• Journal of the Korean Society of Costume
• /
• v.31
• /
• pp.145-164
• /
• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• Journal of Internet Computing and Services
• /
• v.19 no.5
• /
• pp.43-54
• /
• 2018

Images taken in haze weather are characteristic of low contrast and poor visibility. The process of reconstructing clear-weather image from a hazy image is called dehazing. The main challenge of image dehazing is to estimate the transmission map or depth map for an input hazy image. In this paper, we propose a single image dehazing method by utilizing the Generative Adversarial Network(GAN) for accurate depth map estimation. The proposed GAN model is trained to learn a nonlinear mapping between the input hazy image and corresponding depth map. With the trained model, first the depth map of the input hazy image is estimated and used to compute the transmission map. Then a guided filter is utilized to preserve the important edge information of the hazy image, thus obtaining a refined transmission map. Finally, the haze-free image is recovered via atmospheric scattering model. Although the proposed GAN model is trained on synthetic indoor images, it can be applied to real hazy images. The experimental results demonstrate that the proposed method achieves superior dehazing results against the state-of-the-art algorithms on both the real hazy images and the synthetic hazy images, in terms of quantitative performance and visual performance.

• Journal of Digital Convergence
• /
• v.12 no.2
• /
• pp.1-10
• /
• 2014

Recently, the value and the status of the digital archives that are built individually in the crossroads of oblivion and memory are due to big data has attracted attention globally is confusing. Video data that contains the cultural memory of the digital archive, such as culture, art, life, society, and social conditions of the time, it is a cultural heritage of national common expressed. Also, it remains a trace of history from the various media just like magazines, books, painting, photography, and film. Digital archive system is one of the best research results of media convergence and it has also a good opportunity to take full advantage of the new opportunities and cultural assets. The collection of infinite information of big data in perspective transient that exist at the same time compatibility of big data, it is trying to dismantle the cultural memory of us. It was asserted that must meet the criteria which can correspond to via the new digital era, will be applied to preserve the traditional media. The current image archive is necessary to accommodate proper two different directions.

• The Journal of The Korea Institute of Intelligent Transport Systems
• /
• v.11 no.3
• /
• pp.112-123
• /
• 2012

Different from general roads, intersections are the points where roads having different geometric structure and traffic operation system are met, and thereby they have complicated road structure and environmental factors. Various changes in driving patterns such as collision between vehicles approaching from roads adjacent to intersections, sudden stop of vehicles upon stop sign, quick start upon green lights kept increasing traffic accidents. It is known that traffic accidents are mainly derived from human factors. This study, in order to find out factors affecting drivers' behaviors within intersections, measured physiological responses such as brain wave, sight, driving speed, and so on by using state-of-the-art measuring device. As to concentration brain wave at individual intersections, it was found out that brain wave of testes was higher at main Arterial and accident-prone intersections compared with that of subsidiary Arterial. In addition, it was detected that drivers' visual activity was widely distributed at accident-prone intersections, meaning that it enhanced cautious driving from nearby vehicles. As to major factors causing drivers' workloads, factors from nearby vehicles such as deceleration, acceleration, lane change of nearby vehicles appeared as direct factors causing drivers' workloads, clarifying that these factors were closely related to causes of traffic accidents at intersections. Results of this study are expected to be used as basic data for evaluation of safety at intersections in consideration of physiological response of drivers.

• Journal of the Korean Society of Costume
• /
• v.57 no.4 s.113
• /
• pp.173-187
• /
• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of the Korean Society of Costume
• /
• v.58 no.2
• /
• pp.78-92
• /
• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• Korean Journal of Construction Engineering and Management
• /
• v.16 no.3
• /
• pp.113-122
• /
• 2015

VE workshop is performed based on VE expert' experiences without retrieving VE data of similar previous projects. Moreover, it usually omitted or applied for the sake of formality due to insufficiently understanding VE function, limited time, space and budget. Even though many studies have established VE databases for retrieving and reusing VE data, VE workshop is still inefficient and ineffective to improve projects' values. With this regard, this study proposes a preliminary prototype for improving VE workshop, which utilizes the state-of-the-art information communication technologies(ICTs) including Building Information Modeling(BIM), Mobile Computing(MC), Network Service System(NSS), and Database Management System(DBMS) for better managing, storing and reusing VE data. The prototype was developed to evaluate advantages and limitations. The results show that the proposed prototype can support visual VE data retrieval from similar previous projects, enhance communication among VE team and save much time and cost comparing to traditional VE. Through this, the productivity of VE workshop can improve efficiently and effectively.

• Journal of Fashion Business
• /
• v.6 no.5
• /
• pp.48-58
• /
• 2002

The purpose of this study is to analyze four separate elements-sublime beauty, elegant beauty, mysticism, ornament-which appeared in materials, patterns, colors, silhouettes, details, and accessories, laying stress on luxurious, brilliant, mysterious feelings on Gorgeous Images appeared as trend theme of modern fashion by mixing religious mysticism of the Byzantine Empire. Mysticism element is using the effect of splendid and gorgeous colors from the Orient rather than forms. And a philosophy of abundant colors in mosaics, which are seen in art forms such as architecture, paintings, etc., shows that it creates some visual rooms for religious spirits. Influenced by the fashion of the Greco-Roman style, the elegant beauty element is expressing abundant comfort and elegant feminine lines that are from creases, and it is also emphasizing natural beauty which seems to slip down by displaying the splendid images of Gorgeous as drapes that fit a body. Ornament element was reflecting an inspiration from the splendid and brilliant culture of religion in the Byzantine Age. Therefore, it was appeared as a style filling the whole with bulky silks, splendid ornamental materials embroidered in gold or silver thread, the complicated geometric patterns that are two-dimensional and dignified, and so on. It was decorated with crosses which represent Christianity as a motif, and also it emphasized the splendor of the Byzantine and dazzling splendid images of Gorgeous by using accessaries decorated with various jewels. The elements of sublime beauty are showing the beauty adding humble and majestic images to it as designs sought by spiritual values or intrinsic values. Those designs, so to speak, have pretense which does not allow to expose a body and plain pure feeling, so that they are showing some abstinent styles in a solemn atmosphere, with most details removed. We can say the Fashion Theme appearing in Modern Times is the result from representing by combining various factors of the times with formative beauty through creative works for aesthetic expression. The moderners are requiring new designs which is possible to meet their individualities, in addition to their outstanding fashion senses. From this point of view, a variety of textiles, patterns, and colors in the Byzantine have a great meaning to fulfill people's various desires as interesting elements.

• Science of Emotion and Sensibility
• /
• v.11 no.1
• /
• pp.57-68
• /
• 2008

With the shift of consumer’s spending behaviors further into emotionally-driven purchases, the role of brand is becoming even more important, which in turn, expands design’s role in the brand image strategy. The contact point between the consumers and the brand is the primary channel for building strong brand image through experience. Therefore, it is critical to comprehensively plan and manage the consumer contact point for any brand. Given the changing market conditions, the objective of this study is to define and structure an integrated design development and management system for building successful brand image. In order to do so, the research analyzed the characters of brand image, the conditions for consumer experience and the roles of emotion. The analysis into the correlation between images and emotion process model yields three natures of an image. The image 1) is based on empirical decisions, 2) expresses and conveys emotional aspects and 3) builds mental values through a sense of sympathy. Through case studies of successful designs that meet all three characteristics, the roles of a brand icon in building strong brand image and the needs for integrated design approach for implementation are defined. The methods for integrated design include 1) providing a focal point through brand image positioning, 2) utilizing visual themes based on brand image plot, 3) building a Total Identity Program to holistically manage brand images and 4) developing brand icons for brand image reinforcement.

• Journal of Digital Convergence
• /
• v.16 no.1
• /
• pp.281-286
• /
• 2018

In recent days, when the development in smartphones has made it common to operate objects by using them, this study aimed to present a guideline for the UI/UX designs for applications which are necessary for operating various objects through the wireless communication technology. To suggest the application guideline, existing object control application case studies were analyzed, and based on this investigation the object control application UI/UX design guidelines were proposed. This study classified the types of wireless connections used by smartphones (LTE, Wi-Fi, Bluetooth, NCF, RFID) and analyzed the necessary design factors for operating objects by each type. Based on such analysis, this study presented the design sequence, factors, and methods for the UI/UX guidelines of applications. First, the method of connection was selected; second, the control device was selected. This new direction for designing smartphone applications for operating objects will likely help systemize the design process and enable the user to operate the object more intuitively. In future research, case studies will be designed applying the guidelines suggested from this study.