.

• 패션비즈니스
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• 제14권4호
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• pp.74-90
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• 2010

The history of contemporary art in the 20th century can be said the history of changes. Today the variety of objects destroy the boundaries of each genre. This study aims to understand the relationship between fashion and art that becomes closer by examining contemporary art in the Gwangju Biennale 2008 to enlarge the range of understanding of mutual communication between contemporary art and fabrics which are the object of fashion. The research method was to investigate the characteristics and expression methods of object fabrics shown in contemporary art through the review of papers published at home and abroad, related literatures, and Internet materials. Also, the meaning, technique, and methods of fabrics were analyzed from works introduced in the Gwangju Biennale 2008. In order to achieve this purpose, fabric was examined as the object of work in Gwangju Biennale 2008. As a result, it is found that fabric plays an important role in changing environment newly with more dynamic, abundant, and comfortable and softer feeling than any other artistic materials and enlarging the boundaries of artistic materials by exploring formative possibility. Furthermore, its multi-dimensional expression characteristic presents unbounded possibility. Fabric which has long formed close relationship with human life has taken its place as one genre now. It departs from the past principles of fabric handicraft and the restriction of a classical norm and becomes characteristic of very wide-ranging selection of materials and free expression. Its soft and warm texture provides emotional stability for a human. Although the peculiarity of fabric as an active concept to human environment and new materials and technique based on the aesthetic consciousness of a human rely on the high development of industry, it is significant that artists' liberation from their concept and material sense is accompanied by the expression of freedom.