• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.1
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• pp.77-87
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• 2008

Modern fashion industry creates complex and multiple fashion by amalgamating and mixing all elements that emerged in fashion without limiting them to a specific genre. The results of study are as follows: First, with regard to the conceptual differences among poor look, anti-fashion, and resistance fashion and the background. second, As aesthetic categories of poor beauty, its image with the feeling of poorness, beggar-likeness, worthlessness, poorness, and uncleanness is divided into the beauty of moderation, deconstruction, unfinished beauty, natural beauty, and ostentatious poor beauty based on the formative characteristics and poor look. Third, Oriental and Western poor images are comparatively analyzed. The poor beauty found in Oriental fashion, which is based on Zen aesthetics, seeks loneliness, poorness, and simplicity as an empty origin and features internal meaning that expresses the purity of poor beauty itself and external form that is visualized through no decoration, no color, and asymmetry in material and composition. The poor beauty in the West features non-form of no shape, asymmetry and disharmony and the characteristic in its contents is "distortion", and the characteristic in its expression features external form of "incorrectness" and internal meaning implying modem humans' frustration, resistance to materialism, and skepticism about mechanicalism.

• The Research Journal of the Costume Culture
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• v.14 no.3 s.62
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• pp.457-468
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• 2006

The purpose of this study was to understand fashion trend and characteristics by finding out the influences of crossover on modern fashion coordination through the identification of crossover coordination trend and characteristics. With a review of the literature, this study analyzed crossover coordination according to the types of expression methodology, periodical changes and designer's tastes that appeared through the collections of the six representative designers from 1996 to 2004. The results of this study were as follows. As a result of analysis of our sources, we realized that crossover coordination was shown most frequently in 1997 and Christian Dior was the designer who used crossover coordination most frequently. Among lots of crossover coordination cases, most of the cases are the coordination with different materials. In our results, trends of crossover coordination in materials appeared again about every five years cycle. Christian Dior combined different elements through silhouette and material, Dolce & Gabbana combined images and Jean Paul Gaultier combined different elements in the aspect of purpose and wearing configuration.

• Journal of Fashion Business
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• v.23 no.6
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• pp.1-15
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• 2019

Appropriation is of considerable significance in a cultural trend of thought, as one of the means of realizing the post-modernism period. With the increasing use of appropriation techniques in modern fashion, it is necessary to study the external performance and internal aesthetic value of appropriation in fashion. In the book of cultural appropriation, American scholar James o young divides into three categories of appropriation in culture, namely: object appropriation, content appropriation, and subject appropriation. Based on James O Young's three types of appropriation techniques summarized in the theory of the cultural appropriation, the purpose of this study is through the appropriation of the poncho of traditional Mexican clothing in modern fashion as an example; analyzing the external appropriation characteristics and internal aesthetic significance of different appropriation type. The results are as follows. First, designers take the Originality in modern fashion by expressing Mexican Poncho's form, color, pattern, and material as it is through object appropriation technique. Second, through the Mexican folk poncho's style, designers used these to show the similarity produced by content appropriation in modern fashion. Third, designers used the poncho's design concept or poncho's culture, blending the theme of the collection, adding different color, pattern or materials such as fur, lace, and wool, and presenting a new image different from folk costumes through creative subject appropriation technique.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.99-113
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• 2007

This study aims to investigate the concepts and characteristics of Metrosexual and Ubersexual image which are the recent fashion phenomena representing the lifestyles of comtemporary men, and to analyze the design of contemporary men's fashion based on the represented characteristics of these sexual images. To accomplish these ends, various related publications, articles and papers, divers serial publications, and numerous internet articles are collectively reviewed for theoretical studies, and design analysis are conducted for content analysis(style, color, material, detail, etc) using photo data taken from the collections from 2001 through 2006. The results of this study shows that recent appearance of Metrosexual and Ubersexual fashion image represents the change of aesthetic standards in the contemporary society. With the influence of sociocultural phenomena which allow the pursuit of individual personality, the contemporary men, instead of expressing the socialized sexual identity, came to acquire the freedom of sexual identity which represents their personal desires. As an expression of hmnan will to pursue unrestricted sensibility and aesthetic sense, these sexual phenomena of Metrosexual and Ubersexual will be reinterpreted and reappear in various forms as the social atmosphere and aesthetic standards changes.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.21-30
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• 2007

`Desire` in this study is not something desire in the used to be-way we can deal with it. This study is to figure out 'desire structure' of interior architecture as a significant measure to interpret the Lacan's desire theory. It is also examines Lacan's concept of desire as defined in the mechanisms of language, in relation to architecture and interior architecture, and in the concept of the objet a(the unattainable object of desire), in the structure of desire as it can be seen in interior architecture. In particular, it analyzed that the desire structure have influenced on some kind of specific desire types what is expressed a characteristic to interior spaces of intimacy, perpetuity, representation, expression. These types reveal the characteristics of desire structure in inner space of interior architecture through negativing and fantasying. The focus on the structure becomes a major issue in almost many kinds of contemporary knowledge-system that starts from the mind to go out to the space in a material or non-meterial(spiritual) way. Therefore, the desire structure reconstructs the Real to make itself through negative and fantastic creation-process. It is important that desire characteristics help detect behind beneath the singularity of interior spaces more than what we know.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.27-36
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• 2010

The purpose of this study is to define concept and characteristics of "Unphenomenon", the design concept conceived by Shiro Kuramata who is a world renowned Japanese interior designer and to explore how his ideas were materialized in his works. This study 1) examines his experience during his childhood reflected in his essay The scenery of the Unphenomenon' and training in Kuwazawa Design Institute that made Shiro Kuramata a true interior designer, and also considers how his design philosophy had been built up and realized under the unique social situation at the time. 2) defines the concept and characteristics of "Unphenomenon" as substance of his design philosophy by surveying remarks in his books and comments made by people around him in press interviews. 3) concludes his own design method and uniqueness by analyzing his works based on them. As a result, the study has founded that 1) transparency as recognitive realization of existence and non-existence: non-existence of physical property, connotation, ambiguity 2) expression of uncommonness by correcting and reinterpreting common prejudices: flotation, distortion of scale and shape 3) realization of insubstantiality by removing and replacing material and shape: replacement into light, removal of the structure, multiple layers of meaning.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.91-100
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• 2017

This study aims to comparatively analyze the characteristics of light expression shown in the exhibition spaces of architects Richard Meier and Kuma Kengo, who constructed the element of invisible light into visible forms within space, using diverse techniques and components. As for the methodology therefor, it was attempted to conduct theoretical consideration of light, to experience the spaces of light by producing diverse spaces with architectural space components, that is, space, form, material, structure, and color, and to find out what space characteristics are perceived by perceivers from the interaction of the components. As for the research scope, this study intended to identify the concepts and characteristics of light and compare light in spaces, focusing on works of Richard Meier who constructed functional and mechanical spaces based on Le Corbusier's architectural language in the West and works of Kuma Kengo who claimed regionalism architecture in the East. In particular, this study intended to comparatively analyze the methods of using materials according to the filtering of light that appears different between the two architects in case that light enters into their exhibition spaces, and the effects of light production that arise from the differences, thereby pointing out the characteristics of diverse light expressions within the spaces of modern architecture. On this, this study investigated methodological differences of the two architects, who are based on East and West thoughts, in expressing light in spaces in various forms through brightness and darkness, light transmission and shadows appearing according to the nature of light, and color and materials. It is hoped that this study will provide an opportunity for promoting better understanding about other architectural cultures as well as understanding the characteristics of light in exhibition spaces.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.27-44
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• 2022

The purpose of this study is to attempt to diversify artistic expression through combinations of the twelve zodiac animals and origami techniques and to propose new directions for fashion design by applying these to fashion accessory bag designs. For the research method, this study researched the representative forms and characteristics of twelve zodiac animals based on the cultural background. Also, diverse cases of origami techniques were sought to apply them to the development of bags. The results are as follows. First, expressed forms of the Chinese zodiac were newly expanded by realizing the form of Chinese zodiac animals through various origami techniques. Origami work displays abstract visual effects rather than intuitive feelings or expressions of flat designs. With this, detailed realizations could be made through the characteristics and cultural implications of animals. Second, the work created in this study utilized zero-waste patterns that use origami techniques on one whole piece. During pattern production, folded parts were marked without waste and the outer fabric and lining were produced. Patterns were all symmetrical lines so most forms were expressed with squares and equilateral triangles. Third, through actual work produced using fabric instead of paper, effects that are brought about through folding are determined in diverse ways according to fabric textures or material types and thicknesses. When paper is folded, shapes are created as folded, but fabric requires the use of supportive material to create the effects of origami. Polyester and blended fabric were easy to use with high levels of function and practicality. Through such diverse production attempts, fixing methods, hand sewing, sewing machines, double-sided tape, and leather adhesive were used.

• Korea Science and Art Forum
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• v.20
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• pp.315-326
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• 2015

This study has started from a curiosity about how the concept and characteristics of mise en abyme, which is one of meta-discourse in the contemporary aesthetics and has affected every aspect of modern philosophy, art, and culture, are expressed in modern architecture. 'Mise en abyme' is a technique mainly used by writers of the nouveau roman after it was introduced first in the work of novelist Andre Gide; this technique of artistic expression has been extended across the whole contemporary art and has become the meta-discourse which essentially makes its appearance in the art after postmodernism. 'Mise en abyme', meaning endless formation of image between two mirrors, got involved with discourse of the various philosophers of the time such as Deleuze and Derrida, and was also expressed in the language of architecture by modern architects who have been influenced by their philosophy. In this context, the technique of mise en abyme which is mostly used in art has a relation to methods of space expression of architects. This research studied the characteristics of mise en abyme which show in the expressional method of the modern architecture based on the relationship between the technique of mise en abyme and the modern method of architectural expression. Moreover, on the basis of this an analysis was carried out on architectural works of Jean Nouvel, who uses de-materialization and singularity as the architectural language. Through the research it was confirmed that the characteristics of expression of mise en abyme in architecture are embodied in material of the surface which forms buildings' exterior, or expressed by using reflection and graphical factors. Through analysis this study allows the chance to see that even though the means and field for expressing mise en abyme are different, the characteristics of the fundamental concept are shared among them, and to think about the meaning in the technique of mise en abyme as one yardstick to understand modern architecture in modern times with no specific mainstream.