• 한국의류산업학회지
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• 제22권6호
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 복식
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• 제62권6호
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• pp.165-181
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• 2012

Alexander McQueen is a typical designer of unconventional and experimental design who showed maximalism through outstanding tailoring. The purpose of this research is to study formative characteristics of maximalism that are expressed in modern fashion based on the works of Alexander McQueen, and to suggest boundless possibilities of development through his sense of design and the expressive ability of his works. Theoretical considerations will be made through literature research and precedent studies, and the collection data for case analysis will be used to select ready-to-wear women's collections from 2001 S/S to 2010 F/W by referring to internet sites. The study results are as follows. First, the most representative characteristic of formative characteristics of maximalism expressed in Alexander McQueen's works is expandability. Second, decorations used as a part of detail on clothes is used as decoration itself, and handcraft expression is shown through excessive use of decorations. The expandability of decoration that emphasizes splendid magnificence is expressed through flawless technique. Third, the fusion of each different image and the combination of ethnic image and modern image was most prevalent. Fourth, fantasy expresses a fictive image that could not be seen in reality by expressing an unrealistic and maximized image through the imagination of designer. Fifth, experimental element is expressed as an image that actively reflects the challenging spirit, which suggests a new direction of beauty through shocking and extraordinary images of the inner world of the designer and the root of new ideas about inhumane modern society.

• 복식문화연구
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• 제21권3호
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• pp.431-439
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• 2013

This study aims to give practical help to the pattern making of baggy pants produced in large quantity from industrial fields. The functionality of crotch part is a key element to decide wear sensation and comfort of pants as having direct influence on movements of legs in pattern designing of baggy pants. The industrial patterns of baggy pants in various styles that are released currently in Korea were collected and a comparative analysis was conducted on them for the thesis. First, samples of men baggy pants were collected from three different brands and compared the completion sizes. Secondly, it studied the most appropriate patterns as quantifying the appropriateness of movements through fitting tests. Finally, the study verified the differences of visual images by surveys of professional groups. The conclusions obtained from this research are as follows. In terms of aesthetic attribute among the three brands, A baggy pants, which had a small size tolerance, were the most appropriate. Meanwhile concerning the appropriateness of movement, B baggy pants were shown to be the most appropriate. This reveals explicitly the problem of aesthetic attribute and functionality, which are always in conflict during the pattern design. It is necessary to develop patterns and establish a measurement system that may satisfy both of these factors.

• 복식
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• 제48권
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• pp.133-150
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• 1999

In future what kind of costume do we wear\ulcorner We can guess it is in advance through movie. Movie is a comnipresent medium and a mode of expression that reflect a distintive feature of the times like fashion. In many case costume design which belongs to a special era is based on the historic costumes but ostume design for future movie depends on the creativity of costume designer and director. Therefore it is interesting to research how costume designer get his/her design concept for future ccostume in movie how he/hse express his/her design concept through his/her costume and can we convince the design comes true practically in future. In this study I analyze the costume design of masterpieces among SF Film: (Metropolis/1926) (2001: A Space Odyssey/1968) (Star Wars/1977) (Blade Runner/1982) (The 5th Element/1977) Because this study is analyzed not through the original article but just through movie it has some limitation in exact materials or color.

• 한국컴퓨터정보학회논문지
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• 제26권4호
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• pp.149-159
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• 2021

본 연구에서는 문자가 적용된 의복 및 패션제품을 많이 착용하는 20대 여성을 대상으로 의복에 표현된 메시지에 대한 인식유형을 분석해보고자 하였다. 20대 여성이 패션에 표현된 문자를 어떻게 유형화하는지에 대한 주관적인 평가와 유형별 특성을 고찰하고자 하였다. 본 연구는 Q 방법론으로 진행되었으며, 분석에는 QUANL pc program을 활용하였다. 제1유형은 문자는 하나의 디자인 요소이고 패션이라고 생각하고 의복에 표현된 문자가 이미지로 인식되었다. 제2유형은 의복에 표현된 문자가 메시지로 인식되며, 문자가 사회적 메시지와 시사성을 가지고 있는 것이 중요하다고 생각하였다. 제3유형은 문자가 캐주얼 의상에 접목되는 것을 선호하고 문자의 조형성을 중요시하였다. 제4유형은 문자가 브랜드를 나타내 주는 것을 선호하고 보이는 위치에 크게 배치되는 것을 좋아하였다. 향후 다양한 연령층과 성별에 따른 추가적인 연구와 글자체, 컬러, 문장의 길이 등에 따른 차이를 파악하기 위한 세부적인 연구가 이루어져야 할 것으로 생각된다.

• 한국안광학회지
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• 제9권2호
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• pp.371-380
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• 2004

안경의 역사는 인쇄술의 발전과 함께 시작되었다고 할 수 있다. 맨 처음 안경은 가죽으로 만들어 졌다. 그 이후 나무나 뿔, 혹은 뼈로서 안경테를 만들고, 수정이나 유리로 렌즈를 만들어 끼운 단 안경 두 개의 대못으로 연결시킨 대못안경(Riveted Spectacles)이 개발된 이래 안경테는 수많은 스타일로 변화되어 왔다. 그 후 코다리(Bridge)의 개발, 다리 (Temple)의 등장으로 오늘날의 안경의 형태가 나오기 시작했고, 오늘날 다양한 디자인과 소재들이 개발되면서 실용적이며 안경의 스타일에 이르게 되었다. 그럼으로, 안경제조업체와 안경디자이너들은 새로운 안경패션 트랜드를 리드할 수 있는 디자인 개발에 주력하고 있다. 본 연구에서는 현재의 안경테가 있기 까지 역사적 발달과정을 통한 다양한 스타일의 안경테를 분석하고, 디자인의 목적인 형태와 기능의 관점에서 안경디자인의 방법적 요소를 조사해보고자 한다.

• 한국실내디자인학회논문집
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• 제38호
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• pp.233-240
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• 2003

The purpose of this study was to find the coordination trend of the Image of the color and object from the department show-window display locating in the kangnam area. The result of this study were summarized as following: 1) Show window display determinating the first image of department-store marketing service, playing the role of visual marketing provides the valuable impressions with shoppers in the times of sensibility, 2) In contemporary recognition of "Design is namely culture", show window display proceeds on the direction of concrete and practical presentation of merchandise as many customers are pursuing the high graded luxury brands while their life styles change. 3) Main concept is represented by the coordinated fashion goods on the mannequin or the body and the main theme is displayed variously in the circumferential area or on the articles with the abstract and concrete objects of diverse forms of dominant color and accent color conveying the seasonal theme precisely. 4) The compositive element of color Is the decisive factor of the visual sense of space In the coordination-trends of show window display specially representing the seasonal theme or the intentional messages and conduces to the psychological and mental desire in human and the circumstances, 5) Following the color, the compositive element of object presents the concrete image of theme or the abstract and geometrical sense of space besides the visual sense of space and shows the proportionality and the activity in displaying the show window space.dow space.

• 패션비즈니스
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• 제8권6호
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• pp.57-67
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• 2004

The forms of man's costumes in Byzantine Empire were changed according to each composition of costumes. Those forms of costumes had common features of each period when costumes were included. At the same time, however, the fact that differences existed in accordance with a social position including gender, class, occupation, etc. even though in same period were showed. Analytic elements of man's costumes in Byzantine Empire were selected by important factors. This showed the meanings of position and class in that time. The kinds of analytic elements in man's outwear were various but the forms of costumes were not developed because christianity influenced the forms of clothing in the Middle Ages. As the result of synthesis, the main factor of man's costumes was a tunic in Byzantine Empire of the Middle Ages The phases of the times were reflected on the structure of man's costumes in Byzantine Empire. In particular, religious feature was emphasized, and analytic elements of costumes having meanings showed the features of the society at the Middle Ages. For example, a central analytic element of man's costume, an outer garment was a tunic style of H-silhouette that hid the body line. This was influenced by the phases of the times. Namely, the costume stands as a symbol of the times, and also is a cultural sign that reflects phases like politics, economy, religion.

• 복식문화연구
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• 제13권6호통권59호
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.