• 한국실내디자인학회논문집
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• 제24권1호
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• pp.189-196
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• 2015

As the number of children's libraries has increased in Korea, it has been discussed to improve the quality of design in the libraries. In a reading room of children's library, spatial consideration should be focused on the children under 10 years old since they are in important points to learn Hangul and to develop reading habits. This study is aimed to examine the characteristics of a floor-sitting reading room, where children can feel like a home, stay in clean and safe and play while reading. The seven case studies of floor-sitting reading rooms are analyzed from the viewpoint of each factor of physical environment, including structure, furniture, and decoration. The following is the summary of findings of this study. First, floor-sitting reading rooms tend to compose main reading areas around bookshelves. Reading areas create the characters by changing floor levels and arranging furniture associated with windows, columns, and wall-type bookshelves. In the reading areas, movable low-level tables are frequently placed for flexible space uses, and seats for reading tend to put together with fixed bookshelves. Second, the central areas of the reading rooms are often shaped in the forms of pods, storytelling areas, sculptures, and unique furniture. Especially storytelling areas and pods play the cores of the reading rooms with the varying steps of floors and pictorial graphics on walls. Third, decoration elements in the reading rooms are designed with graphics, visual displays, and sculptural decorations. In my case studies, spatial elements such as reading nooks, attics, tunnels, and shelters are not often found in the floor-sitting reading rooms even though children like to have them. Since it is the advantage of floor-sitting reading rooms where children can take off shoes and act freely, we should look for the design of such spatial elements in the floor-sitting reading rooms.

• 한국콘텐츠학회논문지
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• 제13권12호
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• pp.945-956
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• 2013

캐릭터 산업은 고부가가치 문화산업이며, 반드시 육성해야 하는 전략산업 중의 하나이다. 그러나 캐릭터 산업의 중요성과 가치에 대한 국가적인 공감대의 형성 부족과 영화산업을 국가 전략산업으로서의 가치 인식의 미미로 인하여 캐릭터 산업의 발전에 큰 어려움을 겪고 있다. 본 연구는 한국은행의 2009년 산업연관표상 기본분류인 403개 산업 중 장난감 및 오락용품(291), 모형 및 장식용품(296) 등 2개 부문을 캐릭터산업으로 한정하고 새로이 캐릭터 산업연관표를 작성, 활용하여 캐릭터산업의 경제적 효과를 계량적으로 측정, 평가하여 향후 캐릭터산업의 정책과 전략수립에 일조하는데 목적이 있다. 연구 결과 다음과 같다. 캐릭터 산업의 생산유발계수는 열 합계 1.602, 행 합계 1.007, 감응도 계수 0.543,로 영향력계수 0.864, 부가가치유발계수 0.620, 소득유발계수 0.334, 생산세유발계수 0.066, 노동유발계수 0.008 등을 보여주고 있다.

• 패션비즈니스
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• 제11권1호
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• pp.48-60
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• 2007

The purpose of this study is to examine the romantic costume style which has become a big trend before and after the 21th century. For this purpose, I examined the development plans and characteristics of women's costume in France in the Romantic period from the 1820s to the 1850s and analyzed the aesthetic characteristics of romantic costume style The aesthetic characteristics of romantic style in the 19th century were defined by the feminine and elegant beauty, exoticism, and sensuality. Since the 1990s, the characteristics are classified into Feminine & Elegant Style, Ethnic & Fusion Style, and Sensual Style. Feminine & Elegant Style is characterized by delicate, splendid lace and frill decorations that have become more ornamental and technical since the 1990s. They create greater romance and express gentler and more elegant femininity away from the artificial silhouette. Ethnic & Fusion Style use more diverse ethnic patterns, colors, accessories, and details since the 1990s and shows more varieties and creativity in convergence with modern fashion. Sensual Style exposes the physical curve of female body. In the 19th century, cuffs and collars were exaggerated and shoulders were exposed for sensuality. After the 1990s, however, see-through materials have been used to show the beauty of natural physical curves or corsets have been worn as the outerwear. Studying romantic costume style, which arose as a concept of postmodernism, the cultural ideology that exists as a breakthrough of our time, is signified by the understanding of the latest cultural phenomenon and fashion trends.

• 한국의상디자인학회지
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• 제10권1호
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• 한국의상디자인학회지
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• 제17권3호
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• pp.197-206
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• 2015

Ghetto was originated from the concept of "Jewish Camp", the segregated Jewish residential area, and recently it refers to the black neighborhoods of the poor living conditions or slum. A region to form a unique culture distinguished from the adjacent area is also called as ghetto. The culture born in that region is called "ghetto culture", and from the cultural aspect it can mean a type of haven that allows the freedom and deviation of their own. In this study, the generating background and the characteristics of ghetto style especially to adolescents were examined, and celebrities' unique fashion styles that lead the public in the fashion diffusion process were analyzed. Through this, Ghetto culture was understood and the effects of the mass culture phenomena on fashion, symbolization, and an aesthetic value were examined. With this, it aims to help understand the effect of special local culture like "ghetto" on modern fashion and expand the design area. As a result of this study, the characteristics of ghetto style were as followings; 1. It is based on hiphop style; 2. The name brands are exposed conspicuously; 3. Caught eyes by unusually excessive decorations; 4. It expresses confidence and toughness through fashion beyond the resistance to the target who suppresses and humiliates themselves; 5. Ghetto culture is rapidly spread through media. To conclude, ghetto style is an expression of hope of the poor that they can gain wealth through impressing the public and drawing empathy just by their talent. Furthermore, ghetto style is an important cultural trend that has appeared as their wannabe and a powerful display method to express success.

• 한국의상디자인학회지
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• 제9권1호
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• pp.103-122
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• 2007

Fashion have been expressed by a face through various a period, social change, and various culture changing. Human expresses as "Transformation" by applying these needs of changing to the fashion. A origin tribe expressed its own self by using direct body transformation and extreme decorations in the past. However, human express creative and esthetic desire based on shape, material, and transformation method in the present time characteristics of the body. Exceptional transformation breaking a existing fixed idea appeared frequently due to dissolution through transformation which is positive expression method in the fashion from 20th century. As a results, followings are obtained in this study. First, human body transforms by using a tool or intermediation in investigation of aesthetic meaning for human body. The object, Transformation, is stably transformed by disintegration, distortion, exaggeration and simplification reduction, as design's sensitivity. Second, transformation from relation of clothing composition is expressed by extension, reduction, simplification, and dissolution. In transformation from original tribe's sensitivity, past decorative desire lead to transformation of human body. To give variable change from past to present fashion, external formative will is introduced. Then, extreme expression is made by direct transformation of clothing type. It seems to be accomplished that human body's expression method is continuously changed into extension, exaggeration, reduction, and dissolution from transformation method as described before. Transformation of modem fashion is expression method by creative supervision. Extreme transformation substituted body's each part is based on immanent play and representative satisfaction. Through these transformation, it is judged that variety of creative type is achieved.

• 한국의상디자인학회지
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• 제14권2호
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• pp.157-169
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• 2012

The aim of this study is to serve as a stepping stone to outlook changes in men's fashion based on gender characteristics and the design proposal as a reference to shirts design for men's wear brands. This study is a theoretical work extracted from related books, dissertations, and web- resources referenced. Research method is as followed. It is based on the four main collections from S/S 2001 to S/S 2010 and selected designer brands among the most influential foreign men's fashion designer brands which have show cased their collections of 19 seasons in the last 10 years. These are what the study has found out. Firstly, the shoulder-line which used to be straight and hard in men's dress shirt has changed to comfortable curved line which falls from the shoulder to sleeve. Silhouettes were mainly shaped to an hourglass or slim silhouette representing the body curve line. Unlike how the masculine beauty was emphasized through the straight line, men's dress shirts nowadays used curved line for softness. Secondly, there were various designs with decorations added to the basic structure, making it no different from women's blouse and blurring the line between men's and women's fashion. Thirdly, colors were normally in bright ones. Tones were often in pale tone which used to be the women's color. Also choosing shades of yellow or red was a remarkable change in men's wear. Fourthly, through varying patterns and texture there were many shirts that gave clear visual effect. There were approximately equal portions of patterns with feminine image like natural patterns, abstract patterns, or small patterns and patterns with masculine image.

• 한국의상디자인학회지
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• 제16권1호
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• pp.27-39
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• 2014

The purpose of this study is to investigate the formative characteristics and the aesthetic values of denim dresses from the 19th century until the $20^{th}$ century and analyze those changes shown in Paris Milan London New York collections from 2001 S/S to 2013/14 F/W. The results of this study are as follows; 1) In the mid-$19^{th}$ century, the denim pants were working suits. In the 1920's, they started to be recognized as ordinary clothing and they were supplied to women in World War II. In the 1950's, denim pants stood for youth and resistance, and they became popular among teenagers. In the 1960's, hippies who protested against the Vietnamese War would wear worn-out denim pants symbolizing peace and freedom. As they became more common in the 1970's, people all around the world wore the clothes. In the 1980's~90's, the waves of high class brand fashions brought in sensualism, extravagance, reactionary tendency, and so forth. Consequently, the aesthetic values of denim dresses have connotations of practicality, resistibility, ornamentation and femininity. 2) Practicality in recent collections is represented in classic fashion which features typical details and raw denim and modern fashion which is made with glossy denim and minimized details. Resistibility is represented in avant-garde fashion which features deformed or over-layered jackets and pants with damaged denim and vintage fashion which is made with wash-out and wild stone denim. Ornamentation is represented in ethnic fashion which is made with wash-out denim and ethnic prints and romantic fashion which features details such as ruffle, frill and shirring as well as lace and flowery decorations. Femininity is represented in sexy fashion which designs to expose or to focus in women's body and elegant fashion which is made with soft and glossy denim and hourglass silhouette.

• 복식
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• 제36권
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• pp.77-95
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• 1998

The culture of a country is formed by the sense of value of a nation being a creator as well as on operator of the culture. So, the Chinese culture and fruthermore, the sense of value the Chinese people can be understood through the study of the costume of China. Above all, the culture of China, including the costume, have been formed through the his-tory of exchange between the central Chinese people and its surrounding minority races, and it should not be overlooked that its own culture of each race is existing with each other in the great Chinese culture sphere. In the paper, the concept of costume as relections of a culture is confirmed through the examination of the characteristics of the costume of the Miao tribe with such history and culture as a background and on effort is made to take those as resources modern fashion designs while inferring from them the characteristics of costume with universal and original values sthat can be sublimated into the modernistic beauty. The results of the study are as follows. First, the basic composition consists of a simple jacket made in a way of straight-cut-ting and a close pleated skirt and it tended to put emphasis on diversified and splendid decorations compared with the simple basis composition. Second, the costume of the Miao tribe are characteristic of hair done in a knot with head-dress around head. Third, the kinds of dress are multifarious by race and region due to a long period of mobile and disperse life. In the course of studying the universal value of the Miao tribe is confirmed which is by no means inferior to the standard of the medernistic beauty which keeping its originality. The study is made to be helpful for activating the design going with the trend that the basic harmony between the nature and man, that is a climate and the local cul-ture hearing formed a splendid culture in the past, are being found again.

• 복식
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• 제53권4호
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• pp.1-16
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• 2003

The purpose of this study is to investigate the sensibility images of Korean Traditional Chumoni. The detailed methodology of this study is as follows. Selections of stimuli to analyse the sensibility images of Korean Traditional Chumoni were made up of 15 stimuli. The survey has been done for the 15 slide stimuli with semantic differential hi-polar scales which are consist of 23 couples of sensibility words. The subjects were 150 female students majoring in clothing and textile. 150 male students majoring in other department and 150 female students majoring in other department in the twenties between 2001. 3. 30 and 2001. 4. 4. The obtained data were analyzed by factor analysis, cluster analysis. ANOVA. The major finds were as follows. 1. To explain the hierarchy of the sensibility of Korean Traditional Chumoni, two image groups were classified, one is noble and characteristic image the other is splendid and intensive image. Finally it represented noble and splendid image. 2. As result of the factor analysis. 3 factors which are Attraction, Decorativeness, Gravity were found to be constructing factors for the sensibility images of Korean Traditional Chumoni. 3. By cluster analysis, 4 clusters were determined according to Korean Traditional Chumoni. Cluster 1 is splendid. multi-colored and realistic in patteren. Cluster 2 is consist of 'true chumonis' and one-colored. Cluster 3 is modal in pattern. Cluster 4 is simple without any decorations. As to the difference of image of Korean Traditional Chumoni, there were significant differences amang 3 factors by cluster Cluster 1 was found most attractive and grave. Cluster 2 was found most decorative. 4. As to the difference of image of Korean Traditional Chumoni, there were significant differences amang 3 factors by decoration. Gold foil was found most attractive and grave. Embroidery was found most decorative. 5. As to the difference of image of Korean traditional chumoni, there were differences in Decorativeness and Gravity by sex and there were differences in Attraction by major.