• Journal of the Korea Furniture Society
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• v.18 no.3
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• pp.224-233
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• 2007

What is culture-products? Culture-products contains identity of nation and region. French critic Guy Sorman says "It is natural that buying culture-products when you travel any countries" Culture-products which contains our own cultural factors will give positive image of country. The research and development of grafting grudge experience culture-products was advanced the characteristic of area-culture that necessary is prerequisite. We need to develop culture-products which mixed regional culture and characteristic. We would like to research about Baekje culture and culture-products and sales products in museum. Museum is one of the tourist's attractions and great place to express regional factors. The culture-products are specially limited in the products which reflects a Baekje culture with Muryeong's tomb in Gong-ju and Baekje incense burner in Bu-Yeo it advanced. We hope that this research could help to understand market of culture-products and development.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.849-865
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• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

• Proceedings of the Costume Culture Conference
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• 2001.10a
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• pp.68-69
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• 2001

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.17-25
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• 2009

The purpose of this study is to help understanding of abstract patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The summary of this study's results is like followings. Formative characteristics of abstract pattern in 2000's fashion are Impromptu, Anti-mechanism, Superimposing, Disorder. First, Impromptu is rebounce against uniformity, mechanism, man-created beauty Second, Anti-mechanism represents unfinishing, unbalance, inaccuracy and relates with each traditional of nation or ethnic group. Third, Presupposing transparency Superimposing offsets each patterns. So Their images are ambiguity, ununiformity, unequality, incompletion, uncertainty and so on. Fourth, Disorder breaks and ignores physical balance, rule, order and so on. These images represent uncertainty, freedom, naturality. From this result, I can interpret that these images are representing of humanism reacting about uniformity, mechanism, man-created beauty, completeness of modernism since the Industrial Revolution.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.5 s.164
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• pp.777-787
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• 2007

The purpose of this study is to consider various characteristics in the graffiti-look in the modem fashion by interpreting meanings and properties of graffiti, transferred from street art to a new main stream in art. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The first characteristic is satire. The graffiti-look conveys directly or indirectly with phrase or symbol various messages of politics, social ideology, wealth and poverty, environmental pollution, anti-war, etc. Body is even more used for graffitiand designers express freely their identity or ideology through the formative style of graffiti. The second characteristic is pleasure. Fantastic expressions from a fairy-tale or fable in the graffiti-look give humor meaning freedom and sense of liberation in a sense of catharsis to the modem people's emotion. The graffiti-look uses graffiti works to introduce its original message of humanism, happiness, humor, etc. to clothing; as a result, the graffiti-look features pleasure. The third characteristic iscommercial application. Brand logo designed by graffiti style is decorated with clothing, accessory, or ornament. This may not only emphasize brand name through lingual function of graffiti, but also be used for a distinctive marketing strategy against other brands. Logo which is regarded motive or pattern of design leaves a image instead of a meaning and performs a design function stressing formative sense.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.883-895
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• 2005

Exaggeration is to express an object or a situation in an excessive way. As the desire for aesthetic expression grows greater today, we tended to focus on the exaggerative expression as a means to acquire other's attention and praise. Also people more actively express their own intention or opinion in an exaggerated manner. The purpose of this study is to identify the social and cultural functions of modern fashion via exaggerative expression, one of the formative characteristics, and its meaning. To do so, the exaggerative features of modern fashion have been analyzed, and the social and cultural meaning of those have been examined through the background of the times and aesthetic sense. The formative form in the exaggerative expression shown in the modern fashion was classified into a body priority type emphasizing woman's body contour, a body disregarded type shown oversized silhouette regardless of body contour and a body distorted type expressing free and diverse form in various shapes of asymmetry and imbalance. The symbolic meanings of those include the changing of the body consciousness and the notions of feminity, and the desire fur formative and playable expression. The exaggeration of the costume in history meant aesthetic value of the woman's body in the society led by men. However, the exaggerative expression shown in the modern fashion is a method to express more actively, as compared with the costume in the past.

• Journal of Korean Society of Rural Planning
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• v.15 no.4
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• pp.33-42
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• 2009

This study is aimed at the necessity application in 'Prototype' general concept on discovering cultural identity landscape of our national characteristics landscape research. Accordingly, It is considered landscape, fundamental concept, the prototypal landscape concept from previously researches that have been used. At the same time, the concept of prototypal landscape has been established by commenting a point of view which is defining previous researches that controverted prototypal landscape, then establish concept of prototypal landscape and derive attribute by comparing and considering similar terminology of prototypal landscape. Previously, research prototypal landscape in depth by applying defined concept of prototypal landscape and considering inherence ideological and environmental background prototypal figure and structure. Formation pattern of the prototypal landscape is classified in both philosophical formative primary factor from philosophy, religion and environmental formative factor of human that accumulated cultural life from a region and life. Examples of forming the prototypal landscape by philosophical formative factor are classified as 'Feng-Shui(the theory of divination based on topography)', 'Yin-Yang theory', 'Confucian idea theory' 'Philosophical Taoism', 'Buddhism theory' and 'Nature theory' then environmental formative factor are interpreted by 'Taekliji(determining of advantageous land)', 'Imwon(forest) economical geography', 'land use', 'topography' and 'terrain' as examples. This study is anticipating a new point of view and an establishment of reliable preservation to our characteristic of the prototypal landscape by considering concept of prototypal landscape and formative factor as studying limits of prototypal landscape and researching concentrated origination of the prototype.

• Proceedings of the Korea Society of Design Studies Conference
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• 1999.05a
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• pp.84-85
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• 1999

실내디자인에서 우리의 것을 다시 찾으려는 노력은 최근 20년간 점점 늘어나 여러 방향에서 다양하게 이루어져 왔다. 그러나, 그러한 노력들에도 불구하고 여전히 현실적으로는 전통성을 찾자는 주장 하에 형태만의 고증이나 답습에 한정되거나, 일관성 없이 디자인되어 온 것이 사실이다. (중략)

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.