• 패션비즈니스
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• 제13권4호
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• pp.21-36
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• 2009

The objective of the study is to create color plan for company D based on color images of the Bloomsbury Group paintings, which is an art institute based in Bloomsbury, London, a hometown of the company, to renew the traditional brand image of the company by blending fashion and art. This study analyzed 'D's previous F/W Color planning from 2003 to 2007 through NCS to understand characteristics of company D's color planning. It considered company D's color renewal concept by looking into Bloomsbury Group's backgrounds and pieces. Based on 2008-2009 F/W color trend and the analysis result, the study suggests a color plan with reference to a case study of the company D, for which I work as a colorist. The color renewal of the company D for 2008-2009 F/W season was categorized into theme I. Bloomsbury and theme II. Charleston for planning. The following table summarizes the result of 2008-2009 F/W season color plan with focus on development of new check and print patterns. The significance of the study can be found in that it advanced beyond the color planning stage to be applied to the actual renewal. Through a renewal of an existing brand, a fashion brand can be revitalized to have distinguished competitiveness.

• International Journal of Computer Science & Network Security
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• 제24권7호
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• pp.59-62
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• 2024

Non-fungible tokens (NFTs) are interchangeable rights to digital assets such as art, in-game items, collectibles or music, etc. NFTs have the potential to be infinitely useful in many industries by increasing security and processing costs for transactions and providing a new platform for the gigeconomy to work through. Its markets have grown fast and significantly since early 2021. We investigate the uses of NFTs and research the facts and figures on the usage of NFTs supporting websites. Using daily data between 2019 to 2021. NFTs took the world by storm in 2021, bringing forth a digital art revolution while becoming one of the fastest-growing asset classes of the year. While the NFTs market has been growing at a rapid pace, many are still wary of entering it because of the theoretical insanity around its worth. NFTs have been out there for quite some time and this trend doesn't plan to go any further. NFTs services have many practical use cases and their potential will only grow over time. While celebrities dive into this marketplace to maintain their onlinepresence andincrease their Net worth.

• 미술이론과 현장
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• 제1호
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• 한국과학예술포럼
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• 제29권
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• pp.305-318
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• 2017

도시공간에서 발생하는 범죄를 사회문제로 인식하고 도시환경설계와 관련하여 범죄예방에 관한 공간 디자인연구와 각종 지침 작성 등 구체적 접근 필요성이 증대되고 있다. 이와 관련하여 "환경설계를 통한 범죄예방(Crime Prevention Through Environmental Design: 'CPTED 셉테드' 라고 표기)"의 연구 활동이 활발히 진행되고 있다. 염리동 소금길은 2012년부터 시행되고 있는 '서울시 범죄예방 디자인프로젝트'가 적용된 첫 대상지이다. 사업시행주체와 커뮤니티 구성원의 협업 및 자발적 참여를 통해 지역 환경개선이라는 사업목적이 합리적으로 이루어졌다. 이의 효율성이 입증되어 이후 대상지가 확대되며 각 지자체의 벤치마킹 사례가 되고 있다. 이와 같은 문제해결 노력은 공공미술을 도입하여 낙후지역의 문화증진과 주민참여 유도 등 쾌적한 마을 만들기를 목표로 2009년부터 시행되어오고 있는 '마을미술프로젝트'와 목적과 방향에서 같은 맥락을 보인다. 이러한 흐름은 커뮤니티의 기능과 가치라는 특성을 중심개념으로 다루고 있다는 점에서 주목할 만하다. 본 연구는 거주민의 '삶의 질'을 높이기 위한 CPTED의 효율성 증대 방안으로 커뮤니티퍼니쳐 적용방안을 제안하는데 목적을 두었다. 이를 위해 CPTED와 커뮤니티디자인, 공공미술 관련 문헌과 선행연구를 고찰하고 '범죄예방디자인 프로젝트'와 '마을미술프로젝트'의 대표적 성공 사례지 서울 염리동과 부산 감천문화마을 현장답사를 토대로 문제점과 시사점을 확인했다. 본 연구에서 확인한 두 사례지 공통적 요소는 첫째, 환경의 물리적 조성 외 협업에 의한 커뮤니티 활성화로 지역주민의 '삶'이 중심에 놓이는 환경으로 발전하였다. 둘째. 커뮤니티디자인과 공공미술 도입으로 새로운 공간을 창출하여 많은 이들의 방문으로 마을의 활기와 지역경제 활성화를 이루었다. 셋째, 이로 인해 CPTED 요소중 자연적 감시와 영역성과 통제력, 활동성 증대를 강화시켰다. CPTED의 심리적 측면과 공공미술의 정서적 기능이 '커뮤니티퍼니쳐'와 융합됨으로써 지역민의 사고방식과 정서를 기반으로 하는 특정한 지역적 맥락을 통해 공공공간에 대한 막연하거나 거창한 접근을 지양하고 모두에게 유익한 환경창출이 가능할 것이다. 이와 같이 CPTED와 공공미술의 융복합 성과의 개연성과 시사점은 도시재생을 위한 디자인 전략으로 CPTED 적용 공간 확장 등 범죄예방 인프라 구축을 통한 사회적 비용의 절감 및 시각적 어메니티 구현 방안 제시가 가능할 것으로 기대하고 있다.

• 예술경영연구
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• 제55호
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• pp.39-73
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• 2020

최근 1인 가구의 급격한 증가는 전반적인 소비 트렌드뿐만 아니라 예술공연시장에도 큰 영향을 미치고 있다. 공연관람 형태 중 1인 관람객 비중이 절반에 육박하면서 '혼공족'이라는 신조어가 널리 사용되고 있는 실정이다. 이러한 '1인 소비', '나만을 위한 소비' 트렌드를 대표하는 것이 나 자신을 위해 특별한 소비를 하는 '자기선물' 개념이다. 본 연구는 나를 위한 소비에 투자를 아끼지 않는 새로운 공연 관람객 집단을 이해하기 위한 틀로서 자기선물 개념을 도입하였다. 그리고 자기선물 동기가 공연관람의 인지된 가치와 자기선물 의향에 어떤 영향을 주는지를 실증하였다. 또한 1인 관람객만의 특징을 보다 명확히 확인하기 위해서 1인 관람객 집단과 2인 이상 동반관람객 집단에서 자기선물 동기의 영향력에 유의한 차이가 있는지를 검증하였다. 실증분석은 특별한 소비로서 자기선물의 특성이 잘 반영될 수 있도록 상대적으로 관람비용이 고가인 클래식 음악공연을 대상으로 삼았다. 분석결과 자기선물 동기 중 보상 동기, 실망치유 동기 및 부정적 무드 감소 동기가 공연관람의 인지된 가치를 통해 자기선물 의향에 유의한 영향을 미침을 확인하였다. 그리고 다중집단분석을 통해서 1인 관람객과 2인 이상 동반 관람객 사이에 자기선물 동기 요소의 영향력에 유의한 차이가 있다는 점도 밝혔다. 문화예술 공연계가 1인 관람객, 나를 위한 소비 트렌드에 대응하기 위해서 이러한 고객집단을 이해하는 이론적 기반을 최초로 제공했다는 점에 본 연구의 기여가 있다. 또한 공연관람을 자기선물로 프레이밍 함으로써 침체된 클래식음악 공연시장을 활성화할 수 있는 실무적 시사점도 제공하였다.

• 복식문화연구
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• 제6권1호
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• pp.84-93
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• 1998

The main focus of this paper is to provide clear understanding about the concept of make-up as total fashion by defining the essential meaning of it. First, we would like to go over the concept of make-up and total fashion, then analyze the make-up image, the changes of colors and images of make-up overtime and fashion that have influenced over those changes. In this paper, we analyze the trend of fashion and make-up in 1990s and their relevancy. Through this paper we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people. The trend of Spring/Summer between 1990 and 92is the image of natural beauty and comfortable and modernistic image that can be experienced through nature. In 1992, there was a revival look of 1960s and 1970s. Make-up also followed this trend. The overall color tone was to give natural and stable images with pastel tone to soften the images. This tone brought back the ecology of 1960s. The theme of restoration in humanity and nostalgia was reflected in clothing, and these trend changed the ecology of make-up to peace, love and romantic ecology which was expressed in coral, blue, and green tone to create intelligent image of woman. Year 1996 could be called as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. The beginning of 1990s Fall/Winter season was based on ecology concept that emphasized the natural image. Until 1995 it appeared that spring/summer and fall/winter trend had no big differences. But from 1995 seasonal differences in trend are appeared and there were various make-up designs. In 1995, 1996, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors. These color were the symbol of property and sentiment and gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image and at that time ethnic image, romantic image appeared with vivid color lines, gold, red and violet.

• 디자인학연구
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• 제16권3호
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• pp.101-110
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• 2003

인간은 자연현상으로 발생되는 소리와 인공적으로 발생되는 소리 속에 살고 있다. 인간의 생물학적 행동을 유발시키는 것 또한 소리이다. 감각기관 즉, 청각으로만 인식할 수 있는 소리의 또 다른 표현은 예술의 형식을 통해서 가능하다. 음악과 미술은 같은 감정을 표현하는 예술호서 표현방법만 다를 뿐 둘 모두 우뇌(右惱, dextrocerebral)를 사용하고 직관력이 필요하다는 공통점을 가지고 있다. 이런 관계로 지금까지 음과 시각예술을 접목하려는 시도가 계속되어 왔으며, 주관적인 해석의 예술적 작품에서 컴퓨터를 이용한 작품에 이르기까지 음의 시각화 실험은 계속 시도되어지고 있다. 본 연구는 음의 시각적 표현 중 디자인 저 표현의 본질과 특성을 규명하며, 기존의 학문적 특성과 연구 범주, 최근의 주요 동향에 대한 고찰을 바탕으로 향후 음의 시각표현의 방법론을 정리하고 재해석하여 이의 디자인에 대한 연구 방향을 제시함을 목적으로 한다. 본 연구를 토대로 향후 한국음악 특히 사물놀이가 가지고있는 음색적 특색 및 각 악기의 상징을 이용한 시각적 표현의 가능성을 모색하는 후속연구를 통해 음의 새로운 시각표현의 기능성을 모색코자 한다.

• 한국의류학회지
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• 제8권3호
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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.

• 한국의류학회지
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• 제35권3호
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• pp.371-384
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• 2011

This study with 'trip' as a theme, aims to develop textile designs and fashion bags for travel which is widely applicable fitting traveler's T P O, applying Victor Vasarely's artwork. During the planning process of design, 'Whenever & Wherever's concept was set by analyzing fashion trend information in 2010-11 F/W proposed by Interfashion Planning and FCK; in addition, 'Bobos' were selected as research targets. It organized 4 images of 'Modern', 'Romantic', 'Classic' and 'Fantastic'. The motives are proposed textile design with '$Cross^2$', 'Falling Z', 'Cir-Classicism' and 'Skinny-holic' per each theme. The designs developed were printed out and into polyester canvas with a Polaris V6 DTP from dgen, Corp. Textile designs developed were applied for 'two-way' formed fashion bags for traveling with high practicality. Fashion bags for traveling consisted of big bags, tote bags, and hip sacks; a total of 12 works (4 sets per theme) were produced. This study sought practical plans for artworks by producing fashion goods through a DTP system. The results of this study can be used as guidelines for further studies and as a significant contribution to the creation of high values for exciting fashion products.

• 복식문화연구
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• 제20권3호
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• pp.347-362
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• 2012

Formatively and artistically aspect, a hybrid can be said to be a phenomenon in which two mutually different genres are combined. Make-up is thought to be very important to arrange the foundation available for predicting and pursuing a flow and direction of future hybrid make-up based on this, by analyzing a flow centering on hybrid trend, which was shown previously. In terms of objectives of this study, the first, aim is to suggest a model for researching make-up by grasping the developmental process and the characteristics of hybrid art through considering an art theory of hybridity, shown in make-up. The second, aim is to design make-up by analyzing trends in make-up style after deconstructing the hybrid genre. The modern make-up design through genre-deconstruction characteristics beyond diverse plurality and genre could be known to be highlighted as aesthetic characteristic by a slight attempt as communication of open space, which connects culture and genre, which had failed to be recognized and was neglected. Empirical research has, produced a work by systematically arranging make-up design. This study, identifies two kind of barrier demolition, such as the class deconstruction and the temporal, spatial disorder centering on genre deconstruction of hybrid. There are infinite possibilities in developing make-up design in line with modern sensation through aesthetic element and symbolic significance through genre deconstruction. It was the expression mode in future make-up, to providing basic data, and to strengthening competitive edge of culture and art.