• Journal of the Korean Society of Costume
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• v.29
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• pp.143-158
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• 1996

It was the year of 1903 when avantgarde artists in Vienna gave a birth to the Wiener Werkstaette under the influence of Aesthetic Movement and Guild of Handicraft from England. This study is on the backgrounds of the birth of the Wiener Werkstaette its artis-tic motto and world-wide echo it provoked. This thesis goes back to the time when the decadent Wiener Secession shaped up refiewing the Reform Movement It also covers characteristics works of major members of the Wiener Werkstaette which were produced on the basis of the concept of Gesmtkunstwerk, The conclusion of this study is that : 1. Without losing its own specifc features various fields of formative arts were combinded together coherently and succeeded to realize the idealistic art that is the com-posite are 2. The Wiener Werkstaette was strongly opposed to the ready-made clothes which be-came popular as the society was Industrialized and commercialized. unlike those ready-to-wear clathes those members of the Wiener Werkstaette preferred to make each clothes with different mateirals and printed their own unique pattern designs. 3.As a results of close relationships between the Wiener Werkstaette and paul poiret 'Stu-dio Martine' was established in paris and new pattern deslhns were introduced by Raoul Dufy. 4. After the break-out of World War One cultural exchanges with other foreign countries were vuirtually cut off and the Wiener Werkstaette was disconnected from the influence of Parisl That was the motive for Wiener Werkstaette to start building up its unique artistic style with peculiar materials techniques and methods of productionl Those brisk and creative activities of the Wiener Werkstaette brought forth "the Golden perlod of 1920s" 5. Its historic design and ornamental pattern were assessed as a prelude to the Post-mod-ernism Since the late 1970s with the redis-covery of the culture of vienna in 1900s. the Art to wear which was created by the 'Wiener Werkstaette' but unfortunately tucked away by the Greate Depression and nationalism has been revaluated and studied. In Korea it was since 1985 when 'the art to wear' began to gain attention widely. It is urged that the theory of the 'Gesamtkunstwerk' should be also ac-cepted and shared earnestly.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.84-96
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• 2011

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Museum of Archaeology and Anthropology in Cambridge. The Museum holds a total of eleven items of koran dresses that were donated by two anthropologists in the first half of the twentieth century. Male dresses consist of a white cotton jacket (Jeogori), a under-vest (Deungbaeja) made of light wisteria rings, a headband (Manggeon) made of horsehair, a broad brimmed top hat (Gat) made of black horsehair gauze, an oilskin cover (Galmo) drawn over the hat in wet weather, and a hemispherical hat box (Gatjib). Female dresses comprise a pink silk jacket (Jeogori), a blue silk skirt (Chima) with pleats, a pair of woman's white cotton trousers (Sokgot), a black silk cap (Jobawi) decorated with pink tassels and imitation pearls, and a pair of green and magenta silk shoes (Danghye) with leather soles and metal rivets. Theses Korean dresses show what the western anthropologists had interests in. When collectors collect the folk objects, they thought much of the specificity of shape and material, the esthetic appreciation, and the representation of daily life. In terms of the value as the historical materials in the history of Korean dress, the under-vest of wisteria, the hat box, and the female dresses are worth paying attention to. The under-vest is one that was produced in earlier time among the remaining under-vests. The hat box represents that the hat belonged to the merchant classes. The female dress items show daily dresses worn by women of higher classes of the society in the 1920s.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.102-119
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• 2014

The purpose of this study is to develop various designs through renewing and changing perception of accessories by examining various and arbitrary Kitsch. For the method of this study, literature review was mainly used for research of formative characteristics in Kitsch fashion. 798 pieces of work from fashion magazines and website with a focus on Milan, Paris, London and New York collections, in the decade of 2000-2010 were collected. The results of this study are as follows. First, the characteristic of exaggeration is classified into two types: the visual exaggeration, which is characterized by psychological expression through excessive images and (2) the collecting exaggeration, which is not simple but a want of large quantities. Second, the characteristic of satire is classified into two types: (1) the imitation-satire, which satirizes messages to societies with creative humor by using easily consumed materials and (2) the resistance-satire, which is destructive and offensive against isolation and desolation of a capitalistic society. Third, the characteristic of amusement is classified into two types: (1) the playful-amusement, which raises a laugh slyly by using clever materials and (2) the childish-amusement, which involves childish imagination and humor-sense because of desire to be a child. Fourth, the characteristic of nostalgia is classified into two types: (1) the romantic character expressing a departure from modern society, which is desolate because of the urbanization process, and (2) the intermediate character recreating an esthetic category by interacting with different and relative elements. Fifth, the characteristic of inappropriateness is expressed through a deliberate mistake, and it denies existing senses of beauty by overturning common sense and creating new senses of beauty, expressions in distortion and modification of stereotype.

• The Research Journal of the Costume Culture
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• v.26 no.5
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• pp.764-776
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• 2018

The purpose of this study is to serve as a reference for creative fashion design by analyzing the types and aesthetic characteristics of trompe l'oeil in contemporary men's fashion. This research is an empirical study that utilizes both qualitative and quantitative methods to analyze fashion design cases and research articles such as academic papers and professional books. The study covers four major men's collections: Paris, Milan, New York, and London. The period being analyzed is from 2005 Spring/Summer, which is widely regarded as a turning point at which men's collections began rapidly, to 2019 Spring/Summer. The study analyzes 471 photos from domestic and international websites, with the following results. Types of trompe l'oeil in contemporary male fashion are classified into four types: (1) the deconstruction of clothing forms or creation methods, (2) optical illusions that create the effect of multiple layers of clothing on a single article of clothing and the reproduction of apparel details and clothing using 2D printing or embroideries, (3) realistic patterns on garments to create a camouflage effect, and (4) articles of clothing containing body images such as the chest, trunk, or internal human anatomy. These aesthetic characteristics in men's fashion design using types of trompe l'oeil are playful, deconstructive, and decorative features based on hyper-reality. This study aims to acknowledge trompe l'oeil as being widely used in contemporary men's fashion as a type of formative art, playing a crucial role in creative fashion design.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.14-25
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• 2009

This Study is purposed to comparative analysis in the case of balanced with Ethnic image fashion and the event of an unbalanced between fashion and make-up and to reconfigure on the make-up of the features on the Ethnic image Fashion in the 21st century. The result of this study is as follows. First, in the case of Japanese ethnic image make-up, to emphasize applied forms and formative characterization, they generally use circles and horizontal lines. Also the harmony between Japanese image make-up and primary colors like white and red strengthen ethnic images better. In the event of an unbalance between fashion and image make-up, fashion occurs dynamically in Africa and linearly in China. Sexy & natural image make-up also widely appear in the modern view. Second, in the case of African ethnic make-up balanced with African image fashion, the form is repeatedly dotted, widely water-colored, and mattedly textured using ash make-up colors such as white, red, gold, gray and so forth. African image make-up strongly expresses primitive natural beauty adding primal tribal painting art and mask forms. In case of an unbalance between fashion and image make-up, no distinctive ethnic image make-up appears. To emphasize natural patterns as well as splendid & decorative fashion, they try not to use primary colors, but instead focus on natural make-up and monotone colored point make-up, sexy make-up, avant-garde make-up, goth make-up, romantic make-up, glossy make-up.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.156-168
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• 2007

Brands started to manufacture consumer-oriented products and look for active methods to appeal their brands to consumers, in the 1990s. As a result, actively adopting graphic design to clothing designs has recently become an important strategy among others. Graphic design has important significance in contemporary fashion design in the aspect that it has expanded the range of expressive methods by bringing over expressive methods of visual design, and has led to an increase in sales due to consumer satisfaction, but it has been vaguely handled together with textiles design, and research on the topic has been insufficient. Therefore this study aimed to clearly define the idea of graphic design based on documentary research, and analyze applying case and formative features of graphic design expressed in clothing, through case studies from 2004 to 2006, and derive the trends of graphic design expressed in contemporary fashion design. The results of this study are as follows. The common characteristics of images that reflect recent graphic design trends in fashion design are hand writing and irregular composition, and images that actively pursued these pointes were retro and craft images, and modern and sporty images reflected these graphic design trends in a comparatively passive manner. It is important to maintain style differentiation rather than indiscreetly adopting graphic design trends to clothing, and to appropriately apply trend characteristics of fashion design and other design areas. Expressive methods of design are expected to expand through appropriate application and development of graphic design, and can potentially provide a new solution to brand differentiation.

• Journal of Fashion Business
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• v.20 no.2
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• pp.124-133
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• 2016

Currently the fashion industry is developing to create a novel culture due to the very sensitive and knowledge-oriented advancement of the IT industry. With fast turnover of information, consumers have come to have a more diverse desire for purchasing. Cubical expression techniques, which empathizes formativeness, can be a creative expression method adjusting into the trend of this era. Along with functional aspects of consumers, even in a textile manufacturing sector, new materials are required to meet sensitive and emotional aspects. Consumers' desire for new and creative designs and the development and adoption of new materials are essential to meet their emotions. The IT industry and fashion industry are forced to combine and a 3D apparel CAD system has been developed, enabling virtual clothing to be represented within a computer virtual space. All processes such as design, pattern creation, sewing and simulation are possible in 3D level. Digital clothing can shorten the production process time and is very effective in that it can reduce clothing waste generated during the sample production. This paper reviewed the works of Dutch designer, Iris van Herpen, who has developed formative designs. She tries to build, construct, and sculpt employing diversified materials other than soft textile materials, as shown in her series of fashion shows. The materials include films, 3D printed polymers, stiff and sheer organza, and artificial leather textiles. A few characteristics of her works have been selected in order to prepare patterns exhibiting the traits. The paper further focused on the physical features of the textile materials used to express similar techniques and its various forms were reviewed.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.83-97
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• 2006

This Study is a thesis presenting handicrafty and decorative textile design as well as sensual fashion design through the works of Gustav Klimt. The result is as below; The formative qualities in the works of Klimt could be featured as decorativeness, sensuality and symbolism. First, the decorative inclination is prominent in the portrait and the effect is maximized with the golden mosaic shape expressed on the dress and the background influenced by the Byzantine. Second, the sensuality could be recognized directly from the women's pose or facial expression in the works of Klimt, otherwise appeared on the refined expression showed on the portraits of noble lady Third, to surpass the reality, Klimt preferred the symbolic expression, which can be shown on the patterns in the works addressing the themes such as the legends and myths, or figures of men and women expressed with the image of an abstract features of membrum. The development of the textile design is as fellowed. First, it analyzes and reconstitutes the formativeness and the element of design in the works of Klimt by the flow of the form factor. Second. it makes a pattern of a single nature through perception, analysis, description and drawing and expresses with realization of the characteristics of Klimt. Focusing on the handicrafts and decorativeness out of the latest trends and making the most use of the sensuality, the designed textiles were completed by the handicrafty techniques, used in the fashion design and completed as the design of sensual images. The textile development aims at minimizing the limit of design that can be caused by the absence of silhouette and detail, expanding the range of its creativity of fashion designs and creating fashion design high value-added.

• The Research Journal of the Costume Culture
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• v.21 no.2
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• pp.151-166
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• 2013

This study aims to shed light on the diversity and complexity of design represented through modern fashion and to identify growth opportunities for globalizing and modernizing traditional clothing designs. To this end, formative trends and aesthetic characteristics of $21^{st}$ century fashion were analyzed, with an emphasis on Japanism reflected in the works of Western designers. The research methodology consisted of an analysis as well as a literature review. A total of 217 designs with Japanism characteristics were identified from the 2001 S/S collection to the 2011 S/S collection in Paris, Milano, New York, and London, and these were analyzed in terms of image, color details, pattern, and accessories. The research findings with regard to the characteristics of modern fashion designs that reflect Japanism were as follows. First, sensuality was projected by highlighting the erotic elements of Japanese clothing. Second, the underlying principles, styles, and elements of Japan's traditional clothing were embodied in a cross-cultural and eclectic manner that blurred the boundaries between styles by mix-and- matching the traditional and the contemporary, the East and the West, and different styles. Third, a variety of patterns, colors, accessories, and design techniques associated with Japanese traditional clothing played a critical role in creating flamboyant and decorative images in contemporary fashion. Fourth, the overlapping of the kimono style, the flat design that accentuates body curves, and the layered style has created a beautifully free-form fashion that demonstrates non-structural features.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.13-24
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• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.