• 한국의류산업학회지
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• 제7권6호
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• pp.650-656
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• 2005

The objective of this study is to analyze the formative attributes of face by measuring the shape and features of face. The faces of women in 20's were taken by digital camera and measured, then it has conducted a statistical analysis using a SPSS for factor analysis, correlation and cluster analysis. The findings are that it is consisted of six(6) different factors and it is responsible for 73.93%. In Factor 1 and Factor 2, it has explained the most significant factor to determine the shape of face. The result on cluster analysis is that it is classified into 5 groups and it is as follows. Attributes of each group is that Group 1 has a wide and long forehead, small and longish chin-line and chubby cheeks that represent polished and modern images, while Group 2 has small and longish forehead and chin-line that represent classical and mature images. On the other hand, Group 3 has a narrow forehead, small and longish chin-line and upward-style eyebrows that represents provocative images, whereas Group 4 has a shaped style that represent intellectual images and Group 5 has small and longish forehead and chin-line and cheekbones that represent polished and cute images.

• 한국가구학회지
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• 제24권1호
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• pp.42-50
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• 2013

The objective of this study is to explore basic type of character of humans and to suggest a design method of establishing a spatial construction environment for developing effective learning ability based on such type of character. As a range of research, spatial formative language was deduced and space design strategy for the children was suggested through an analysis of spatial requirements by exploring connectivity depending on features of 9 types of character through Enneagram. As a method of research, a process of suggesting a concrete method after defining an element of spatial construction and deducing a formative language for developing and strengthening effective learning ability for each type of character. As a result of research, the methods of children space design strategy for enhancing learning ability for leadership in a future specific fields were suggested through 9 different type of character with image of case study.

• 한국패션뷰티학회지
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• 제2권2호
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• pp.107-119
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• 2004

Dan-chung had many great traditional patterns of Korea. By investigating its patterns, which comprise the integral part of the formative features, and analyzing the aesthetic characteristics and formative beauty, the foundation was set to use the patterns as the motives of art makeup works. A focus was made on the basic elements, compositions and symbolic meanings of Dan-chung patterns. The representative patterns that were used a lot in Dan-chung made the motives of the four art make-up designs, which tried to integrate the aesthetic senses of the Dan-chung patterns into the art makeup venues. The four patterns were each based on the phoenix, bat, ghost face, and crane. The major colors used were white, black, red, blue and yellow, which were also the cardinal Five Colors of Dan-chung. They were changed in terms of luminosity and coma and manipulated to make harmony with intermediate colors so that the designs would ooze out the Korean aesthetic senses.

• 대한가정학회지
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• 제50권3호
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• pp.15-24
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• 2012

This study examined the formative beauty found in daenggi, which is a traditional feminine hair ornament. For research methods, both Adobe's Illustrator CS3 and Photoshop CS3 were used as designing tools and literatures on daenggi. Sixteen pieces of work were prepared by applying rotations of up, down, right, and left, repeat, symmetry, and overlap from the basic motif. For the scarf design, the rotational or diagonally symmetrical arrangement was repeated in order to maximize the outstanding features for each textile expression or was designed freely using one repetition unit (a whole scarf). Diverse images were expressed for the pendant design via usage of a basic motif and its variation. In addition, this work would suggest another alternative for apparel application by using the textile design for a simple one-piece dress.

• 한국의류산업학회지
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• 제13권4호
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• pp.461-471
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• 2011

Jewelry has recognized as a part of independent formative arts of fashion with the change modern man's cognition for the fashion. It is a great important section to express fashion image. So, many corporations design and develop the jewelry by themselves to maxmize their fashion image. Among the so many kinds of jewelry, especially the necklace is located beneath the face and linked as a part of fashion, so it frequently has showed in Fashion Collection. Like this Fashion and jewelry enact each other and share their esthetic features but, it is insufficient the study of fashion linked with the jewelry. In this study, we defined the words which is using confusedly according to jewelry forms what researched by others. In addition, we tend to study the effect of that the form, hue and character of materials of necklace that is expressed in fashion collection influence fashion image. The method of this study is comprised with precedent studies and analysis of necklace photos in fashion collection. For the analysis of data, we implement content analysis and statistical analysis using SPAW Statistics 18(frequency analysis, percentage, cross-tabulations, $X^2$-test). Because the hue and the form of necklace take a great role to make fashion image with the sense of its eyesight, its effective coordination go up the delicate feelings with the form, hue and quality of the fashion. Especially, the hue is the essential element of formative characteristics to express visual image. The necklace had coordinated more frequently in S/S than F/W, it means that more light and simple fashion let ornamental beauty could express by the necklace. So, it is very effective things that we predict the trend of fashion, then, coordinate with well-matched necklace.

• 한국의상디자인학회지
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• 제16권1호
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• pp.27-39
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• 2014

The purpose of this study is to investigate the formative characteristics and the aesthetic values of denim dresses from the 19th century until the $20^{th}$ century and analyze those changes shown in Paris Milan London New York collections from 2001 S/S to 2013/14 F/W. The results of this study are as follows; 1) In the mid-$19^{th}$ century, the denim pants were working suits. In the 1920's, they started to be recognized as ordinary clothing and they were supplied to women in World War II. In the 1950's, denim pants stood for youth and resistance, and they became popular among teenagers. In the 1960's, hippies who protested against the Vietnamese War would wear worn-out denim pants symbolizing peace and freedom. As they became more common in the 1970's, people all around the world wore the clothes. In the 1980's~90's, the waves of high class brand fashions brought in sensualism, extravagance, reactionary tendency, and so forth. Consequently, the aesthetic values of denim dresses have connotations of practicality, resistibility, ornamentation and femininity. 2) Practicality in recent collections is represented in classic fashion which features typical details and raw denim and modern fashion which is made with glossy denim and minimized details. Resistibility is represented in avant-garde fashion which features deformed or over-layered jackets and pants with damaged denim and vintage fashion which is made with wash-out and wild stone denim. Ornamentation is represented in ethnic fashion which is made with wash-out denim and ethnic prints and romantic fashion which features details such as ruffle, frill and shirring as well as lace and flowery decorations. Femininity is represented in sexy fashion which designs to expose or to focus in women's body and elegant fashion which is made with soft and glossy denim and hourglass silhouette.

• 복식
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• 제57권6호
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• pp.122-134
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• 2007

Fine art and fashion have influences on each other since both of them are the part of a culture. The similar patterns of fine art and fashion can be found either in the same period or in the different time. To find out this fact in the forms or content, this study researched into the fine art and fashion of 1960s and into recent year's fashion to see the revivals. In 1960s, fine art and fashion laid emphasis on the materiality of material itself, therefore both fine art and fashion have the tendency of formlessness and disorder in form. It ran be said that the socio-cultural background of this phenomenon in 1960s was mainly caused by the young generation called Hippies. They became a large influential social group that has a huge impact on overall culture in 1960s. As a result, this study firstly found that the fine art and fashion had common formative features and content in 1960s. Secondly, fashion since 1990 repeats the similar features in form like the Post-minimal tendency in fine art in 1960s. The similar features can be described as: artworks have the tendency of the formlessness and disorder in appearances; various materials were newly used to form a work, which had never been used in traditional artworks; new methods such as hanging, layering and knotting were applied to show the maximum expression of the materiality. However, unlike the fashion of 1960s, the Post-minimal tendency in fashion since 1990s doesn't symbolized freedom or peace, or opposition to the war anymore. Instead, only the formative elements were revived and reproduced and the formless tendency became one of the recent fashion trends.

• 한국콘텐츠학회논문지
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• 제21권4호
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• pp.707-722
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• 2021

새롭게 야기되는 문제들을 능동적이고 창의적으로 해결할 수 있는 역량 함양을 위한 교육 환경으로 메이커 교육에 대한 관심이 증대되고 있으며, 이를 현장에 적용하는 다양한 연구들이 이루어지고 있다. 그 중 많은 사례들이 메이커 활동의 적용 단계로 디자인 사고 방법론을 활용하고 있다. 메이커 활동과 디자인 사고 방법론은 개념적으로 유사하지만 다른 특성을 가지고 있음에도 불구하고 이에 대한 고찰 없이 단순히 단계를 차용하여 수업이 설계되고 있어, 각 개념의 교육적 가치가 부각되지 못하고 있다. 이에, 본 연구는 메이커 교육과 디자인 사고의 상호보완적 관계를 바탕으로 메이커 교육 설계 모형을 개발하고자, 초안 개발, 형성평가, 최종안 완성의 절차에 따른 형성적 연구를 수행하였다. 그 결과 학습자의 자율성, 여러 가지 도구와 재료를 활용한 가시적 결과물 생산의 메이커 활동 특성과 문제 해결의 구체적인 과정, 사회 참여의 실천이라는 디자인 사고의 특성을 접목한 메이커 교육의 단계를 시각화하고 단계별 상세 활동과 교수전략을 제시하였다.

• 복식문화연구
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• 제28권4호
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• pp.544-561
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• 2020

Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the "Maaseik fragments" in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.

• 패션비즈니스
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• 제18권3호
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• pp.148-166
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• 2014

The purpose of this study is to establish the basic materials necessary for red carpet fashion design by examining the formativeness and fashion images of red carpet dresses at film festivals in the Great China Region. For the purpose of this study, research methods include a literature review on the origin and significance of red carpet dresses, the characteristics of film festivals in the Great China Region and their red carpet dresses as well as an analysis of the formative features and images of 615 red carpet dresses collected from each film festival official homepage, diverse media articles, and online search sites (www.google.com, www.hao123.com). The research finding can be summarized as follows: First, the formative features of red carpet dress designs were analyzed herein. It was found that the most frequently appearing type of silhouette was straight followed by hourglass and bulk in order. More specifically these included fit and flare, mermaid, trapeze, and slim in order. For the neckline styles, strapless was the most frequently seen followed by camisole, jewel, and one shoulder. Solid colors were more often seen than multiple colors. Bk, W, R, and YR were the most frequent main solid colors in order. Solid materials were frequent as well, such as soft and shiny materials. Non-patterned and unadorned styles were most frequent as for pattern types and details and trimmings. Second, the fashion images of red carpet dresses in the Great China Region were analyzed. The most frequent images were elegant, feminine, ethnic, modern, classic, avant-garde, others, mannish and sportive, in order.