• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• Journal of International Area Studies (JIAS)
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• v.13 no.1
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• pp.345-368
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• 2009

Our research task have goal to describe a treaty rhetoric known as 『La Rhétorique ou L'Art de Parler』(1688) which corresponds to a very wide field of which the step is not yet dubious in our country. Thus to study the rhetoric of Lamy borrowed from the thought of Descartes, we left the concept d' origin of language in traditional rhetoric in connection with logic and grammar (in first part). Also the second part is devoted to the tropes and the figures that are modified and deteriorated by the language of passion called 'rhetoric of passion or psychological of figure', etc. And the third part interests in the body of the speech being the character of l' heart. Under the influence of the rhetoric of Lamy, French rhetoric at the 17th century is held for an essential text when one interests in the history of the ideas and rhetoric, marked in its specificity (passion). The project of Lamy registered in the concept of passion like 'manners of speaking'. To close this study, which does one have to retain? The first remark to note is that Lamy founds his rhetoric in opposition to traditional designs dating from the beginning of Aristote. Second remark is the idea that one finds based in famous the books of Dumarsais at the 18th century and Fontanier at the 19th century. Admittedly, Lamy is a true rhetorician, grammairien which interests in the question of passions in the speech forces to reconsider the idea spread since Mr. Foucault, and makes it possible to understand the passage of the Great century at the Century of Lumuères. Even if this opinion is not shared, it will be agreed that the work of Lamy on passions or the phenomena sensory and psychological in the center of the language deserves reflexion.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.3
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• pp.105-110
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• 2007

With the beginning of seventeenth century, the men in France royal palace began to wear wigs and by eighteenth century wig became sole possession of men. Then, it had been become a satire thing filling one side of the era with the pouf that had been for women. All these things were closely related with the unstable social situation. The bourgeoisie expressed the anger for the privilege that come from the disparity of class consciousness. The reaction against the discriminative treatment by the illuminists stimulated the outbreak of the French Revolution on 14th, July in 1789. This paved way of characterizing the wig styles of the time. The symbolism of cultural-historical meaning in the west is not confined only in Europe. The worship of hair that is different from one cultural area to another had started with their own unique taboo consciousness and had developed to the form speaking for the expression of masculine, the symbol of man power and the extravagance of the privileged class.

• Journal of Fashion Business
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• v.16 no.2
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• pp.74-87
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• 2012

Many fashion designers were inspired by arts. Not only arts itself but also the sprit of the artist links with fashion. This study based on French artist Yves Klein who died in 1962, at the age of 34. Klein created over a thounsand works in only seven years. Among the his various art collections, it is focused on Yves Peintures, I.K.B(International Klein Blue) and Sponge sculpture. The extracted some of core concepts including aesthetic of Klein about color and line, space perception in monochrome and expansion of monochrome toward three dimensional sponge sculptures were transformed into fashion design. As a result, Yves Sweats project, which is T-shirts project based on Yves Peintures, designed as a three-dimentional expansion of Monochrome and it was shown at Fall/Winter 2011-12 Tranoi homme trade show in Paris. Also Yves Klein collection was designed as a ready-to-wear menswear collection that was presented at Fall/Winter 2011-12 Seoul Fashion Week.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.67-76
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• 2001

This Study is about the tradition of Organic Medievalism expressed in Modern Architecture. The concept of Medievalism is an attitude to revive the social and physical settings on the Middle Ages. The Organic Medievalism in Modern Architecture was to be explained as the two tendencies; one was toward the rational structural logic of the medieval architecture being re-interpreted into the Modern Architecture and the other was toward the organic and fantastic shape of the Modern Architecture, closely connected with nature-friendly and organic shape of medieval city and buildings. The structural logic of the medieval architecture became systematized by the French architects, Viollet-le-Duc and Auguste Choisy. The principle has been applied to the design of the Art Nouveau, Louis Kahn and so-called the High-Tech Architecture creating the aesthetics of its own by exposing the building structure. The other was used as the elements to represent the characteristics of the Art Nouveau architects, and then served as the background of the creation of the avant-garde architecture of Germany. The ideal has been serving as the great idealistic fundamentals by the so-called Archigram and Deconstruction at the late half of the 20th century.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.3
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• pp.19-30
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• 1984

There is a symbolic term which has realized custom of an era and has eome into fashion since the middle of 1920's. That is Garconne. This paper studied the image and costume of Garconne expressed in literary works, the form of art made it to come into being, and costume of a group of women played a role of pioneers of Garconne. Garconne attempted simple, casual, and mannish costume instead of usual elegance. It was the boiysh style($\`{a}$, la Garconne) which did not stress on the bust and waist like chanel suits used wool jersey by a designer, Chanel ana short skirts of low waist line. They got short haircut and wore low heel shoes. Garconne meant women who were free of convention, were familiar with love a d profession, and lived for themselves in the same manner of young men. They yieled new mode of 1920's. Though their lives were only a period, they manifested the symbol of the period though their figure and designation was not disappeared at the age but was settled as a mark of fixed image. There were several reasons why the Garconne was born. Rapid changes in politics, economics, and society in Europe were occurred from the First World War to 1920 and the trend of custom and art was a turning point. Especially, the entry of women into the society and the mode of Art Deco influenced it directly. The role of a pioneer of Garconne was appeared from the French Revolution. As Merveilleuse, Lionne, and Bloomers wore peculiar clothings ana had life style being irrelevant to tradition, they were talked about. They informed in advance the appearance of new women who were different from romantic ladies and were more modern and active. The pioneer design of Paul Poiret which were over whelming throughout a period and functional design of Chanel were increasingly accelerated.

• Philosophy of Medicine
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• v.15
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• pp.3-37
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• 2013

George Canguilhem(1904-1995) is one of the rare French philosophers of the 20th century to develop an approach that was shaped by a medical education. For him, medicine is considered as "a technique or an art at the junction of many different sciences, rather than a proper science." The thesis that medicine is a technique is presented not at a practical level, but on an axiological horizon which reflects the totality of humanity. This character of medicine became a motive that concretized Canguilhem's philosophical thinking. Medical knowledge is not an application of physiology, but is derived from clinical observations which are based on the personal experiences of each patient. If medicine were based on scientific knowledge and its practice the very application of this pure knowledge, the patient might be a passive object. However, the patient doesn't remain passive, but reacts to the menace of disease according to attitude that the patient developed over the course of his or her life. Canguilhem characterizes this point as 'normativity', the core of individual life, which eludes positivist medicine. Here appear the essential contents of his vitalism. Although they emphasized the activity of individual living being, other modern French vitalists didn't consider this dimension of norms. Since the normativity in Canguilhem concerns the subjectivity of the first person, it avoids a mechanical form of explanation. Thus Canguilhem's originality is found in his derivation of the essence of medicine from individuality, values and norms.

• Korean Institute of Interior Design Journal
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• v.23 no.6
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• pp.87-94
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• 2014

Today, the growing number of international architects enters the open market of South Korean architecture and interior from exhibition spaces such as art galleries to buildings of major companies. Establishing new local landmarks, their works have a considerable influence on the development of architecture. Among many, French architect Jean-Michel Wilmotte has worked consistently in South Korea. The purpose of this study is to analyze and put together the expression characteristic of the interior design in his exhibition spaces including Gana Art Gallery. Jean-Michel Wilmotte has designed based on the history, culture, society, and arts in France and other European countries, and is influenced by architects like Charles Rennie Mackintosh, Josef Hoffmann, and Carlo Scarpa. Such an influence is shown in the form of contrast between verticality and horizontality as well as the fortification in his modern classical characteristic, which is one of his expression characters. In his work of improving the ancient architecture, Wilmotte is good at creating a modern space through contextual expression, and the textural contrast between materials of the past and the present. Thus I performed an analysis of the expression characteristic of the interior design in National Museum of Contemporary Art of Chiado in Lisbon, Cognac Hennessy Museum in France, Gana Art Gallery in Korea, Mus$\acute{e}$e du Pr$\acute{e}$sident Jacques Chirac in Sarran, France, Ullens Center for Contemporary Art (UCCA) in Beijing, and lastly Mus$\acute{e}$e d'Orsay in Paris. The results show that he maintains the spatial context by applying contemporary design to the preserved existing structure, continues the flow of exhibition through the lightings in the corridors and on the ceiling, and seeks for a balance by adding vertical or horizontal elements to the elevation. In the interior, the staircase and exhibition structure are turned into objects, and the contrasting texture of the wall vitalizes the space. Wilmotte redesigns the space of the past and the present by using indirect joint that allows an organic connection of the old and new structures, and by minimizing the conflict between the two elements through prefabrication. The expression character of his interior design will be potential resources for architects and interior designers to develop their own design languages.

• Cross-Cultural Studies
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• v.33
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• pp.171-192
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• 2013

The article is a research about the Belle Epoque era and Dadaism in the modern culture as a whole and separate. The years from 1890s to 1914, is known as the Belle Epoque era, in which the European continent including France had developed the climax of the modern culture after the Renaissance. At the same time, it was the period where the postmodern developments were being spread, leading to the present days. Moreover, the main ideologies in art that led to the cultural advancement of the time were impressionism, cubism, art nouveau, evolutionized painting category, symbolism and futurism. It was a literature category that was maintained to present Dadaism and surrealism. Dadaism began since the magazine, Bulletin Dada was published, originating in 1916 by Tristan Tzara of Zurich, Switzerland during the WWI. The extreme motto that the Dadaists supported was a contradiction, as they had to dissolve from their own art movements and expression techniques. However, until Andre Breton introduced 'Manifeste du Surrealisme' in 1924, the "Dada group" had a tremendous influence in France as an epicenter and rejected the modern cause and art that continued during the time, thus attempting its dissolution. First, they rejected the ideology, ethics and customs of rationalism from the previous system and demonstrate an anarchical and anti-bourgeoisie characteristic. They also reject the French lucid thoughts and the artistic techniques. They strongly emphasized on their motto "The idea is created from the mouth", while reframing from the philosophical ideology and at the same time, attempting to express the psychical unconsciousness. Second, the most important catchphrase that the Dadaists supported was the theory of negation. The question "Why do you write?" connotes the negative consciousness about the artistic value and the stereotyped method of the preexisting writing and drawing. Third, the Dadaists bring forward a radical query about all of the former esthetic and morals, and reveal an admirable resistance spirit. They emphasized on the slogan "Dada, means nothing" and insist on 'the anti-literal Dada, anti-artistic Dada, anti-musical Dada'. The Dadaist movement manifested their resistant spirit and the new artistic spirit through the publication of , , and most importantly through the magazine . Fourth, the Dadaists embodied the volume, density, and quality into an image through the auto-technical, cubistic writings and drawings. They ignored the fixed form of arrangements, verses, and rhymes of a poetic diction. The Dadaists utilized an unfamiliar and inversed expression method of applying the combination of the size of print, or capital letters and lowercase letters, even combining printed and handwritten writings. As presented, the auto-technical and cubistic characteristic of expressing the auto-psychical ideology into writing is called as the radical aesthetic and moral and can be considered as the most essential cause of the Dadaists' avant-garde features. As a conclusion, Dadaism demonstrated dual characteristics of consuming the nutritive elements of the modern culture through the most powerful resistance and liberation of the artistic movement of the Belle Epoque era, where at the same time, it deconstructed the modern art. By revolting against the former grounds and expression techniques, and dominating the era with the new artistic spirit, their resistant actions were artistic movements that symbolized the dissolution of the modern times. Moreover, the Dada's expressionism and resistance of saying "There's nothing" can be evaluated as postmodernity's initiative of outweighing the modern history and opening the door for new period of nowadays.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."