• Fashion & Textile Research Journal
• /
• v.17 no.2
• /
• pp.147-156
• /
• 2015

Lately, unique hats, which worn by iconic figures in fashion industry, like Anna Piaggi and Isabella Blow to express the originality and self-awareness, received attention from the mass media along with their styles. The purpose of this research is to investigate, analyze, and media-specific characteristics of objet hats which are used to show various items, shape up targets, and express the concept of attires. In order to fulfill this, this study focuses on objet hat designers who have been influential from the 1980's to recent years. As for the research methodologies, this study conducts investigating examples from fashion related books, research papers, and websites along with literary research. Study of objet hat is based on cases and works of designer in objet hat in contemporary fashion expression shape. As a result, objet hat, First, the experimental work to maximize the effectiveness as a fashion objet containing the concept of designer in the runway shows. Second, as pieces displayed on art galleries and museums, objet hats are recognized as artistically defined world of conceptual designers' imaginations. Third, objet hats function as ways of celebrities' expression, who affects the public as fashion leaders. Lastly, objet hat designers's activities operate the story and notion contained in the work through a variety of genres. Objet hats, an independent fashion genre, which symbolize creativity and freedom, influenced the fashion industry with astonishing materials, forms, and decorations.

• Transactions of the Korean Society of Mechanical Engineers A
• /
• v.34 no.3
• /
• pp.375-382
• /
• 2010

In this study, we developed a method to predict the residual stress distribution and thermal deformation caused by in-mold labeling (IML) processes. IML is one of the injection molding processes for injecting a material into a cavity and subsequently inserting a decorated film. The IML process can yield products with decorations of outstanding excellent quality in only one working step. Although the IML process has various advantages, it causes defects such as film delamination, wash-out, and flow marks. In particular, deformation is considered to be a major concern in terms of delamination. To validate the model, the deformation predicted by using a numerical model was compared with experimental results, and both results showed good agreement. We verified that the developed method can be used to obtain the design guidelines for preventing delamination in the initial design stage of the IML process.

• Journal of architectural history
• /
• v.17 no.5
• /
• pp.23-37
• /
• 2008

Hyeunryungwon is a tomb for Crown Prince Sado, who was the father of King Jeongjo, the twenty second king of Joseon dynasty. The tomb had been originally in the Eastern part of Seoul, but was relocated in 1789 to the downtown Suwon, which was renowned as a good tomb site among the Royal family at that time. King Jeongjo looked through the records from the previous generations for the ideal location and direction for the tomb. He personally studied Feng Shui theory and designated its location and direction. He ordered for lavish decorations for the stone adornments of the surroundings of the grave mound, which was against the regulations of the royal family. He found his reasons in the precedent that allowed sumptuous decoration. However, for the arrangements of Jeongjagahk(T shaped building) and other attached facilities, he made unusual choice that other precedent royal tombs did not have. Instead of following the conventions that Jeongjagak should be facing south of a grave mound, he put it on the right side of grave mound. Also conventionally, Subokbang(a place where guards can stay) and Suragan(a kitchen that prepares food for sacrificial rites) should be facing symmetrically, but they too, were on the same side with Jeongjagak. It was a measurement that the grave mound of Hyeunryungwon can have a full view without being obstructed by other facilities and it was also personally ordered by King Jeongjo. The distinguishing features of Hyeunryuwon was motivated by King Jeongjo's filial affection, and his academic pursuit of precedent royal tombs initiated the unconventional and innovative challenges.

• The Research Journal of the Costume Culture
• /
• v.19 no.4
• /
• pp.723-739
• /
• 2011

This research seeks to analyze western men's costume in the Baroque era in relation to men's physical beauty from its most detailed and interesting perspective to fomulate a plausible reasoning related to the aesthetic sense of body as expressed in men's costume. This research used national and international books, theses and internet data upon which to base a literature review for a correct understanding of Baroque style and at the same time empirical research to analyze the body image expressed in men's costume. The Baroque style expressed in the 17th century costume offered a dynamic feeling through wavy curves, and its brilliant and colorful decorations created a passionate and charming mood resembling a flame. Accordingly, this research studied the body image as it appeared in the form of 17th century western men's costume by dividing it into the contact beauty of the human body and the manner of hiding the architectural beauty of the human body. First, the exposed silhouette by clothing coming into contact with the human body could be found mainly in upper-class men's costume in the first half of the 17th century. The shorter and tighter doublets and knee breeches could be analyzed in terms of erotic imagery that emphasized masculinity, aristocratic imagery that stressed a distinctive status, and geometric imagery that expressed a triangular pattern. Second, the constructive expression by hiding the human body could be found in upper-class men's costume starting in the mid-17 century. The wearing of the justaucorps could be studied in terms of how it came into contact with the beauty of the human body but also how this clothing style the hid the architectural beauty of human body.

• Journal of Fashion Business
• /
• v.17 no.4
• /
• pp.22-39
• /
• 2013

This thesis aims to investigate the characteristics of the civil costume in Netherlands women and the way how the civil culture was reflected on these by analyzing the women's costume depicted in the works of the Johannes Vermeer regarded as the representative painter of Netherlands in 17th century. The method of study was to select 24 pieces of Vermeer's works among the 30 pieces, and were analyzed in detail. These were approved to be common civil costumes by researching the works of other painters in that era on the other hand. The result shows that the civil costume of Netherlands women from 1653 until 1675 was in the simple form of two pieces dress, and minimal decorations with simple hair style and headdress would take the constitution of the frugality, chastity and practicality as the mainstream, along with using the red, yellow and blue as the primary three colors on to the costumes. These characteristics might be ascribed to the Netherlands civil culture influenced by the Calvinism that emphasized the frugality and chastity, denouncing the luxury with supporting the religion and morality. This trend was also noted in the men's costume, giving evidence of the intimate relationship between the costume, religion and civil culture. This thesis might be a help to elucidate the relationship between the costume and cultural society, and be a affordable tools to study the contemporary costume.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.16 no.2
• /
• pp.41-53
• /
• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Korean Institute of Interior Design Journal
• /
• v.21 no.3
• /
• pp.128-135
• /
• 2012

The purpose of this study is to investigate and analyze the compositional elements of plan of art museums by selecting architectural works, which have strong symbolic meaning when evaluating value, from architectural works by Louis Kahn. First, the centrality of artworks, which are being displayed at the Yale Art Gallery, is complex. It includes three patterns of Void (spatial) Centrality+Symbolic Centrality+Functional Centrality among the five patterns suggested in this study. Second, the ratio system of interior space, which is expressed in the extension of the Yale Art Gallery, can be classified into the floor and walls. The floor used the square 1:1 ratio system. The ceiling used the grid patterns of equilateral triangles (regular tetrahedrons). It was applying a geometric ratio system when creating forms by using one side as a beam and the other sides as decorations of the ceiling. Third, the contours of interior space, which were expressed in Kahn's works, used the method of forming separate space according to the contouring rule (structural unit) defined by columns, and they were used in constructing the entire space through the integration of separate spaces. Fourth, according to the characteristics that were expressed by artworks displayed within the Yale Art Gallery Extension, the concept of accessibility was not as clear as that of residential buildings, because an approach of respecting existing architecture and context was used, rather than the starting point of interior space, or differentiated circulation, which has the function of a determined position.

• Korean Institute of Interior Design Journal
• /
• v.24 no.5
• /
• pp.51-61
• /
• 2015

The purposes of this study were to examine the characteristics of elements composing the cultural identity of Chinese architectural and spatial design, and to analyze the expression characteristics and influencing factors of contemporary restaurant design. With these purposes, first, this study reviewed related literature in order to find the characteristics of tangible elements observed in intangible elements and space expression characteristics forming the cultural identity of China. Second, this study conducted a case study in order to understand the expression characteristics of the design of Chinese restaurants in Shanghai and to find factors influencing the design. In order to sample the subjects of the case study, the researcher selected 18 restaurants that were recommended repeatedly in books on Chinese restaurants and tourism and major Internet sites or highly evaluated by visitors, and then choose 15 of them that were found to be fit for the purpose of the survey. According to the result of the survey, the restaurants were largely grouped by type into 10 cases of fine dining, 3 of middle-class casual dining, 1 of fast food, and 1 of luxury tea house serving traditional tea and snacks. Of these restaurants, 46.7% (7 cases) were of CM-CM-CM type, namely, using contemporary simple elements in all of external spaces, indoor spaces, and decorations, 20% (3 cases) were of CM-CM-CT type, using contemporary and simple external and indoor spaces, and traditional furniture or articles, 20% (3 cases) were of CT-CM-CT type, using traditional external spaces such as traditional buildings, contemporary simple finishing of indoor spaces, and traditional articles such as palace lanterns and traditional doors and windows, and 13.3% (2 cases) were of CT-CT-CT type, using traditional elements in their original forms in general. Through this research and survey, cultural identity showing Chinese traditions observed in the expression characteristics of restaurant spatial designs was confirmed, and it was also found that the identity was underlain by ideologies, values, lifestyles, etc. that had long accumulated through the long history of the country and exerted a great influence.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.31 no.6
• /
• pp.28-40
• /
• 2004

The purpose of this study is to identify the characteristics of monuments in the Seoul Foreigners′ cemetery at Yanghwajin, a place where many prominent Christian missionaries and other Christians have been buried near Choltusan. In considering the characteristics of gravestone details, the researcher has divided the details into 4 analysis categories: forms, symbols, epitaphs, and materials. For this research, 281 monuments were selected including 68 of missionaries, 26 of U. S. Army Soldiers, and 13 of teachers. The analysis revealed that there were 26 types of monuments. This includes simple and standardized types like the tablet, headstone, marker, and monolith. These were used more often than other shaped types such as the Cross, obelisk, sculpture, etc. Standardized types made in Korea have been preferred after the 1950s even though the beauty of the gravestones has been degraded. Symbolical decorations related to religious, social, professional or military emblems were also introduced to strengthen their symbolical objectives. Among them, fie Cross was the most predominant Christian symbol and emblem. The families wanted to inscribe epitaphs, the greater part of which originated from the Bible, poems, idioms related to tribute, rest, supplications to deity, love, achievement, to express human sentiment and religious faith. When using materials for making monuments, monument makers have mostly used stone because of its durability. Until the 1950s, various stones had been used to make monuments, for most marble and granite were brought from foreign countries. These were very different from the Korean white marble stone used for many monuments. After the 1950s, the source of stone has been limited to Korean stone, for Korean could make stone monuments that foreigners were agreeable. Especially, a black marble stone called "O-Suk" which means black stone, has been used as a main material. The study identified the following characteristics of monument details in the Seoul foreigners′ cemetery at Yanghwajin. First, Christianity has been applied as the main concept, while symbolizing the homogeneity of religious, family, social, professional or military groups by having the symbolic form, symbol, and epitaph in common. Second, monuments made after the 1950s have been standardized into unattractive and monotonous forms by the limited materials, and so the beauty of the monuments has been degraded.

• Science of Emotion and Sensibility
• /
• v.19 no.2
• /
• pp.79-88
• /
• 2016

Modern society is living in material affluence after the Industrial Revolution. Meanwhile, consumer needs, in conformity with product diversification, are also being diversified. Modern consumers, unlike those of the past, are trending towards individual consumption that satisfies emotion and values instead of simple goal-oriented consumption. A model case is that of Starbucks. Starbucks has grown into the global coffee franchise it is today through emotional marketing that sells an atmosphere that is unique to Starbucks, consisting of store decorations, store music, employee service, and charming coffee aromas that are identical in every store anywhere in the world. Because this method is marketing that stimulates human emotion, it is assigned to and appeals to human senses and sensitivity. In other words, the charm of emotion marketing is that it draws out consumer emotion, produces positive reactions towards products, and leads to consumption. The utilization of emotions for products or service differentiates brand image and is becoming a key method in reinforcing brand royalty. In particular, more importance is being placed on customer service to strongly impress consumers. Intangible service is becoming the best way to impress customers.