• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.145-158
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• 2004

In modern art, body appears as artistic performer, material or producer. and is expressed as' social environment body' which is changed in the relationship with its society and culture. The correlation between body and clothing image appears in 'body as expression object' which directly borrows human body or sets up a section of human body, 'body as medium' in which clothing substitutes body, and 'body as image' in which image of body reappears along with clothing. The results of analysis are as follows : First, 'image of expansion and exaggeration' to expand the influence of clothing thereby disclosing illusion of material civilization prevalent in our society, and make metaphor of dwarfish human's lurking fear by transforming and exaggerating human body. Second, 'image of restriction and suppression' to express the loss of humanity, power and restriction of modern society with fixing and cruelty of body image through clothing which disregard body function. Third, 'image of open and fluidity to criticize the extinction of values of human existence and standardized figure of our society by reducing three-dimensional clothing and body to untypical form or introducing the image of absent of human body to clothing. Fourth, 'image of reversion and paradox' to express practical clothing object with unwearable material, or cause confusion of sex and identity by expressing dual aspects of body at the same time. In this study, which is focused on correlation between body and clothing and the meaning of them, I realized that, even though artistic clothing expressed image of distortion and deformation of human existence as essential subject of body, they, in most contents, were used as medium of communication to rediscover human dignity and identity, and consisted of a series of metaphoric network of meanings satirizing aspects of our society.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.19-32
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• 2014

The Taekwondo uniform has remained consistent since it was officially designed in a V-neck form in 1976. Taekwondo is a martial art that emphasizes social etiquette; therefore, it is necessary to dress in a uniform that reflects Korean traditions and ancient oriental philosophy. However, the current official uniform has limitations in endowing traditionality and many usability problems. Thus, recognizing the problems raised with the uniform, the Kukkiwon (World Taekwondo Headquarters) developed a new style official uniform in 2011. This study is to endow traditional meaning to a new style uniform and proposes some design modifications that can convey a more traditional adequacy. The development of the new official uniform began with a specific plan for change from the existing uniform, this study as subsequent work is significant in that its endowment of symbolism and modification proposal is for the actual execution and global dissemination of traditional Taekwondo culture. The results of this study are as follows. First, we can endow Korea's traditional historicity and symbolism to the new uniform in form and colors. All contents of the design (in which the front side is open, the top is adjusted rightward, the rear length is shorter than the front length, comfort provided by side vents, dual collars for children's uniforms, and a belt) are adapted from the Korean traditional costume. Consequently, historicity can be endowed to the uniform. It is also confirmed that the traditional oriental philosophy including heaven and earth (天地), Yin-Yang (陰陽), and Five Elements (五行) can be endowed in the use of colors. Second, in order to project deeper historicity and symbolism to the form of the new uniform, this study proposes design modifications based on the selection as an item of Simui (深衣), a type of traditional clothing that contains a high symbolism similar to the Taekwondo uniform. It proposes giving shape to the practice of manners, the righteous life, and the straightforward mind by modifying the design of the uniform in the fish belly part of the sleeves, collars, back stitches, and side seams.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.179-192
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• 2007

This study is to search for a new area and a new kind of occupation for fashion in the field of multi-media such as a movie, drama, mass-culture and advertisement, as a basic investigation to improve a potential of a development of fashion in the future, to keep in step with the trend of the changes under the environment of cultural renovation. In this reports, the field and vision of new contents in fashion will be proposed. The definition and environment of multi-media were examined, and various kinds and work areas of new fashion specialists were defined. 12 professionals in each fields relative to multi-media were selected and the status of affairs, problems and requirements of fashion specialists were investigated through the in-depth interviews with them. Finally new fields and visions were suggested on it's future course. The kind of fashion-specialist on the field related to multi-media were like this: 1. Fashion-stylist, Art-director and Image-maker for star on the field of Video industry. 2. Fashion-illustrator for making animation-game character, Avatar fashion product designer and Internet shopping buyer for Online-business industry. 3. Fashion PR director, Fashion-photo stylist for Advertisement industry. 1 classified new field on the field related to multi-media as the above, and I researched the role of specialist in each field and the status of affairs and vision.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.47-57
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• 2008

Funology is a compound word with fun and technology which means the products or activity carrying fun and technology at the same time. This is one of the key words that can explain the culture of post-digital generation amongst the post-digital age. The purpose of this study was to provide the creative ideas to develop the fashion designs showing funology concept for the 21st century. As a background of funology trend, general ideas about the post-digital age and the post-digital generation were reviewed. First, funology designs among the industrial products and the funology concepts in the advertisement were examined. And the ways of expression and the meanings of funology fashion designs were extracted by analyzing funology fashion between 2000 S/S and 2008 F/W. The external expression ways of funology fashion in the post-digital age were as follows: parody of popular images, inharmony by the exaggeration or transformation, trompe l'oeil, mixture of the styles shown in the children's wear and the objects of children, patterns with childlike or animation characters, and the graffiti art. The internal meanings contained in the funology fashion were 1) fantasm showing surrealistic funology that was based on the people's pursue of fantasy free from the everyday's severe routine 2) memorism showing nostalgic funology that was based on the pursue of vanishing fear of reality and going back to the childhood. To sum up, fashions showing funology were expressed in various ways in the post-digital age. This will provide the great inspirations for creating the new coming fashions and efficient healing contents for the cold-hearted emotions of nowaday's people.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.111-124
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• 2009

Since the graphics of fashion items as a means to deliver messages suggest practical sections of the society while showing individual ideas and identity, they have values of promotion to attract attention by manifesting an effective function during the process of delivering intentions and the signification. Accordingly, this study aims to investigate the characteristics expressed with graphics shown on T-shirts of casual wear out of all the fashion items and analyze the social messages reflected on them. Using the Barthes' system of denotation and connotation, distinguished symbolic functions and meaning among graphics were analyzed through the analysis of expression methods of the graphics as the denotation of initial meaning and connotation of secondary meaning. Each casual brand has led the sale of casual markets by appealing consumers with graphic items with characters printed such as various kinds of animals and symbols or lettering printed such as hieroglyph and logos, as various expressive methods and social significance as well as a effective communicative means of graphics. As examined above, graphics expressed on fashion items have an informative characteristic and a persuasive characteristic in the aspect of contents, which has a single value as a communicative characteristic. Those characteristics have developed into the fashion graphic actively reflecting a designer's conviction, values, feelings and identity by acting on social issues and publicness. That is, in the age of information, effective messages delivered through the fashion graphic to the public have contributed to the establishment of an appropriate atmosphere of visual culture while maximizing the role and function as a social significance.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.146-162
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• 2009

In the current product and fashion design, the 'eco-friendliness' is affecting practically and conceptually on all the sectors of industry and culture. Therefore, this study seeks to examine specific values in the concept of eco-friendly design. The subjects of this paper are studied on the scholarly journals, and are confined to those from 1990, when naturalism and ecology trend started to be in product and fashion, to the moment of search of February 2009. This study used 'Naturalism', 'Green', 'Environment-friendly', 'Eco', 'Sustainable', 'Well-being' and 'Lohas' as key words for the search. Analysis is performed by content analysis and the unit of analysis was based upon the adjectives, nouns and phrases which is related key words in the concept of eco-friendly design. The study realized that there are personal value, environmental value, economic value, and social value in the concept of eco-friendly design. In the result, it is not enough to consider the effect on environment only. Understanding the personal, environmental, economic, and social value from the viewpoint of customers, finding the optimal design factors, and reflecting them in development of product and fashion are necessary to pave the way for advanced eco-friendly design. The results of this paper would help to the future product and fashion development for eco-friendly brands.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• Cross-Cultural Studies
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• v.31
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.648-662
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• 2004

These days fashion market is overflown with many brands and their identities are not so clear that the advertisement emphasizing the characteristics of the products don＇t seem to be adequate in appealing the customers. Therefore it is required that the sensible image advertisement which appeals to the customers by stimulating their feeling and sensitivity to attract customer＇s interest. At that point, VMD especially of POP advertisement that can be attract direct purchasing plays an important part to build up the accurate image of brand to consumers. Even thought today＇s individualized consumers take much interested in the fresh and original expressions, the visual expressions of fashion advertisements still focus on using photographs. The most advertisement of photograph has a limit that it shows only an immediate fraction, so it can＇t present whole image It can deliver more- imaginations and message than photograph if fashion illustration is used in advertisement. Therefore the purpose of this study was to present the application of fashion illustration for the POP advertisement Twelve pieces of fashion illustrations were produced and classified three parts according to their images and expression techniques. Paper sculpture techniques were applied for fashion image expression, for paper is easily meet daily life and ecological materials. For study procedure and contents, the concept and useful functions of fashion illustration and the concept of paper sculpture were examined as a theoretical background, and various uses and techniques of paper sculpture by analysing a number of paper sculpture art works were also studied. Also the concept, roles and functions of POP advertisement were discussed, and then the examples that the fashion illustration applied in the advertisement were analyzed through case study. The theme of my works was jean fashion brand whose brand image is significant, Twelve pieces of fashion illustrations using paper sculpture techniques were produced and various kinds of paper were used in expressing the paper sculpture technique. Each works were cut out the forms and used a pertinent light for making cubic effect shadow when displayed them. In my works Ⅰand Ⅱ, Ⅰ illustrated jeans in two images of sexy and casual, these were created slightly bigger than actual body size in order to attract consumer＇s gaze at show window or store. In my works Ⅲ, Ⅰ illustrated part or model of a jean product so that it could be used as addition to main display.