• 복식
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• 제50권5호
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• pp.143-157
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• 2000

The pastiche is one of the most unique characteristics in the post-modern period. The pastiche fashion design is an intentional imitation expressed by deconstructivity of the design. It has become the major creation method of post-modern fashion by expressing the image from the variety and creativity. The concept of imitation in pastiche is the important fashion subject which lead the dynamics and creativities of fashion when It has freshness and spiritual energy. The values of creative area of pastiche are as fellows - firstly, it provides the delightness through the disharmony by being released from the restraint and stress of the restricted society. Secondly, the characteristics of restoration generated by development and reproduced from imitation has become an origin of creation. Thirdly, the boundary between subculture and high-class culture would be dismantled and the elements of these culture are mixed to become a unique image through its abundance and compromise vague public culture. Fourthly, the pastiche fashion dismantles the basic structure of clothes to endow avant-garde esthetic appreciation. Fifthly, the folklore fashion representing the culture of minority and neighboring countries would become a new destroying the historically fixed clue. sixthly, the reinterpretation of pastiche fashion discovers the new regulations and beauties from Imitation to provides tow Important elements of post-capitalism fashion, dynamics and creativity. Lastly the consistent adaptation of image of fashion design with strong technical and theoretical basis can establish new fashions of this era with its unique creativeness.

• 복식
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• 제25권
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• 복식
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• 제58권2호
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• pp.78-92
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• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.

• 패션비즈니스
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• 제6권6호
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• pp.56-67
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• 2002

Fashion designs reflect the trend of the times embedded within the cultural structures of eastern and western civilizations as well as the traditional styles. However, the motives in fashion designs fundamentally come from human beings' willingness for creation through deep understand of nature or using symbolism and artificial esthetic appreciation. Mankind has expressed their willingness for creation through speculation not with the attitude of conquering nature but by acknowledging the flow between their lives and nature. The purpose of this paper is to investigate human beings' transcendental and embracing attitude toward the natural environment and the human environment in fashion design. In natural environment factors, sublimity toward nature's marvelous powers and the transcending state of mind within happiness and delight or the extreme fear or unavoidable coerciveness and the consequential daunting feelings and smallness, and sorrow all stimulate the will of mental speculation and cause a transcending sublimity. A sublime state of mind does not exist in a superficial framework of enjoyment. It is rather an act of transcendence and embracement residing in a sublime object and leading man's spirit into a state of philosophical thought. Also, in man-made Environment factors, we found from magnanimity we were ability to see the true nature of an era's culture.

• 한국의상디자인학회지
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• 제21권3호
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• pp.25-35
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• 2019

The purpose of this study was to identify the relationships among credibility toward publicity (CP), the attitude toward publicity (AP), enterprise images, ethical obligations, and purchase intention, and then to demonstrate the differences in the relationships according to the three socially valuable creations: job creation, environmental protection, and fair trade. The hypotheses of this study were empirically tested with data collected via an online survey. The results of path analysis indicated that CP and AP positively affected enterprise images and ethical obligations respectively. Purchase intention was influenced by AP, enterprise images, and ethical obligations, but not by CP. In addition, this study highlighted the lack of a difference in consumer responses to publicity according to the three types of socially valuable creations. These findings provide guidelines for publicity strategies to induce consumers to purchase social enterprise products for marketing managers and entrepreneurs operating social enterprises.

• 복식문화연구
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• 제25권1호
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• pp.48-63
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• 2017

When digital media and images are combined, their significant sociocultural impacts can be exercised. Therefore, this study analyzes digital images shown in such trends of digital media compared to the digital fashion from an aesthetic perspective. Research and empirical studies are focused upon to analyze the aesthetic characteristics of digital fashion. Digital Fashion comprehensively refers to fashion design using computers and software, and is considered as "Fashion Design utilizing Digital Technologies" including computer software and hardware perspectives, so that it may be renamed "Digital Fashion." The esthetic characteristics shown in the Digital Fashion defined above are analyzed according to how media philosophers conceptualize the digital image. First, from the perspective of creation, Digital Fashion Images are technical images produced by computers. Uncanny characteristics expressed through virtual images look more realistic than the actual ones used in experimental works of fashion designers. Such virtuality dynamically expresses various colors and fabric patterns through lights using digital technologies that do not yet exist in cloth form, rather in a non-material form of dynamic virtual imagery. Digital fashion images on monitors express digital fashion designs by shaping virtual images through 3D printing. Second, Digital Fashion Images from the perspective of acceptance are created through deconstruction, while fashion has only been previous viewed visually, Digital Fashion delivers immersions of visual touches as if directly experienced for accepters. Digital Fashion will continuously develop and become more influential as it converges with digital media.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.66-66
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• 2003

The rapidly environmental alteration and technical civilization that have a direct effect on the creation of high-technology art. And spread of this kind of art influenced on material of and method of production. These lead to machine aesthetic of style of fashion.

• 복식
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• 제33권
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• pp.5-25
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• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.

• 한국의류학회지
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• 제28권5호
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• pp.626-636
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• 2004

The purpose of this study was to show a theoretical system of expressional area, the characteristics and the effects which is applied to fashion illustration by metaphor theory. The theoretical system of expressional area was analyzed by category analysis and 150 fashion illustrations from 1900 to 1999 were analyzed by contents analysis. The results of this study were as follows: Metaphor in fashion illustration was categorized to replacement, parody, heterogeneous combination, surrealism, magnification and reduction of size, optical illusion, juxtaposition and distortion of form. In detail, First, replacement was showed omission of form, non-object color, texture. Second, parody was showed using the part in artistic work, differentiation of original work. Third, heterogeneous combination was showed unreal body combining between animal and plant. Fourth, surrealism was showed creation of object which is impossible to present. Fifth, magnification and reduction of size was showed bizarre magnification of part of body, size of clothing. Sixth, optical illusion was showed ambiguity of object because of creation of new form. Seventh, juxtaposition was showed the parallel of contradicting idea and change of meaning between heterogeneous objects. Eighth, the distortion of form was showed grotesque distortion of part of body and disgusting object.

• 한국의류산업학회지
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• 제17권2호
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• pp.278-286
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• 2015

Fashion industry has tried to adopt the virtual garment technology to reduce the time and effort spent on sample creation. For garment manufacturers to adopt the virtual garment technology as an alternative to sample creation, 3D avatars that meet the needs of each brand should be developed. Virtual garment softwares that are available in the market provide avatars with standardized body models and allow to modify the size by manually entering size specifications. This study proposed a methodology to develop size specifications for 3D avatars as well as brand-customized production sizes. For this, a man's fashion brand which is using virtual garment technology is selected. And the Size Korea database is used to develop size specification based on the customers' body shape. This study developed regression equations on body size specifications, which in turn proposed a regression model to proportionately change size specifications of 3D fitting-models. Based on the each body size calculated by the regression model, a standard model is created, and the skeleton-skin algorithm is applied to the regression model to obtain the results of size changes. Then, the 3D model sizes are tested for size changes as well as measured, which verifies that the regression model reflects body size changes.