• Journal of Fashion Business
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• v.16 no.6
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• pp.63-79
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• 2012

Modern art is getting more comprehensive and diversified regardless of genre in many forms due to the pluralism and anti-aesthetic trend of the time which is impacted by post modernism. This atmosphere is also applied to fashion illustration which creates synergy effect in cooperation with many different genres. This study selected Matisse' paper cut-out as the subject which would reflect the minimalism and ionism of modern plasticity. By taking this as the motive for fashion illustration, I made seven illustration works with the subject of minimalism of form and color. The conclusion of this study is as following. First, Matisse's paper cut out has controlled plasticity related to the modern ionism and it well fits the modern trend and sensibility which is appropriate for motive of fashion illustration. Second, by upgrading the technique of Matisse' paper cut-out in a modern way such as combination of hand drawing and computer graphic using Photoshop, I was able to make originative and creative illustration works with background and patterns that were closely connected with each other. Third, applying the fashion illustration to other various products is being well received now and I made my illustrations that could lead to follow up studies to apply the fashion illustration to other different products. Matisse' paper cut-our has forms, colors and patterns that can contain both commercial and artistic value. Therefore it is quite feasible for follow up research to apply into many different areas.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.115-132
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• 2021

The purpose of this study was to suggest multiple directions of fashion design by producing differentiated athleisure fashion designs with functional materials based on existing sportswear. A design utilizing handcraft skill was developed by applying the design characteristics of Laszlo Moholy-Nagy's paintings. With respect to the study methods, the background of Laszlo Moholy-Nagy's paintings were analyzed and their historical background was investigated by employing previous studies and literature review. The design characteristics were classified by issue and time-period. The results are as follows; First, the feasibility of creative artwork expression was found by pursuing collaboration with artwork and fashion by applying the motives of the fashion with the characteristics by the times, lines, forms, colors, and overlapping in Moholy-Nagy's paintings. Second, athleisure fashion, which can mix-match with casual wear, was found to enhance not only creativity but also add value by applying design, which added multiple handcraft elements, as well as characteristics of functionality, aesthetics, practicality, appealability, ostentation, activity, and dynamism. Third, potential harmony was found with achromatic and chromatic colors that can express more dynamic and active images. Based on the study results, further studies are anticipated using multiple paintings.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.3
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• pp.407-423
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• 2022

Fashion illustration is a language that expresses the inspirational imagination of designers. Like fashion, illustration reflects and records the social and cultural phenomena of the time. In this context, Ignasi Monreal's fashion illustration shows the characteristics that reveal modern people's ways of thinking and their desires. This study analyzed work by Ignasi Monreal in 'Gucci Hallucination' of 2018 S/S to examine the characteristics of his new painting style and the messages his fashion illustration aims to convey. He tried to harmonize his surrealistic digital illustrations of Greek mythology with Gucci items. As a result of this study, the characteristics of Monreal's illustration works were divided into two main categories: formal aspects (similarity of composition or subject and use of dépaysement techniques), and content aspects (expression of a mythical surreal being). These qualities differentiate Monreal's fashion illustration from that of other artists. In addition, his works on the myth of Icarus not only express the desires of modern people but also convey social satirical messages.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.1
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• pp.53-68
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• 2015

The purpose of this study is to analyze check pattern of nail art from 2011 to 2013. The results of this study are as follows; 1) Check pattern of nail art is total 257 patterns, and there are 84 argyle, 29 tartan, 24 harlequin, 24 over, 23 window-pane, 15 stitcheds, 13 hound tooth, 10 block, 10 madras, 8 gingham, 8 gradation, 7 shepherd, and 2 tattersall check patterns. Through this result, in nail art, the relatively simple patterns such as a vertical pattern, a horizontal pattern, and cross or overlap diagonal line are used more than elaborate and complex check patterns of a fibrous tissue from a weaving process. 2) In check pattern of nail art, N-affiliated color and R-affiliated color are remarkably well-used, because of the effects of argyle, tartan, window-pane, harlequin, stitched, over, and hound tooth check patterns used the most during the past three years. Especially, most tartan, harlequin, over, and hound tooth check patterns use their own special colors such as R-affiliated colors and N-affiliated colors as it is, and argyle, window-pane, stitched, and over check patterns use well by arranging N-affiliated colors and R-affiliated colors. 3) The most used expressive technique is hand painting to express check pattern in nail art, because new products related to UV gel are well launched. These materials can draw fine line that is hard to express by existing polish easily and simply, and not only have set quickly hard, so procedure time is very short, so it is compatible to draw check pattern personally, but also it is well covered, so check pattern is more clearly expressed.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.125-134
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• 2011

Sumuk drawings are made with water and muk(墨), which are used to express the light, shade and texture of an object. The expression methods of oriental drawing can be divided into three methods: pictorialization, abstractness and realism. The method of pictorialization expresses traditional pictures or letters. Abstractness show an artist's aesthetic feeling through sprinkling, splashing and spreading diffusion of muk. The method of realism is Takbon which makes a copy painting directly from a monument by rubbing a paper with ink. Modern fashion designer attempts to develop a new Sumuk technique based on both oriental drawing style and western watercolor painting style. Rather than following the designated styles of oriental drawings and Korean drawings, new Sumuk technique colors detailed structures expressed as outlines, dots and lines or creates abstract patterns through spreading or spilling in showing theme of flowers, plants and insects. In this study, in order to develop fashion cultural products with Sumuk technique, rubbed copy of the ancient 'Emile bell Takbon' was used. For this study, with the combination of different colors and the patterns from 'Emile bell Takbon', designs for scarfs, shirts and one-piece dresses were created. These techniques enabled to express soft and strong Takbon image in simple Sumuk technique in harmony with modern trends.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.45-59
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• 2001

The purpose of this study is to investigate the religious motive and to clarify the relation between religion and fashion and to predict the trends in the future fashion by analyzing the religious motive in the aspects of inner meanings and methods. 1. We can see ego-superiority as inner meanings of religious motive is expressed mysterious image. Mysterious feeling is reflected in modem fashion in the form of the transparency of light and mysterious color in religious painting that is reemerged as a gorgeous and luxurious sense or it is reflected in modern fashion in the form of borrowing grand ways of art and elements of clothing. And this results from longing for aristocratic gorgeousness and from desire for light that is based on love and salvation. 2. We can see religious motive in modern fashion is a will to be converted to religion because of fin de sie-cle anxiety, and this is reemerged in modem fashion as borrowing of religious symbols in the casual wear or as combination of sacred religious motive with vulgar image and they are going to get mental satisfaction by this. 3. Religious motive has the inner meanings of ethic completion and this is reemerged through covering bodies, minimizing details and using dark tone color by having an inspiration in religious clothing. And this results from antipathy to extreme gorgeousness of modern fashion and excessive exposure and from mental desire for returning to an inner nature.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.120-133
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• 2008

The purpose of this study is to analysis types of light and to find the characteristics of light in contemporary fashion design. In a scientific context, light is electromagnetic radiation of a wavelength that has the characteristics of straightness, reflection, refraction, scattering and diffraction. But in philosophical speculations, light has been used as a metaphor of 'being', 'to-be' or 'enlightenment.' And through the ages, people have tried to represent and apply the light into plastic art like painting and architecture. The types of light in fashion design was categorized as those; reflective light from the surface of clothing which is the result of interaction between illumination and material, representative light as the pattern of light or light effect such as sun or its rays and optical or psychedelic patterns, luminescent light from light emitting material like phosphorescence or LED which combines into fashion design, projective light from a medium to reveal virtual patterns on the surface or a fashion design itself using holography. These lights in fashion design can be considered as reflection of emphasis of sexuality, longing for fantasy and mystique, visualization of interaction and communication and groping for the play.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.165-179
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• 2000

This research centers on studying the function and characteristic of fashion illustration for advertisement and publication which is, among plenty of fashion illustration's functions, the commercial one. Here are some purposes of the research. First, it presents the function of fashion illustration. Second, under the contemporary circumstance of specialization and subdivision. It givers people the better understanding of fashion illustration by providing a variety of its classification bases other than the typical, simple grouping of style drawing and fashion illustration. Third, this research helps fashion illustration establish itself as commercial art by showing how fashion illustration is utilized in the field as a part of the fashion industry. The methods and contents of the research are described that the concept of fashion illustration, characteristic, classification bases and commercial function are presented and than the data of fashion illustration which hale been used as goods since 1990 in the nation are selected in order to analyze the media for the application of fashion illustration. its expression methods, factors and images. By doing so, advertising fashion illustration are much less than those of published fashion illustration and even most cases of advertising fashion illustration are related just to poster advertisement such as magazines, fashion events or public subscription. The published fashion illustration isn't also attracting the public since it focuses on fashion information books, fashion magazines or fashion -clothing books. Another finding is that the expression style of fashion illustration is not various or distinctive. The expression remains in the trends of painting, figurative drawing, sometimes adopts post-modernism which is reflected in popular cartoon and figures exaggerates or simplifies the human body. The image of fashion illustration is simple. casual or feminine in the rough. For the development of commercial fashion illustration, it is required to produce fashion illustrators, not works but goody, with various concepts appealing to the public.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.2
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• pp.237-254
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• 2020

In this study, we analyzed the images of women in Korean society through the female body expressed in nude paintings from Korea. The study included a literature study and a case study. Through prior research, we examined the history of nude paintings in Korea and the way people conceptualized the female body in Korean society. The case study focused on nude paintings of Korean artists, produced since 1910, when Western painting concept was first introduced to Korea. The social perspective of the female body in Korea was categorized into the three concepts: Eros, Motherhood and Power. Next, we examined the role of drapery and clothes in expressing these three concepts. Drapery and clothes played active roles in hiding and emphasizing the female body, showing the psychology of a woman or the artist's intention, showing the entire mood of the work, and giving three dimensional feeling and elegance to the work. We could see that the role of clothes changed from expressing a virtuousness in the past to stimulating a voyeuristic gaze in the present.

• Journal of Fashion Business
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• v.24 no.4
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• pp.19-29
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• 2020

The purpose of this study was to investigate Renaissance wall-covering fabrics through Flemish paintings, that provides the details of the origin and development of background of modern wallcovering. The methods of the study are as follows. First, the background of textile development of Flanders in the 14^th to 16^th centuries were examined through a prior study. Second, the shape and use of wallcoverings in paintings painted during that time were analyzed and the process of changing to modern forms was studied. The residential environment with many stone buildings in relatively humid and cold weather created a need for decorative fabrics. Back then, the wool and flax fabric were not allowed to be worn on the body, so the materials were used for the development of interior fabrics. The characteristics of wall covering in Flemish paint can be summarized with movable, allegory, and decoration. Movable stems from the arrival of the emerging aristocrats of Flanders, who had enormous commercial trade and carried decorative fabrics; the mobility has become an allegory in reality as the royal and aristocratic use of wall-decorated fabrics is the symbol of authority. In addition, unlike Italy, where silk was procured from the East, fabrics manufactured using flax and wool were not suitable for clothing in terms of religion and practicality and were used to decorate walls.