• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.53-64
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• 2014

The main objective of this research was to understand the characteristics of printed geometric patterns through the statistical & qualitative analysis of fashion appeared in contemporary female collections 2011 S/S to 2013 A/W. Data collection of 294 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency was conducted. Also qualitative interpretation of natural print design' characteristics were completed. The main findings were as followed; 1,636 of the total 15,852 designs were printed patterns in 12 Collections and the occurrence rate of printed geometric patterns in three collections were 8.6% in Milan, 9.2% in Paris and 12.9% in N.Y. Most geometric patterns were the types of compact or medium density in a front patterns with a variety of sizes and mainly applied to the one piece dress or two piece clothing item combination styles. Formative Characteristics of printed geometric patterns were classified into four types. First, a variety of thicknesses and shapes, such as a line or a rectangle shape to take advantage of the types of the typical geometric pattern. Second types were using the motifs which inspired by geometric shapes such as point, circle star and other special geometric shapes and arranging them regularly with various sizes and density. The third was repeated particular motifs which based on complex and sophisticated mathematical formulas. Fourth were the specific diagram types of bold and free shapes or dividing the flat and arranging them without rules, or the combination type of various geometric motifs.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.173-181
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• 2013

This research analyzed the expression trend about the slit which composes the open space by the visual concept and then introduced the imbedded aesthetic value in it. Based on it, this work aims at showing the evidence on the slit as a utilizing tool for various design applications and providing the basic materials in order to develop the creative design production in the fashion area in the future. Specifically, for the theoretical background in this research, the concept of slit and its chronological changes were reviewed through literature. For the empirical analysis on the slit, a total of 226 designs with its application were analyzed from collection pieces in the four major collections including Paris, Milan, New York, and London from 2006S/S to 2012S/S. As a result of analysis, types of slit appeared as a slash, opening, slit, or a mix of them. These were applied to many different items of clothing, and among which, one-piece or dress was adopted most for application. In regard to space form, perpendicularity was used most frequently. But other various forms like cross and geometrical pattern were also used as well as curve, oblique line and horizontality. As to the arrangement of slit, single type was most frequently used. However, in addition to it, other types were also applied, producing both the functionality and the decorative detail such as bilateral symmetry, free irregularity, and a combination of regular and repeated layout which makes an effect of single pattern. Aesthetic values imbedded in slit were revealed as functionality, sensuality, spatiality, and decorativeness.

• International Journal of Costume and Fashion
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• v.7 no.2
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• pp.18-31
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• 2007

The purpose of this study is to examine color characteristics and color changes of the fashion collections through 1990s, and to provide the efficient color information for color planning upon fashion themes. For this research, a total of 30,084 colors were collected from Paris, Milan, London, New York Collections in 1990s. Those colors were first measured by the Pantone Textile Color Specifier and COS Color System and spectrophotometer(color eye 580). These measured color values $L^{\ast}a^{\ast}b^{\ast}$of CIE were converted into H V/C of Munsell System, and 12 tones of PCCS with 5 achromatic colors. The characteristics of collected colors were analyzed in general and by place, season and year. The results of the study are as follows : First, the hues of purple blue, yellow red, red, yellow and the tones of grayish, pale, white, black, dark grayish, dull, light grayish appeared mostly. Yellow was shown quite frequently in spring/summer while purple, purple blue, red and yellow red in fall/winter. White, pale, light, light grayish and light gray were shown more frequently in spring/summer while Black, dark grayish, grayish, dark gray and dark in fall/winter. Second, the characteristics of colors by 4 representative places were similar to the general characteristics of colors in 1990's. Third, There were distributed widely Red, Yellow Red, Yellow in the early 1990s, Green Yellow, Green, Blue Green in the mid of 1990s, and Purple Blue, Purple in the late of 1990s. The distribution range of chromatic colors showed wide in both of the early of 1990s and the mid of 1990s for a while, and achromatic colors of grayish, gray and black appeared mostly in the late of 1900s.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.91-109
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• 2013

The main objective of this research was to understand the latest trends of natural print design through the quantitative & qualitative analysis of fashion appeared in contemporary female collections. The research criteria was defined as 3 seasons from 2011 S/S to 2012 S/S. Data collection of 726 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency with chi-square test was conducted. Also qualitative interpretation of natural print design' characteristics was completed. The main findings were as follows.; The average occurrence rate of natural print design from 2011SS to 2012 SS in three collections were 6.4% in Milan 6.4%, 5.5% in Paris and 6.8% in N.Y. The five source types of natural prints in contemporary women's fashion collections were identified and the order of their appearance were as follows: flowers, plants, animals, insects & marine organisms and compound one. The plant prints were expressed by stylized or realistic touch. Flower patterns showed more variables than plants, however, there were no big difference in their image and major characteristics. The animal prints demonstrated two aspects. First one used typical animal print of fur or skin, but the other one draw the animal figure like paintings. The compound source type presented the most interesting and fresh pattern design ideas. In the insects & marine organisms, mainly butterfly and seashell & starfish, etc. appeared as real shapes or sometimes were stylized.

• Journal of Fashion Business
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• v.12 no.5
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• pp.94-110
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• 2008

The main objective of this research was to understand the characteristics of separation color coordination of contemporary female fashion through the analysis of 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2004 S/S to 2008/9 A/W. The data collection of 265 was done by reviewing 'pre-a-porter Collections' magazine and total 265 observations were made. Statistical analysis of frequency and also qualitative interpretation of separation color coordination characteristics were completed. The main findings were; (1) In separation color coordination of contemporary women's fashion collections, there were three main types of color scheme which were classified into seven detailed categories of color combination. First was the achromatic color & one chromatic separation color scheme which was classified into four categories of - black & white, black & grey, white & grey, and grey & grey - color combination. Second was the chromatic colors & one achromatic separation color scheme which classified into two categories of achromatic & chromatic color & one achromatic separation color combination, and chromatic colors & one achromatic separation color combination. Third was chromatic colors and one chromatic separation color combination. (2) The achromatic colors and one chromatic separation color scheme showed two phases of reinforcing the strong and modern image, or softening the hard and dull image of achromatic color combination. In color schemes which used more than two chromatic colors, the separation color frequently converted the tedious and monotonous fashion image, which caused by identical or similarity in color or tone harmony, into more attractive and interesting. (3) In conclusion, through the various use and coordination of various color schemes, color harmony and separation colors, the separation color coordination in contemporary female fashion has been suggested the effective way of color combination which can lead the visual pleasure and the vitality along with the unity and the harmony. This characteristics can create various images and visual diversity for fashion. The types and the use of color scheme and separation color showed different trends in four collections.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.3 s.151
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• pp.447-457
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• 2006

The purpose of this study is to document and preserve an unidentified textile purchased at a flea market. This study object is important because it is one of the very rare silk insert series from 1930s which were created for commercial use(as inclusion in cigarette packages). The investigation was conducted by researching the limited publications that discuss silk inserts, visiting many sites on the internet that offer such inserts for sale or catering to the collectors of these silk inserts, and especially visiting the collection of silk inserts, named the J.R. Burdick Collection, at the Metropolitan Museum of Art, New York. Several pieces matched the patches used in the study piece. But Buidick's description on time frame(1912-1915) did not indicate the full range of production of silk inserts. After the identification of object, the conservation treatment was carefully done using adhesives. The results of this study can be summarized as follows; 1. The silk inserts of the study object were included as promotions by some company owned by the American Tobacco Company, probably at some time between 1934 and 1939. 2. The initial stage in the conservation treatment was mechanical surface cleaning using a vacuum cleaner. After vacuuming, humidification was conducted to reduce creases in the top of the object. The damaged areas were backed with stabiltax coated with a solution of Elvace 45675 since the fiber of this object was too deteriorated. 3. Adhesive treatments using Elvace showed satisfactory results: flexibility, strength, no damaging effects on the study object, removability without damaging the object.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.176-199
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• 2020

In 2018, the National Museum of Korea purchased a pair of Japanese folding screens, respectively entitled Gathering on the Year's First "Day of the Rat" and Boating on the Oi River. Both of these two screens (hereinafter collectively referred to as the "NMK edition") have a gold background that bears the seal and ink inscription of Tosa Mitsuyoshi (1700-1772), who served as edokoro azukari, a painter in the court of Kyoto. According to the seller in New York, the screens were brought from Japan to the United States in the early twentieth century, but no other details are known. Each folding screen has six panels. The screen on the right (i.e., Gathering…) depicts "nenohi no asobi," an annual event conducted on the first "day of the rat" (according to the Asian zodiacal calendar), wherein the Kyoto imperial court ventured to the woods to gather pine seedlings. The left screen (i.e., Boating…) shows three boats traveling down the Oi River in Kyoto, representing the ritual known as "mifune" (literally, "three boats"), which involves three boats representing Chinese classical poetry (kansi), Japanese classical poetry (waka), and Japanese imperial music and dance (gagaku). Notably, these two screens are identical in theme and iconography to two screens with the same respective titles that were commissioned by Emperor Komei (1831-1867) and painted by Ukita Ikkei (1795-1859), an artist of the Yamato-e Revivalist School (fukko yamato-e), now in the collection of Sennyu-ji Temple in Kyoto (hereinafter collectively referred to as the "Sennyu edition"). While both of these themes have been painted independently numerous times, the NMK edition and Sennyu edition are the only known cases of the themes being painted as a single set. According to Diary of Official Business Between the Court and Shogunate (the journal of a court official named Hirohashi Kanetane, 1715-1781), Tosa Mitsuyoshi was commissioned in 1760 to replace the fusuma (rectangular sliding panels) of Tsunegoten, one of the buildings of the Kyoto Imperial Palace, which had been built in 1709. Notably, records show that Tsunegoten once contained a series of fusuma painted by an artist of the Kano school on the themes "Outdoor Procession on a Spring Day" and "Three Boats Cruising on the Oi River." Hence, it seems probable that Tosa Mitsuyoshi was influenced by the theme and iconography of the existing fusuma in producing his own folding screens depicting the court's visit to the forest and a cruise on the Oi River. While the practice of collecting pine seedlings on the first "rat day" of the year was an auspicious event to pray for longevity, the mifune ritual was intended to honor the greatest talents of the three aforementioned arts, which were of crucial importance to the court of Kyoto. Folding screens with such auspicious themes were commonly featured at the ceremony to enthrone the emperor or empress. Significantly, the Diary of Official Business Between the Court and Shogunate also records that Tosa Mitsuyoshi, while working as a court artist, produced two pairs of folding screens for the coronation of Empress Go Sakuramachi (1762-1771), which was held in 1763. Hence, research suggests that the NMK edition is one of the pairs of royal folding screens produced at that time.