• 한국의상디자인학회지
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• 제13권2호
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• pp.27-34
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• 2011

Creative application of exaggerated measurements and origami principles can make clothing design unique and formative clothing design possible. There have been many techniques applied to formative clothing design, but, in particular, origami principles, in company with exaggerated measurements, play a significant role in enlightening clothing uniqueness and formativeness in contemporary fashion design. The primary purpose of this study was to make a new suggestion for the production of high value-added fashion by reviewing and synthesizing exaggerated measurements and origami principles. Diverse relevant designs were retrieved through a comprehensive literature review on topic-related theses, books, and fashion media from 2000 and significant cases were retrieved from Rick Owens, Damir Doma & Haider Ackermann out of 2008 & 2009 F/W collections. From a comprehensive review, the following formative characteristics of exaggerated measurements and origami principles applied to clothing design were identified: (1) expandability, (2) fluidity, (3) deconstruction, and (4) irregularity. In addition, the following value of exaggerated measurements and origami principles applied to clothing design were identified: (1) alterability, (2) form potentiality, and (3) contradistinctive formativeness.

• 가족자원경영과 정책
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• 제17권3호
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• pp.81-103
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• 2013

Under the influence of globalization, South Korea has seen a sharp rise in interracial families. South Korean society faces various difficulties since it has not prepared for the stable settlement of families. Therefore, it is necessary to initiate marital education for the settlement of multi-cultural families in a healthy and democratic way. This researcher has developed a marital education program for multi-cultural families. To reflect the special characteristics, this work required the investigation of multi-cultural families in Gyeongsangbuk-do. The purpose of this work is to improve conjugal relations among multi-cultural families in a formative period of family relations to help those families to settle down early. The program consisted of four steps and 12 sessions. It featured an increase in application flexibility to an actual site by session, and includes a worksheet applicable to an actual site to understand the absence of communication and cultural differences in multi-cultural families during a formative period of family relations. In so doing, it was designed to easily perform nonverbal education. This work is expected to contribute to an improvement in conjugal relations of multi-cultural families in a formative period of family relations and help those families to settle down in a stable way.

• 한국실내디자인학회논문집
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• 제18권6호
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• pp.52-59
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• 2009

In the study will look into how Baroque concepts are expressed in architectural space by analyzing the concepts of Baroque formative vocabularies applied in his architecture through a Spanish architect Paolo Portoghesi. Baroque is regarded as the philosophical thought that means enlargement toward diversity of a firm and fixed trend beyond the concept of a certain epochal form of 16th and 17th century architecture. In addition, it is from the free attitude and the intelligent and formal stereotype, and signifies common conditions more than one style in architecture history. Paolo Portoghesi proposes to express gestalt approach by Baroque precedent in his architecture through plasticity and geometric collision technique. Here, the expression of plasticity means the effect that gives formative rhythm to Baroque curved structures. That is the method to expand the formative possibility by changing various materials such as bricks, concrete, and timbers. Second, the geometric collision technique is the technique to constitute the flat form of overall space through the juxtaposition technique, Baroque symmetrical and homogeneous geometric manipulation technique. Accordingly, this study will overcome Inlimitation of formative monotony and expression of abstraction that modernism architecture has, and examine formative waste and conflicts which may be derived from impractical architectural languages of the concept of excessive disorder or the minimum form. This discussion is considered as the first step to tune balance between productivity and formativeness in modern architecture.

• 한국의류산업학회지
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• 제9권6호
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• pp.581-588
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• 2007

The purposes of this study are to look into the formative characteristics of the miniskirt and to evaluate the visual effects and images according to changes in the silhouette and length of the miniskirt from analyzing the mini skirt style shown in 2007 S/S domestic fashion. The miniskirt style shown in 2007 S/S domestic fashion was analyzed with pictures from a fashion website "Interfashion Planning" from Feb. to May of 2007. As a result, the basic lines of the miniskirt are classified into two types according to the side line. The lengths of miniskirts are classified into five steps of 25 cm, 27.5 cm, 30 cm, 32.5 cm, and 35 cm from the natural waistline. The stimuli were produced with imaginative sewing system 3D CAD of i-design series. For the visual evaluation according to changes in the silhouettes and length of the miniskirt, we used 13 pairs of items to find the visual effects, and 23 pairs of adjectives to measure the visual images. The stimuli and adjectives were randomly given to the evaluators and were evaluated by the 7-point likert type scale. Data we got from this experiment was analyzed statistically by using the SPSS 12.0 and practiced the Factor Analysis and Correlation Analysis. Formative characteristics of miniskirts can be found in the lines, colors, and materials that are the elements of fashion designs, colors and materials are the characteristics of the cloth that is the medium of the expression of designs. The result of factor analysis of visual effects and visual images according to changes in the silhouettes and lengths of miniskirts, the visual effect was composed of the three factors of the length of the lower body, the thickness of the lower body, and the shape abdomen and it was showed that these three factors occupied 63.6% of the total variance. The visual image was composed of four factors of elegance, personality, attraction, maturity and these four factors got 67.6% of the total variance.

• 복식
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• 제60권6호
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• pp.1-10
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• 2010

The cultures and traditions of Asia has the roots so deep and it is the origin of inspiration. Therefore, it is easy to find a different inspiration when designing, expecially for Western designers who are seeking European tradition and its comparison. The most distinctive feature of the Asian look is non-structural and has no clear form close to the structure of the body or mathematical ratio, but is steric with 2-Dimensional planed textiles, and has a flexible, non-structural formative characteristic related to the movable body. This is base on the vision of the universe that regards the parts as the whole. From this research, generally studying about the Asian look and its non-structural formative characteristics. The study looked closely into the aesthetic value of non-structural formative characteristics formation, with basis on the large dress regulation system of the western reasoning and rationalism and mechanism. At first, my study pointed on the dressing functionalism or Neo-classism considering emotions, Anti-Western aspect observing surrealism dressing and expressionism dressing. Second, with men and women showing similar outer shape without the equivalent element such from wearing a corset, the sexism is abolished. Finally, the designers’ inner intention of art is being delivered, from the aspect that the expression of art, size and no waste of fabric shows effort of communicating with the world, giving value to the possibility of continuance.

• 한국의류산업학회지
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• 제8권2호
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• pp.225-232
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• 2006

This study purposed to review the concept and characteristics of subculture theoretically and then to analyze subcultural hairstyles shown in the 20th century's fashion in terms of form, structure, texture, design line and design principle, which were formative factors of beauty art. The range of this study was from the 1950's to the 1990's, during which subcultural hairstyles, which were selected for this study, kept a unique formality as subcultural characteristics of each time were reflected in hairstyles. The hairstyles found in subcultural styles were reviewed as follows. From the formative analysis as the above, it was concluded that layer form was seen most frequently in the subcultural hairstyles. This may be because it has a lot of layers in hair, and enables to make more various forms with a simpler care than other hairstyles so that it is easy to show one's own characteristic or differentiate oneself from others. Thanks to the characteristics of layer form, horizontal and convex were often seen as design lines. As for a texture, straight often appeared. The texture of straight is naturally formed without any care applied on hair. The reason may be that most subcultures refused artificiality. Therefore, the characteristics of subcultural hairstyles may be that hairstyles are transformed into various forms and created into the styles appropriately for individual tastes so as to clearly express one's own idea and thought.

• 복식문화연구
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• 제20권1호
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• pp.72-82
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• 2012

The purpose of this research to look into formative characteristics of eco T-shirt design. Previous study researchers have mostly focused on overall eco fashion design, but on the other hand the research on eco product entity leaves much to be desired. We analyzed formative characteristics of eco T-shirt design that is easily accessible in real life and is easy to passing message. We selected 23 eco brands through internet and analyzed total 500 photos of eco T-shirt. Each photo was categorized by sex and the nations which belong to the eco fashion world associations. The content and statistical analysis was used for data analysis. The content of the research is as the following. First, it was found out that basic straight silhouette, achromatic color, human pattern, plant pattern, and eco-friendly organic material were used for the design of eco T-shirt. Second, it showed difference of silhouette, color, pattern according to nations. Third, it showed difference of silhouette, color, pattern according to sex. Fourth, symbolism of eco T-shirt was nature love, nature support, society ethicality, anti-sociality, and economics. This research aims for providing practical help and assistance to the development of eco T-shirt and its relevant industries.

• 한국의상디자인학회지
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• 제24권1호
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• pp.59-69
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• 2022

Vyshyvanka, the embroidered folk costume shirt of Ukraine, originated during the early reign of the Slavs, and currently, it is also called Ukrainian embroidery. In cases of Vyshyvanka embroidery expressed in apparel elements, it is necessary to research formative characteristics for expanding the visual aspect through the diversification of techniques, but also the aspect of the psychological meaning to Ukrainians. This study aims to consider Vyshyvanka as a unique embroidery technique, and also analyze the formative characteristics expressed in apparel elements. The study of Vyshyvanka embroidery expressed in apparel elements can present meaning to understanding the Ukrainian fashion. The image materials for the analysis of Vyshyvanka design, included work photos contained in literary materials and foreign online visual materials. The results of formatively analyzing the Vyshyvanka embroidery expressed in apparel are as follows. First, the Vyshyvanka embroidery expressed in apparel elements held an incantatory meaning, protecting wearers from getting easily invaded by evil spirits. Second, the Vyshyvanka patterns utilized symbolism that implied the incantatory meaning. Third, a single color was used for the embroidery. Lastly, materials like cotton, that are easy to embroider, were mostly used. The formative characteristics of Vyshyvanka embroidery expressed in apparel elements implied the community spirit, nature worship, and folk beliefs. As an attempt to understand the Ukrainian fashion, this study is significant in the aspect of expanding, widely utilizing, and expanding the range of understanding of Ukrainian fashion. Therefore, there should be more active researches on Ukrainian fashion, so Vyshyvanka can be more widely used as a design element.

• 디지털융복합연구
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• 제10권7호
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• pp.237-243
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• 2012

인류는 끊임없이 도구를 만들어 사용하였다. 이것은 인류의 역사가 창조적으로 유지되고 발달되어 왔다는 것을 말한다. 인간은 보다 더 나은 삶을 영위하기 위하여 문명적 발전과 더불어 미적 욕구의 충족을 위한 조형성 추구 등 문화적 개발에도 끊임없이 노력해 왔다. 규방용품은 지극히 여성적이고 한국적인 정서를 담고 있으며 한 문화, 예술의 한 장르로서도 평가 되고 있다. 규방공예는 당시의 사회적, 문화적, 종교적 배경을 바탕으로 독자적이고 독특한 조형미를 형성되어 있으며, 여인들의 벗이라고 할 수 있는 침선구는 연인들의 희 노 애 락 속에서 삶의 모습과 정신세계가 문화적 깊이를 갖는 예술적 정서를 나타내고 있다. 여인들의 시대적 삶의 바탕으로 동고동락했던 침선구의 조형적 이미지, 융합적 결합 및 조화를 통한 장신구로 연관하여 재현시킴으로써 보다 구체적이고 현대적인 감각을 표현할 수 있으리라 의도하여 출발 그 가능성을 다각적으로 모색코자 하였다. 이와 같이 여인의 체취와 정신적 염원이 담긴 규방용품 중 침선구 중심으로 그 특성과 조형성, 융합적 조화, 단아함, 섬세함, 미적 아름다움을 재발견하고 전통 문화 예술의 우수성과 미적 가치를 장신구로 재인식 할 수 있는 계기가 되길 기대한다.

• 복식
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• 제63권4호
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.