• Journal of Fashion Business
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• v.6 no.1
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• pp.31-42
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• 2002

The purpose of this study is research on the characteristics of post-modernism expressed on western hair styles in the late 20th century. Therefore this thesis analyzed the relationship of modernism & the hair styles of that mage and post-modernism & the hair styles of that mage. That will re-illuminate the same beauty worth of same age as to accurate the concept of post-modernism & the hair styles of that mage. And the last, criticizing the post-modernism design and that hair design, helping to find new trends. The method of this study was the literature research & analysis of visual materials focus on upper bust image that can know the relationship of modernism & the hair styles of that mage, and post-modernism & the hair styles of that mage. First, the literature research is composed of analysis of theses, magazines on art, clothing and cosmetology having the contents of 20th century western culture, art and hair styles. Second, the analysis of visual materials is composed of analysis of video films, slide films and photographs of books, magazines, and internet home-pages. Modern western hair styles, appeared after 1910's, is represented as a short cut & permanent wave. That express experimentalism, functionalism, and purism, that is same as the other art's trend of same age. Post-modern western hair styles, appeared after 1960's, also show the same trend with same age's. This summarized & characterized 8 categories; historical method, pluralism, negotiation, escape from the formality, recovery of humanity, ornament, connection with race, metaphor & symbolism. But post-modernism concentrating pluralism makes easy making low quality art and absence of criticism, so this thesis criticised it 5 categories; absence of ideas, absence of the social sense of responsibility, lost of one's characteristics, decline of skills, decline of worth of usages.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.63-73
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• 2001

The purpose of this study was to be of use for more successful prediction of possible Prevailing aesthetic characteristics in the future, by reviewing how decadent features have actually been unfolded in fashion and make-up since the end of 20th century, as we are now in the new 21st century. The decadent traits of modern fashion and make-up since the late'90s could be listed as follows : first, the fashion has intentionally been designed to look disgusting, where realistic and imaginary images coexist, by using a half-man, half-machine image or vividly describing detestable animal skin, There have also been disgusting features in the make-up, which are so extremely weird that we can created by adding vinyl or pieces of textiles like Patch of the 17th century. Second, the satanic character of the fashion seems to be meant to keep in harmony with evil image such as Dracula, witch, skeleton or warrior of the evil, in order to charge the unnatural, inhuman and fin-de-siecle Phenomenon and find out what It really means for the inner world of men. And the demonic expressions of the make-up chiefly use white or black color or blue color of low saturation or low lightness, and part of facial features is exaggerated or shortchanged. Third, the decadent characteristics are expressed in the fashion by attaching sensational ornament to the human bode or using sexual exposure. So they give unnatural, unsound and extremely erotic impressions. The decadent features in the make-up are generated by excessively using a gay red color or sensational, exciting colors. Fourth, the exoticism of the fashion is largely affected by China's Chipaoh, Japan's Kimono or primitive motives from Africa, as there are increasing interests in Asia. And that of the make-up leans toward the East, as Kabuki make-up from Japan, Kyongkeuk make-up from China or the primitive features from Africa are employed.

• 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.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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• pp.3-10
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• 2005

The purpose of this study is to find the relationship between hightech architecture and digital one through the discussion on Karl B tticher's view on tectonic in 19th century. The discussion of tectonics which has not been brought up until recently. Since there are no studies regarding contemporary architecture relating to Karl B tticher's view on tectonic, so it is fairly significant to study Karl B tticher's conception, discussion and relationship of contemporary architecture. To study the essence and meaning of Karl B tticher's view on tectonic in 19th century, we will analyze each examples of hightech architecture and digital architecture through Karl B tticher's dual form. B tticher insist that dualistic relationship is united and produced simultaneously. Because they have so closed relationship each other, it's impossible to apply only decoration without structure. Therefore they have mutual assistant relationship. A relationship can be found between hightech architecture's technology and structural symbol that Karl B tticher tried to find in steel which is new material ornament. Digital architecture can be confirmed as images which are made of maximum expose through consistent dynamics of structure. Karl Btticher try to find structural symbolism between new meterail, iron, and decoration. In modern architecture it has the closed relationship with high-tech technology.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.144-152
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• 2014

This study evaluated how folly is experimented in the contemporary architecture after 30 years when Bernard Tchumi first introduced it to the public by the modern transformation as a garden ornament. First, folly project has been carried out based on the general concept of energizing dwindling cities. However, it has changed to the direction of adding specific programs. Also, along urban regeneration that does not change deterioration of previous structures, Folly changed in the emphasis on readjust existing structure. Second, by having different designers presenting their own follies during the Osaka Expo, folly now has part on visual exhibition element. This has similarity with public art project, yet it could more actively intervene for urban regeneration compared to conventional environment sculpture. Third, folly is experimented as the event-installation art combined form of architecture and art where people could experience the space and enjoy art. Fourth, folly enabled the landscaping of architecture and expanding city planning. Recently Gwangju Folly invited various arts, social, and cultural professionals to converge city design with architecture, landscaping, and other diverse genres.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.203-213
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• 2007

This study is on the esthetic characteristics of Christian Lacroix's haute couture works. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in fashion journal at home and abroad. The result of this study were finds three esthetic characteristics in his works and fashion philosophy; historic, ethnic, and hybrid sense. First, the historic sense, Christian Lacroix's biggest characteristic, is influenced by his major studies, but is not a revival from the past itself but a new characteristic based on borrowing and reinterpreting the images created by introducing and compromising the historic elements. Second, the ethnic sense is influenced by the growing background in his childhood and can be characterized as compromise among the multi-national design features. It is certified by the contrasting images, styles, expressions, materials, ornament elements, and so forth with the worldwide ethnic senses centered by the southern France and Spain. Third, the hybrid sense as the essential characteristic shows the uniqueness in his design by not only combining the modern materials, technologies, and futuristic emotion but also liberally compromising and associating the emotions based on a mixture among the follows; the historic representative styles, the foreign materials, the diversity between the Eastern and Western culture, and all elements, details, trimmings In the fashion design.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.483-484
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• 2010

Accessories originated from men's ornamental instinct in the beginning as a body ornament. Women's accessories in the Joseon Dynasty have splendid structure and rich symbolism, so they are enough to be a target of the study for being contents of Korea's cultural archetype. Traditional accessories are the foundation of excellent formative and functional characteristics due to the extreme beauty of crafts. This study aims to develop archetype of excellent formative factors by making traditional accessories digitalized for perpetuation in order to apply them to the culture industry. In addition, it is to prepare the educational foundation by reinterpreting traditional accessories in a modern way. Therefore, this researcher intends to develop constituents of traditional accessories by means of digital images and suggest digital contents methods of accessory techniques by dividing constituents, techniques, materials, symbolic meaning, and attire and wear.

• The Korean Journal of Community Living Science
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• v.12 no.2
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• pp.105-117
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• 2001

The purpose of this study is to figure out the actual situation of possession and use of traditional living appliances in the rural area, so as to provide plans for preservation and succession of traditional living appliances. The data were collected from 200 households in 8 rural areas classified by geographical zone. Traditional living appliances were divided into clothing.food.housing living appliances, play tools, and the others. As a result, the degree of using the traditional living appliances is 46.5%(in respect of "often use"). The need for preserving and using the traditional living appliances in modern society was 68.5%(in respect of "a little need"). The level of preservation and use of the traditional living appliances was relatively low except for food living appliances. In conclusion, the suggested directions for developing traditional goods to preserve and succeed traditional living appliances are as follows; ${\circled1}$ Developing traditional living goods peculiar to a certain locality ${\circled2}$ Developing goods with various uses; display, ornament, living appliances, memorial, etc. ${\circled3}$ Developing goods on the process and technique of making traditional living appliances. ${\circled4}$ Providing information and education on excellance of traditional living appliances.

• Journal of the Korean Home Economics Association
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• v.45 no.8
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• pp.39-47
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• 2007

This study was conducted to evaluate the roles that the exterior features of belts play in modem women's fashion. Providing a new prospective on belt expression could be useful for developing and producing belts with newer and more unique fashion designs. This study included related studies, fashion magazines and collections produced both in Korea and abroad since 2000. The results of the study were as follows: 1. A belt can be used to stress femininity. For example wearing a broad belt rather than a thin belt emphasizes the waist, breasts or hips depending on the position of the belt, whereas simply Wearing a belt loosely on a tight or see-through dress can also emphasize femininity. 2. A belt can be used as a design element of a dress. The basic elements of a belt, such as leather used in combination with various colors, various manufacturing methods, and ornate buckle ornaments can produce elaborate decorative effects. However, when a belt is made from materials other than leather, the belt can have an ornamental quality on an achromatic dress. Finally, designing belts to be worn in non-conventional manners, such as girding or tying them, or wearing several belts on the arms, legs, shoulders and waist can result in new and expressive styles.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.138-146
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• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.