• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.4
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.346-355
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• 2021

Art strategies have been addressing the problem of volume growth caused by changes in the distribution environment of luxury brands. Art is a universal language that transcends borders and communicates across cultures, therefore, artification acts as a strategy for the globalization of luxury brands. This study aims to study how contemporary luxury brands communicate their artifacts strategically through branded products via artification. As a research method, a literature review and case studies were combined. The cases of artification range from the 2000s to the present, and the top 100 brands in the luxury category of Millward Brown were selected. Drawing on the characteristics of artification defined in this study we analyzed the cases of articulation of luxury brands. As a result, first, appropriation of art in the product frame is carried out by borrowing ideas from renowned works or artists. Second, as an experimental attempt, it is effective to associate the international reputation of an artist with a product through a reinterpretation of the product. Third, as an artistic creation for the brand narrative, luxury products are sublimated into artwork and idealized.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• Journal of the Korean Home Economics Association
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• v.44 no.6 s.220
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• pp.23-34
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• 2006

Graffiti has been recognized as an art form since the influence of free, black culture and Neo-Expressionism in the 1980s, though Graffiti remains the subject of controversy both inside and outside the school Modem Art. Jean Michel Basquiat is the most famous Graffiti artist of the '80. He was regarded as the genius and star of American art, leaving a lot of experimental and creative works during his short, 9-year, creative period. In his works, Basquiat well expressed the isolated and dark shadows in the U.S., the pursuit of self identification, the purpose of expression and the epochally social phenomenon. The purpose of this study is to investigate the application of Jean Michel Basquiat's Graffiti to fashion painting. To achieve this purpose, we present a lot of fashion painting works which apply Jean Michel Basquiat's Graffiti by focusing on autographic experience, racialism, cartoon themes, monely value, and anatomical death in the characteristics of Basquiat's works. Through this process, we can express and apply Basquiat's Graffiti to fashion painting by analogizing the themes and modeling the methods of his works, such as childish and simple features, intentionally wrong spellings and sentences, and symbols of death including skeletons, intestines, bones and teeth. In addition, Basquiat's techniques are examined in this study, including the representational handling of a brush, primitive and strong colors, and maximized shape. This study found that fashion painting can juxtaposes art and fashion by expressing Jean Michel Basquiats' Graffiti.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.70-90
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• 2023

This study aims to use Art brut works-the artwork of the socially underprivileged and alienated-to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut's concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann's work were collected through online sources like the Gugging Museum's website, Christian Berst Gallery's website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann's works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann's works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann's work is a color block design of fashion, which utilizes the formative fun.

• The Korean Journal of Community Living Science
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• v.15 no.1
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• pp.17-26
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• 2004

Not much is known about Korean clothes from past centuries. Fortunately, we are able to make some inferences based on various sources of data other than the actual clothes themselves. Historical records such as Kim Hong-do's Pungsokhwa Pieces, well known to us, vividly depict features of the costume and the lifestyle of his time along with contemporary Korean humor and atmosphere. Kim Hong-do is the artist who, having accomplished pictorial refinement, recognized social change and took this into his artistic world late in the 18th century. The ruling classes, in contrast, tended to adhere to anachronistic medieval philosophies in a gradually changing society. In this study, Kim Hong-do's Pungsokhwachop, Treasure No. 527, preserved in the National Museum of Korea, was viewed from a new perspective, and it was discovered to have assorted the costume and culture of ordinary people according to their life styles. Fourteen of the pieces depicted how common citizens made their living, three described love affairs, five depicted people at play, md the rest showed elements of education, wedding ceremonies, and shamanism, respectively. Various types of clothing were observed reflecting the life styles of ordinary people, and a somewhat bold exposure of body was noticed in women's fashion in the late Chosun Dynasty. They chose clothing as they pleased to fit their jobs and functions, which produced elegant self-regulation and creativity based on practical beauty. A hat - yet to be found as a relic - appeared in Blacksmith's Workshop, and revealed the changing social customs of the late Chosun Dynasty in the 18th century. It is hoped that the results of this study will serve as a valuable reference point for the globalization of Korean clothes.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.245-260
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• 2010

Collaboration among various fields appear according to rising of snack culture, polarizing phenomenon by a point to value, consumer behavior change giving importance to direct experience, and arrival of high touch age satisfied various needs and desires of consumer. Collaboration progressed limited edition form utilizes famous artist and designer's fame to promote products and upgrade their brand image through a short period agreement. This research aims at analysis about collaboration phenomenon in collaboration manners and characteristics, and understands changed socio-cultural meaning through collaboration expressed in almost all industry for high speedy changing fashion environment. This research utilizes between theoretical study and empirical analysis. For concentrated study, research period limits from 2007 to the present time 2009. This paper's purpose is studying on the socio-cultural meaning through analysis about characteristics of the trend of collaboration expressed in contemporary fashion. This research's results are as follow as; First, common life toward aesthetic surrounding, Second, introduction of high concept, Third, the power of Homo Consmus, Forth, focusing on the intangible elements and the value. This study intends to predict change of fashion design and fashion market for complicated consumer, and present fundamental materials about fashion industry and design development of the future through consideration on concrete aspect and meaning of collaboration expressed in contemporary fashion.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.69-83
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• 2011

This study applied cartoon-like simple and implicit symbol of Keith Haring works to tubular jacquard knit, designed woman casual knit wear with fun, explicit and activities using fluorescent yarns with explicit features. This study aimed to propose the directions for new market pioneering that meets the emotional requirements of modern people by raising the level of utilization and expression area of knit fashion, and to present the constructive directions for high value-added knit wear by designing highly effective knit wear. Methods of this study examined the lifetime and artistic background of Keith Haring and collected his works through searching of internet, scholastic publications or thesis. Formative types and colors of works collected were analyzed and classified according to characteristic standards of Haring and characteristic formativeness and color of works were extracted. The result of this study is as shown below: First, the feature of his works can be summarized into motif that has symbolic and implicit cartoon-like lines including narratives as well as enormous number of works. Such feature is very suitable for variation and recombination in realization of design and has unlimited potentials for development. Second, image colors can be extracted such as black and white, original color and fluorescent paints, which reflects the intention of artist who put focus on communication with the public. Such color feature is very suitable for design motif that has explicitness of reflecting the intention of artist through use of special fluorescent yarn. Third, I made it as reversible wear that has effects of increasing or decreasing the explicitness according to color area ratio using the feature of textures allowing use of both sides as well as form stability of tubular jacquard. Fourth, by adjusting the thickness of fabric with controlling of ply in fabric using poly yarn and wool union yarn, I could obtain good results of study in terms of technique that can express various materials with embossed dynamic effects of unevenness on flat surface.

• Journal of Fashion Business
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• v.14 no.5
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• pp.128-144
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• 2010

The purpose of this study is to define the origin of name 'Watteau gown' which is controversial by analyzing a Watteau gown, represented in the paintings by Jean Antoine Watteau, an artist in the Rococo era, and clarify the shape and composition of a Watteau pleats which characterizes the Watteau gown and the morphological characteristic of the silhouette of the Watteau gown. Theoretical review and empirical research was simultaneously conducted. The theoretical review considered social backgrounds from late 17th century to early 18th century when Watteau actively worked and a background of forming the style of Fete galante. The empirical research was conducted by sampling 106 pieces of costume from Watteau's 65 paintings collected and classifying according to morphological shapes and composition. Based on this result, it is suggested that the Watteau gown was very prevalent as women's costume early in the 18th century. The Watteau gown, robe volante, robe battante, sack gown and robe a la Francaise were developed and modified from one gown which started from the same source in some connection. This study has significant meaning that it defines the origin of Watteau gown and Watteau pleats found in women's costume in the Rococo era. Furthermore this study will contribute to the practical use of costume elements of 18th century which are beautiful and artistic in aesthetics as the source of contemporary fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.