• 한국콘텐츠학회논문지
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• 제18권10호
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• pp.618-630
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• 2018

현대 신발디자인은 형태적 변화뿐만이 아니라 문양을 통한 다양한 디자인 전개가 적극적으로 시도되고 있다. 그러나 이런 문양이 일시적인 유행에 그치지 않고 세계적인 경쟁력을 지닌 디자인으로서 지속적인 가치를 갖기 위해서는 우리나라의 고유한 정체성을 반영할 수 있는 문양을 개발해야할 것이며, 이것은 전통문양에 대한 분석이 선행됨으로써 가능해질 것이다. 문양은 집단적 가치의 상징으로, 전통문양은 현재까지 이어져 내려오면서 소속된 사회구성원의 철학적인 사상을 함축적으로 표현하기 때문이다. 이에 본 연구에서는 전통신발 중 문양이 특징적 디자인 요소로 활용된 삼국시대의 금동신발을 분석했으며, 그 문양의 상징성은 시간과 공간의 초월(超越), 정신과 물질의 조화(調和), 지역과 종교의 융합(融合) 등으로 나타났다. 이것은 우리의 선조들이 자연의 한계를 인간 중심으로 해석, 극복하고, 현실을 넘어 이상을 추구하였으며 다양한 사상을 수용했다는 측면에서 인간중심주의, 이상주의, 포용주의를 나타낸다고 볼 수 있다.

• 한국의상디자인학회지
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• 제17권3호
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• pp.13-27
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• 2015

The purpose of this study is to understand the general process from textile design till fashion design and to understand the relation between the body structure by using the x-ray technique. The research method was to see background of the anatomic feature and human skeletal X-ray projection through historical aspect of publications, the Internet, and paper. In terms of production, in order to present a design that takes into account the unique silhouette of the human body without distorting the shape of the human skeleton, X-ray images that were reconstituted using a computer graphic tool (Photoshop CS) were reproduced into the fabric as intense images through the digital Textile Printing technique that is capable of expressing fine and delicate details, and applied into the design. An original design was developed that emphasized the impression of the human body being projected and the shape of the human skeleton realistically expressed in terms of silhouette and detail. The results are as follows: First, Body has a anatomic formative characteristic and its formativeness becomes as a great motive for the artistic expression and thereby it becomes more unique and available for new design expression. Second, Using the 'body frame' as the motive of the research, there's mainly tried to make an unique expression. Third, according to reconstructing human skeletal X-ray projection by using Adobe Photoshop CS2, it can be expressed strong and unique design. Forth, DTP which is being used as an essential technique, expresses the body frame realistically and being used the special type of functional product and silk. Likewise by discovering the diverse formativeness of our body frame and reflecting the sense of humanity into the pieces there's been able to make and develop an unique fashion design. I sincerely hope there is a hug progress in this research in this area.

• 복식
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• 제24권
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• pp.157-176
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• 1995

The purpose of this treatise is to study external form and internal meaning of minimal expression fashion which appeared as a major stream in modern fashion trends to understand one aspect of modernism in fashion and also to gain insight into internal value of human beings through fashion. The results can be summarized as follows : Firstly , minimalism is a trend in art attempting to seek essence of the object by presenting simple and disciplined expressions by minimal formative means and minimal production process. Secondly, minimal expression in fashion means seeking simplicity an dpurity by using minimum design elements and minimal productive process. Thirdly, external from of minimal expression fashion can be created through application of following minimal expression techniques. 1. Minimal expression techniques in terms of line mean smooth curve flowing along body contours, straight lines of diagonal lines into desciplined silhouette or rendering internal contour lines. 2. Minimum expression techniques in terms of forms mean forms of smooth curves flowing along boyd or forms with simple geometric forms from qualitative aspects, In terms of volume it means quest for essence of pure body itself by revealing body as it is by minimizing the size of dress or its area and herein is contained using simple geometric pattern or utilizing textiles without any patterns.3. Minimal expression techniques by colors mean simple colors such as primary colors, colors without clear distinctions or natural colors and in terms of quantity it means quest for one color within one item of dress or combination of each items when getting dressed. 4. Minimal expression techniques in terms of fabrics mean fabrics with simple surfaced. In terms of quantity it means quest for essence of tight fitting thin textiles to human body or using transparent materials to human body thus exposing body contours as it is. 5. Minimal expression techniques in terms of productive process mean minimizing process of tailoring , sewing or ornamenting and seeking for simplicity and purity. 6. Minimal expression techniques in terms of manufacturing process mean selection of technique conveying simple image with disciplined simple image. Fourthly, minimal expression fashion with external expression as mentioned in the above lay body-priority style and its internal meaning can be asummed as quest for essence and purity of human body.

• 복식
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• 제50권4호
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• pp.165-180
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• 2000

Since fashion is considered to be a cultural product and belongs to the formative art as well, the changes in fashion reflect those of society. Modern fashion has emerged from the period when people would follow the popular fashion uniformly, and moved toward the age of diversity, expressing not only the inner desires and aesthetic sensibility of individuals but also the freedom from formality and traditional restrictions. This kind of changes in expression became important motives for modern dress design following the present cultural phenomena, and, so called "outerwearization" of the undergarment or "infra apparel" exemplifies this situation. Corset especially has been playing a vital role in exaggerating and emphasizing the beauty of female body and correction of its shape. Today, one can frequently witness corset in street fashion along with brassier, Its sister concept. This "outerwearization" of the undergarment is supplanted as a syndrome, and it is defined as "supra syndrome" using "supra" as the opposite meaning to "infra". This unique phenomenon of modern fashion cannot be explained by a single social aspect, but as a mixed state of eroticism, fetishism, feminism, demonstrationists and expressionism among several current phenomena. The advent of "supra syndrome" and its cultural background were illustrated and stand-out "supra syndrome" exhibited by many world-renowned designers were analyzed in this study. As the result of study, six design pieces were developed and produced in three groups, based on different corset motifs. This study reaffirms that creativity of design is limitless and the imaginative abilities alone cannot accomplish higher level of design and development of works of fashion unless they are accompanied by the understanding of historical background, periodical circumstances and cultural phenomena. In this study, utilizing the modern apparatus such as computer and the advent of the modern technology was also found helpful in creative fashion design process.

• 복식
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• 제37권
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• pp.231-252
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• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• 한국주거학회논문집
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• 제15권5호
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• pp.21-32
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• 2004

The purpose of this study is to interpret Gaudi's philosophy of architecture through an analysis of the design characteristics in his remodeling of Casa Battlo. A review of the literature related to Casa Battlo as well as a field study in Barcelona to see the building were made for this study. The conclusions were as follows; Casa Battle is one of the best examples of Gaudi's attempts at creating a surreal atmosphere and should be evaluated in light of the following considerations: 1) Casa Battle as a remodeled house presented its own restrictions to Gaudi that he overcame by introducing characteristic design elements into the remodeling process; 2) the achievement, a perfect sculpture expressing continuity through a gorgeous colour scheme using different materials and design motifs with a dynamic spiral shape, originated from Gaudi's observations of nature and his experiences working in modeling studios; 3) a visualized embodiment of Gaudi's naturalism and functionalism through the impression of perpetual movement and continuity as formative symbols of genesis, life, death, and transmigration of the soul, originated from Gaudi's personal experiences of the early deaths of several close family members; 4) the design is meant to show the same processes of creation used by nature rather than a mere imitation of nature. Gaudi was not only a person dedicated obsessively to his profession as an architect, but also a rationalist fundamentally in the way he operated. It was expected that this study could be employed as a small stimulus to challenge the paradigm of housing remodeling projects -a hot issue in today's Korea- especially in their philosophical aspect.

• 복식
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• 제57권10호
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• pp.156-168
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• 2007

Brands started to manufacture consumer-oriented products and look for active methods to appeal their brands to consumers, in the 1990s. As a result, actively adopting graphic design to clothing designs has recently become an important strategy among others. Graphic design has important significance in contemporary fashion design in the aspect that it has expanded the range of expressive methods by bringing over expressive methods of visual design, and has led to an increase in sales due to consumer satisfaction, but it has been vaguely handled together with textiles design, and research on the topic has been insufficient. Therefore this study aimed to clearly define the idea of graphic design based on documentary research, and analyze applying case and formative features of graphic design expressed in clothing, through case studies from 2004 to 2006, and derive the trends of graphic design expressed in contemporary fashion design. The results of this study are as follows. The common characteristics of images that reflect recent graphic design trends in fashion design are hand writing and irregular composition, and images that actively pursued these pointes were retro and craft images, and modern and sporty images reflected these graphic design trends in a comparatively passive manner. It is important to maintain style differentiation rather than indiscreetly adopting graphic design trends to clothing, and to appropriately apply trend characteristics of fashion design and other design areas. Expressive methods of design are expected to expand through appropriate application and development of graphic design, and can potentially provide a new solution to brand differentiation.

• 복식
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• 제52권3호
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• pp.149-160
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• 2002

Symbolism found in a certain object inherits characteristics from the culture that contains the objects. The purpose of this study was investigate the formative beauty of Korean trousers twisted the pieces together based on the way of Korean thinks and the Topology. The shape is formed by cutting from the fabric. From the perspective of semiology, the fabric and the pattern shape correspond to ground and figure. Ground and figure are identical with the principle of the whole and the part, which is the same in Korea, China, and the West. But In Korea, the 3-dimensional garment is made by adding a twist. This is very important and defines the difference in the way of thinking and topology. Korean trousers consist of three parts : Hury, Marupok, and Sapok. The small Sapok can be made by removing the Marupok and large Sapok (figure) from the fabric (ground) when making Korean trousers. A Mobius strip is made when the large Sapok is adjoined with the small Sapok by reversing the small Sapok, making a 180$^{\circ}$twist and then stitching together. The theory of Mobius strip can be applied in Joining Bajiburi. thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strop. The theory of Mobius strip can be applied in Joining Bajiburi, thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strip. Hury is cylinder while the small and large Sapok make up the Mobius strip. As a result, Mobius strip, Kleins'bottle, protective plan can be applied in cutting Hanbok used in the countryside, so I have come to see that the traditional Korean way of thinking is closely related to the theory of topological.

• 복식
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• 제54권6호
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• 조형예술학연구
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• 제2권
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• pp.5-41
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• 2000

The purpose of this thesis is to study about destructive method in late twentieth Century Paintings. To do this we will consider the examples of Frank Stella and Anselm Kiefer's expressive methods. And this thesis is designed to investigate the change of the two Modes. The centering change is in the destructive manner of them, and they are traced systematically. In these chapters we will study the procedure of the destruction and specification of the Modes; the subject which contains the special element, the relation between it and the artist's willful meaning, morphological specification, symbol system formative language, subject, material and coloring way. etc. The origin of the methodology is systematically studied and the procedures of the content applicated are considered. In the special characteristics of the methodology, the special feactures it contains will be considered. The basis of the deconstructive idea from Nietsche, Derrida, Saussire, Andrew Benjamin and others will be applied to understand the two Modes of artistic methodology, and whether or not they can be tools of explaining the methodology of our time is distinguished. Next, the methodologically founded contents and concepts from Chapter#2 are related and intertwined together. The outer destructive aspect and inner destructive specification are centrally uncovered by the Interpretation. The resulting background of the Mode, the factor of destruction and central concept, along with the works, applied ideas, and pre-scholar's writings, are conjoined and explained. The characteristics of S Mode are revealed as being similar to those of Vandalic Destruction and Baroque formalistic Style, while K Mode is closely related to Iconoclastic Destruction and Neoclassical Antiformal Style.