• 한국의류산업학회지
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• 제3권3호
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• pp.219-226
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• 2001

This study analyzed the works, introduced in the collections of Thierry Mugler in an aim to identify formative aesthetic and design concepts. As the data to study the creative concepts and expressions of the designer, fashion photographs were gathered in a focus on collections. The formative aesthetic expressed in the works of Thierry Mugler were characterized by the eroticism and the futurism. The formative aesthetic of eroticism were specified into the sexualism, primitivism and fetishism, and those of futurism were divided into the cosmocorps and the grotesque. The eroticism was based on the design concept on the body of woman. The sexuality was expressed through the design concept of opposing, extreme and conversion method. The primitivism was presented through the design concept of extreme method to express a returning to nature and a nostalgia and an adoration for the past. The pieces, expressed the fetishism, was presented through opposing concepts, such as a bondage and an extreme expose. It was indicated that the design concept of futurism was based on the future. The cosmocorps was expressed through the extreme method by using geometrical formative aesthetic and contrast color combination. The grotesque represented the mysterious and abhorrent futurism through the design concept of depaysment conversion and analogy.

• 한국의류산업학회지
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• 제4권4호
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• pp.317-326
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• 2002

This study is to analyze the works introduced in the collections of Paco Rabanne in an aim to identify formative aesthetic and design concepts. As the data to study the creative concepts and expressions of the designer, fashion photographs were gathered in a focus on collections. Paco Rabanne's fashion philosophy is to shine women who has passion, energy and self-confidence, with glittering materials. For he had a career of fashion accessary designer and architect, he tried to make his work constructively with non-sewing technology. So, his works could be divided three parts of materials which he has made creative fashion with. They are metallic, non-metallic and fabric. In metallic, design concepts are cosmos, egypt, the middle ages, modern technology. And from these the formative aesthetic were mainly characterized by the futurism, cubism and eroticism. In non-metallic, building, purism of primitiveness, nature. And from these the formative aesthetic were mainly characterized by surrealism, primitivism, romantism. In fabric, design concepts are natural phenomena, optical illusion. And from these the formative aesthetic were mainly characterized by cubism, optical art.

• 한국가정과학회지
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• 제10권2호
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• pp.53-62
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• 2007

The purpose of this study is to analyze the formative properties of fashion bag in contemporary fashion. Today fashion bags can be divided into spatial aesthetic, romantic aesthetic, conspicuous aesthetic, active aesthetic. Spatial aesthetic is a type of big bag which is suitable for women carrying lots of things on a daily basis. Romantic aesthetic is a symbol of femininity in respect for its handmade artistry, splendor, decoration, and impracticality by small size. Conspicuous aesthetic embodies human desire of high quality and being part of prestige of luxury brand regardless of its cost. Multi-functional aesthetic was coming form sports gear and are popular among young generation. In comtemporary fashion, bag take important role as the fashion good which make the clothes look better and additionally they are representative products which reflect the historical situation.

• 한국의류학회지
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• 제42권5호
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• pp.753-768
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• 2018

This study reveals the aesthetic characteristics and formative characteristics of the converged images of romantic sportism by analyzing how sportism fashion and romantic images fuse together. As for research methods, this study examines the aesthetic and formative characteristics of sportism fashion and the aesthetic and formative characteristics of romantic styles after grasping the basic concept and background based on a literature study of romantic and sportism fashion. As for an empirical study, the styles of sportism fashion pictures of romantic images collected from 2010 S/S to 2016 S/S from www.vogue.com were analyzed. The study results showed that there are 4 aesthetic characteristics of romantic sportism in modern fashion that included 'non-oriented form visibility', 'non-boundary sensibility', 'multi-sense blend', and 'non-formal mixed usage'. The formative characteristics based on these aesthetic characteristics are also derived in accordance with design factors as well as analyzed through representative pictures.

• 복식문화연구
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• 제21권4호
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• pp.521-534
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• 2013

This study aims to identify the formative features of inflatable fashion that has changed its form or fulfilled specific functions by inserting air between fabrics or between clothes and the human body. Images of inflatable fashion images after the 1990s were collected from the literature and internet data and were analyzed based on the formative features of inflatable design. Through this analysis, it was determined that there were four formative features of inflatable fashion: First, inflatable fashion has functionality. General fashion also has functionality, but inflatable fashion has expanded functionalities such as an air bag effect or insulation due to injected air. Second, the formative potential. Inflatable fashion can be changed into different forms depending on the amount of air injected. Light-weighted air holds up the material of the clothes. So new forms that are different from conventional fashion, which gives inflatable fashion its formative potential, can be suggested. Third, aesthetic expansion. Inflatable fashion when its volume is expanded expresses the beauty of scale, or expresses a voluptuous beauty when part of human body is exaggerated. Fourth, it has an unconstructive characteristic. Space that is visible due to the transparent material of inflatable fashion expresses the intention of the designer to fulfill an unconstructive concept. In conclusion, the formative features of inflatable design have formative significances : practicality, aesthetic significance, semantics and technical significance.

• 복식
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• 제51권3호
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• pp.111-127
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• 2001

This study aims to apply the formative aesthetic of human body to the form of clothing. For this purpose I try to find the various methods of analysis used in the work of sculpture. The method of inference and the checklists of design are used to relate the sculpture with the clothing design specifically. This methodology intends to regard human body as an artistic form and use the image of sculpture to the maximum. Especially I try to derive the motives of design and recreate them in clothing design emphasizing silhouette. On this methodology, following results were developed. First, the observations on the formative characteristic of human body show that the transformed form of human body expresses more perfect image of human body than the original form. The power of simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity and exaggeration can be variously recreated in a silhouette with the formative and cubic effect, simplicity, and activity. Third, the elegant and static image found in the analysis and synthesis of human body can be used as a motive of clothing design and the changed details lead to the transformation of silhouette. Fourth, in developing designs by the item of checklists, one motive can be variously recreated according to the methods of designs.

• 대한가정학회지
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• 제40권6호
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• pp.1-19
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• 2002

This study is to observe the meaning, aesthetic formative nature of the human body which has been not only a main issue and discussion object but also socially, culturally connected with clothing by contemplating it in the respect of the trend of art. Additionally, a work of contemplation about human body introduced to fashion design was analyzed to renew the meaning and value of the formative art inside the human body. The way and scope of this study is to contemplate the concept and meaning of human body, based on the documentary records such as art history and clothing history in the West society as a main theme. The results of the analysis were as follows: In the first place, the formative characteristics shown in the modem arts expressing the human body since 1990 which are cubism, futurism, metaphysical painting, dadaism, surrealism, pop art, happening, feminism, body art, and technology art are distortion, exaggeration and dismantling. Second, the aesthetic formative nature and meaning in the human body appear to be different according to the standard of ideal beauty of human body when we examine the expression of it from the aspect of art-history and the meaning of human body implied in it. Besides, human body is being used as a messenger which delivers the message of modem artist to other people. So the changed meaning of human body has affected the clothing and made it possible to manufacture and form new styles of clothing that have never been before. In conclusion, the human body in the modem era plays an important role as a brand-new formative medium of communication in the human society and contributes to the development which applies the aesthetic formative nature of the human body to fashion design.

• 복식
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• 제50권7호
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• pp.235-247
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• 2000

This study was conducted to consider the formation of sleeves from the point of view that dress is one of expressive arts. The formative meaning of a sleeve and its chronological formation according to its formative changes as an evidence showing the Internal changes of social culture were examined, centering around day dress of England in the 11th to 19th centuries. Then, sleeves were formatively classified and their aesthetic values were considered to help do formative, aesthetic expression of dress design in the present times. Literatures and references concerning the history of domestic and foreign dress were used as a method of study. The results of this study are summarized as follows. 1. In the women's dress, the formation of the sleeve focuses on aesthetic decoration. This means that in the androgentric society the status of women are subordinate socioculturally. 2. Sleeves were classified into a fitted shape and a extension shape according to the aesthetic formation. The fluted shape expressed the beauty of body with emphasis old natural body, whereas the extension shape represented aesthetic expression of decoration. 3. The formation of a sleeve has influence on forming an image of dress by making the silhouette of dress natural or distorted, expresses the harmonious beauty of the whole dress, and produces the expressional beauty that gives a distinct characteristic to a dress.

• 패션비즈니스
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• 제18권2호
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• pp.113-131
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• 2014

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan's traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of her design defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

• 한국의상디자인학회지
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• 제12권2호
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.