• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.35-36
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• 2019

셀프 인테리어와 '온라인 집들이' 열풍은 DIY 문화의 확산, 1인 가구의 증가, SNS를 통한 이미지 공유의 증가 등 다양한 문화 현상의 교차 지점에 위치한다. 본 연구는 대표적인 인테리어 정보 공유 및 커머스 플랫폼인 '오늘의 집'에 게시된 온라인 집들이의 구체적 예시를 통해 청년 1인 가구의 셀프 인테리어에 대해 고찰하였다. 경제적, 공간적, 주거 방식의 제약은 이들의 셀프 인테리어 스타일을 형성하는 데 영향을 미쳤다. 낮고, 단순하며, 가벼운 가구, 작고 저렴한 소품 및 장식들은 '내추럴' 혹은 '모던' 이라고 불리는 스타일로 포장되었다.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.92-104
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• 2005

This study aimed to reveal the concept and background of emergence of black leather jacket that began appearing in full-scale among youth sub-culture from 1950's, and to research its styles and aesthetic features on the basis of that. The researcher has intended to a theoretical frame to recreate black leather jacket which has been developing in youth sub-culture style as a resource of new design in modern fashion trend through this study There are 5 styles of black leather jacket in youth sub-culture after 1950's. Firstly, biker style black leather jacket showed ruined war heroes substituting for military uniform. Secondly, rocker style black leather jacket brought the conversion in definition of masculinity. Thirdly, greaser style black leather jacket showed the beauty of uncleanness expressing resistance and violence with tattered dirty materials and excessive metal ornaments. Fourthly, headbanger style black leather jacket was prominent in various and compound decoration due to combination of rocker and hippie features. fifthly, punk style black leather jacket was influenced greatly by Sex Pistols. There are broadly three ecstatic features oi black leather jacket among youth sub-culture. With regard to displaying terrorism, black leather jacket displayed threatening aspects with black color, formative beauty of inverted triangle, additional decoration, and animal & brutal feelings. Paradoxical trophyism showed Nihilism, disorder, and resistance through black color that symbolize bad luck and unstability, trophyism with bad flavor, tattered material effect, and destructive message painting. Masculine eroticism appeared in accordance with pursuing after pleasure and masculine sexuality through exposure of buttocks and focused penis due to jacket's short length, and fetish of black.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.849-865
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• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

• Journal of the Korean Ceramic Society
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• v.49 no.4
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• pp.295-300
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• 2012

SiC-based ceramic matrix composites show many advantages over their monolithic ceramic counterparts, which makes them potential candidates for applications in various fields. Depending strongly on the chemical composition and microstructure of the fiber reinforcement, matrix as well as the fiber/matrix interphase in the material, the properties of ceramic matrix composites(CMCs) are highly tailorable. In this paper, the latest progresses in the interphase design, matrix modification and fiber reinforcement decoration of CMCs are reviewed, their effects on the properties of the CMCs are introduced.

• Journal of the Korea Furniture Society
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• v.23 no.2
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• pp.122-129
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• 2012

This article was intended as fundamental materials to recognize the current status of furniture hard ware in Korean market and to fix the identity of Korean furniture, by investigating and comparing the furniture hard ware used in the Joseon era and in modern times by type, function, shape and material. The analysis of furniture hard ware of the Joseon era and modern times from the view of functional aspects was oriented to the hard ware necessary to open and close the door & drawer on one side, and to that being attached to the main body of furniture not to scratch the wood by another wood on the other side, and from this the following conclusion was drawn. First of all, "Gwangdoojung" - a kind of spike- and metal decoration on the edge of the furniture disappeared, while the function-oriented hard wares have been diversified in modern times, from the perspective of the change of kinds. Second, the functional aspect of the furniture hard ware was emphasized in modern times than the Joseon era. In other words, the hard wares of the Joseon era came into view due to their strong appeal to decoration, whereas those of modern times were mostly hidden or moderated, keeping the function substantially. Third, the hard wares from the Joseon era were shown in concrete and detailed shape motivated by natural objects and furthermore even gloriously, but the modern hard wares are simple & basic geometry, from a formative point of view. Fourth, the material aspects present that the Joseon era's hard ware was mainly cast iron, whereas that of modern times shows the diversification from metal to even plastic. Finally, the recent trend in naming of the hard wares is the words of foreign origin. This resulted from that the foreign names of hard wares are valid also after import process in Korean market, so the domestic development of hard ware as the essential factor for the furniture design is urgently necessary to establish the identity of Korean modern furniture.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.265-284
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• 2020

This study aimed to analyze the performance of Disney-collaborated fashion lines based on online consumer reviews. To do so, the researchers employed text mining and network analysis to identify key words in the reviews of these products. Blogs, internet cafes, and web documents provided by Naver, Daum, and YoutTube were selected as subjects for the analysis. The analysis period was limited to one year after for the 2019. Data collection and analysis were conducted using Python 3.7, Textom, and NodeXL. The research terms in question were as follows: 'Disney fashion collaboration' and 'Frozen fashion collaboration'. Preliminary survey results indicated that 'Elsa's dress' was the most frequently mentioned term and that the domestic fashion brand Eland Retail was the most active in selling Disney branded clothing through its own brand. The writers of reviews for Disney-collaborated fashion products were primarily mothers with daughters. Their decision to purchase these products was based upon the following factors; price, size, stability of decoration, shipping, laundry, and retailer. The motives for purchasing the product were the positive response of the consumer's child and the satisfaction of the parents due to the child's response. The problems to be solved included insufficient quantity of supply, delay in delivery, expensive price considering the number of times children's clothes are worn, poor glitter decoration, faded color, contamination from laundry, and undesirable smells immediately after the purchase.

• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.429-445
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• 2020

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.902-915
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• 2007

This study examines decorative features found in the traditional costume of the Miao, one of the minority groups in China, and adapts them for the development of modern Korean-style fashion designs in order to present visual sample data and to introduce techniques. As for the research method, both literature and visual data are examined: the former includes Miao-related books and theses; the latter, pictures from various documents and real-life data in the possession of Seoul Women's University. The study result is as follows: 1. The basic structure of Miao costume is consist of a Caftan-type upper garment and an accentuated lower garment, pleats skirt although they are decorated luxuriously with various techniques such as delicate embroidery and dyeing. 2. Details and trimmings in modern shapes are developed and presented by adding modern materials to satin, twists, cross-stitch embroidery, stripe patterns, geometrical patchwork, machine pleats and smoking, trimmings of fringe & feather, and the border line decoration of coloration, braids, piping, embroidery, belts tied and wound with colorful threads. 3. Detachable accessaries such as front reinforcement strips, back reinforcement strips, belts, decorative aprons and patchwork skirts are developed and designed by adapting highlighted layered effects. 4. The silver decoration used as an necessary by the Miao is suitable for modern fashion design in futuristic sense. Various techniques and decorative features of Miao costume display their true value all the more in modern fashion stream in which ethnic trends draw much attention.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.2
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.