• 한국의류학회지
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• 제26권10호
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• pp.1455-1466
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• 2002

This research focuses on functionalism in American fashion designs which have become the center of public attention in recent. First, documentary studies about how functionalism, which originated in Europe in the beginning of the 20th century, has been developed throughout the 20th century were preceded Second, content analysis was done for the articles, including the word ‘unction’,‘utility’ and ‘practical’in the New York Times and American Vogue from January 1990 to January 2001. As a result, functionalism in 1990s has been developed in different ways from the mechanical, organic, and mea analogies of functionalism in the beginning of 20th century. It doesn't belong to an analogy but has the fused characteristics of those three analogies. It can be classified into techno functionalism influenced by new technology, pure functionalism related to minimalism, sports casual functionalism for those who are crazy about the speed and sports and enjoy the freedom and comfort, and symbolic functionalism which stresses Zen style. More casual manners of formal wear are distinct elements in functionalist fashion design in 1990s. It leads to strong expressions of sports casual functionalism, which plays a great role in sportswear industry of American fashion design. The American fashion designers who were mentioned often in the articles were Donna Karan, Calvin Klein, Ralph lauren and Tommy Hilfiger. As well as their works have common formative features based on functionalism, each of them shows his/her own strung color. A]1 of these designers make American fashion design, which can be defined as casual wear or sportswear, very popular worldwide based on the developed American functionalism. Functionalism considering practical and conceptional functions will continue in coming century and techno functionalism and sports casual functionalism in future fashion designs wilt be expressed more strongly with new technology and casual trends of life style.

• 한국의류학회지
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• 제39권5호
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• pp.745-754
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• 2015

This study analyzed Korean middle-aged men's fashionable styles according to ageless trends as their representative characteristic and deriving their special features from men's magazines. Literature and case studies were conducted together. The research findings are as follows. First, it showed uniformity, conformity, passive clothing selection and consumption in 1990s as characteristics of middle-aged men's wear by period. However, clothing became an expressive way to pursue individuality and an ageless trend gradually, and middle-aged men positioned themselves as subjects of a consumer market for men's wear after 2010 through active clothing selection and consumption. Second, along with a trend change preferring a comfortable and active to formal atmosphere, it showed that casual style became diversified and segmented gradually in Korean middle-aged men's ageless trend and fashionable style. Third, as for formative characteristic changes in middle-aged men's fashionable style by period, it contained a slim silhouette, bright and splendid colors and patterns, increase of light, active and functional materials, generalization of casual items and pursuit of individuality by various mix & match styles. Fourth, in Korean men's ageless trend and changing fashionable style, four kinds of special characteristics were derived that included a change of the traditional clothing symbolism, weakened conformity & pursuit of personality, obscured boundaries between age and wearing style, and active embracing of a trend.

• 패션비즈니스
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• 제18권6호
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• pp.57-66
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• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• 한국의상디자인학회지
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• 제3권1호
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• 한국의류산업학회지
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• 제16권1호
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• pp.66-78
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• 2014

The purpose of this study is to illuminate the location of fashion in contemporary society and to suggest a direction for fashion criticism in aesthetic$\hat{u}$cultural perspective. For this, literature researches about some of art criticism and fashion criticism theories and cultural studies related to fashion are performed. In this study, fashion criticism is defined as a linguistic analysis and interpretation about a variety of discursive networks around fashion as well as an aesthetic analysis of it. Considering this definition, an analytical framework for the contemporary fashion criticism combines Feldman's and Carney's models with Crane & Bovone's and Entwistle's sociological studies for aesthetic and cultural perspectives. At first, its aesthetic perspective shows 'Description'-'Descriptive formative features', 'Analysis'-'Locate the style' and 'Aesthetic value', 'Interpretation'- 'Interpretation of the fashion object' and 'Socio-cultural interpretation', 'Judgment'-'Critical judgment'. Then, its cultural perspective especially emphasizes 'Socio-cultural interpretation' of the 6 steps above. Socio-cultural interpretation gets tangled with the network of various cultural agents within the fashion system, producers/designers, retailers/suppliers, media/editors, consumers/spectators, and so on. In the course of the fashion system 5 analytical methods about the fashion object can be suggested and they are as follows: Analyses of texts, discourses and symbols of a fashion object, Analyses of fashion systems which produces symbolic values, Analyses of the communication of symbolic values and the disseminating processes through the media, Analyses of the attribution of symbolic values to a fashion object by consumers, and Cross-national studies of symbolic values expressed in a fashion object.

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.152-160
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• 2017

The purpose of this study is to propose a space design plan for brand experience that can enhance consumer satisfaction and brand awareness by conducting a survey on the consumer satisfaction with space expression methods in an eyewear flagship store. Through theoretical review, brand experience was defined as the 'process and outcome of experiences caused by stimulations associated with the brand in a series of processes. After reviewing previous studies, 5 elements of brand experience such as the sensory, emotional, behavioral, cognitive and relational experiences were extracted. Upon deriving a checklist through these elements, a survey was conducted. The analysis of the survey showed that the process composed of cognitive experiences that promoted to remember the brand was intensively expressed in spaces. Thus, the results of this study are as follows. First, the process composed of cognitive experience should be applied with a higher priority to increase brand awareness, and such a process accompanied by the behavioral and sensory experiences. Second, beyond a simple visual experience, various senses such as olfactory and auditory senses should be stimulated, and behavioral experience provided as an experience factor. Third, brand image and sales spaces should be composed under a single theme with a connectivity. Fourth, in external spaces, the curiosity of consumers should be stimulated with a theme matching the brand image. Fifth, it was found that the visitor satisfaction was higher when formative elements consisted of not only static but also dynamic features. Sixth, among the elements of brand experience, emotional experience should be improved to complete the 'process and outcome of experiences'. It is considered that further studies are needed, which expand the cases of eyewear flagship stores not only in Korea but also overseas, and propose more specific plans and design strategies through in-depth interview methods in the future.

• 자원환경지질
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• 제16권2호
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• pp.111-123
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• 1983

The studied area is situated in tho southern part of the Ogcheon fold belt, where the "Ogcheon Group" is widespread with Jurassic and Cretaceous intrusions. The regional stratigraphy may be divided into three formations, the lower pebble bearing phyllitic, the middle dark grey phyllitic, and the upper black phyllitic formations. For the purposes of the present study, the area has been partitioned to three structural subareas based on major fold axes and fault line. The main subjects of the research have been discussed from two different points, multiple deformation and minor-micro fold styles. The former is analyzed by pebble elongation, folding and lineation in a pebbly formation as well as schistosity, crenulation cleavage and crenulated lineation in the phyllitic formation. The later describes the characteristic features of fold style in each formation and structural subarea. Although minor fold axes within broad pelitic rocks usually tend to trend northeast and to plunge northward, most of these were probably formed by two stages, first a similar fold phase and second a kink fold phase. Measured structural elements indicate that crenulation cleavage in phyllite formed parallel to fold axes of folded pebble followed a NE phase of first deformation and a fold axes of pebbles diagonal to bedding of phyllite are represented by a NW phase of a second deformation. Microscopically, quartz and mica grains form a micro fold enabling one to establish tectonic levels which occur in different deformation modes in each stratigraphic sequence. Microtextures such as crenulation cleavage, kink band, aggregate band of mica and pressure shadows of porphyroblast of quartz related to qarnet and staurolite may suggest the time relation of crystallization and tectonism. The result of this study may conform that three deformation phase, NE first phase-NE second phase-NW phase, occurred in the area.

• 한국콘텐츠학회논문지
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• 제17권7호
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• pp.22-30
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• 2017

CGI는 영화와 애니메이션이 디지털시네마와 디지털애니메이션으로 진화하는데 결정적 역할을 했을 뿐만 아니라 대중 상업 영화와 애니메이션 안에 리얼리즘 시각중심의 스펙터클의 영상문화를 정착시킨 중요한 시각형식이다. 영상문화를 설명하는 도상성, 포토리얼리즘, 핍진성, 언캐니밸리, 하이퍼리얼리즘, 스펙터클 사실주의 담론 연구를 통해 CGI 시각형식이 세 가지 관점에서 구조화될 수 있음을 발견하였다. 첫째는 그림과 사진의 도상적 차이에서 생기는 조형적 관점이고, 둘째는 시각적으로 인지되는 자연스러움과 이상함을 사실적 개연성의 문제로 보는 인식적 관점이다. 마지막으로 영화와 애니메이션의 미학적 전통에 뿌리를 둔 관습적 관점이다. 그리고 이렇게 구조화된 시각형식의 틀로 영화 '정글북'(2016)에 사용된 CGI의 특징을 분석하였다. 결과 이 영화는 사실적인 개연성의 바탕 위에 극사실적 포토리얼의 사진적도상성을 가지고 있다. 그리고 과장 및 증폭된 시각적 내러티브를 주된 시각형식으로 하는 영화의 영상미학적 관습을 따르면서 동시에 동물캐릭터의 의인화로 인해 애니메이션 영상미학의 관습도 충분히 가지고 있음을 알 수 있었다.

• 한국생활과학회지
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• 제23권3호
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• pp.515-527
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• 2014

This study is intended to develop the creative and high value-added products as well as the development of diversity for jump suit for the future by analyzing the trend and feature shown in jump suit in the modern fashion. In the research methodology, the analysis was carried out over a total of 351 work pieces on jump suit among those presented in the collection of Paris, Milan, New York and London from 2006S/S to 2013F/W as well as literature review. The aesthetic features on suit jump design introduced in the modern fashion could be characterized as the following. First, both upper and lower garments are composed with a simple array of items and the stress was put on modernity feature through minimal expression technique. The feature of solid simplicity was also given with achromatic color or neutral monochrome. Second, the feminity image was emphasized with adoption of such highlighting items as detailed add-ons, tops, camisoles and blouses that stress the organically curved streamline including silhouette, material itself, crease and drape that enable the direct and indirect exposition of human body and the expression of smooth curve in human body. Third, jump suit revealed the multipurpose feature as item available for the diverse wear such as working habiliment, sports wear, uniform, office wear and evening wear, depending on the terms and conditions. Fourth, the deconstructive characteristic appeared through integration with various items, destruction of formative structure, non-structural shape, and ambiguity in wearing method.

• 디지털콘텐츠학회 논문지
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• 제18권7호
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• pp.1303-1312
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• 2017

이데올로기들은 영화를 구성하는 다양한 요소들에 의해 표출된다. 그 중 하나가 의상이다. 본 연구는 웨스 앤더슨의 영화 작품속 의상에 표출된 유니폼의 조형적 특징과 이미지의 분석에 연구의 목적을 두고 있다. 이를 위해 논자는 2010년 이후에 제작된 웨스 앤더슨의 작품들 중 <문라이즈 킹덤>(2012), <그랜드 부다페스트 호텔>(2014)의 두 편을 연구 대상으로 선정하였다. 본 연구를 통해 유니폼과 이데올로기 양자간의 인과성과 그것이 갖는 상징적 의미를 파악할 수 있었다. 영화에 등장한 유니폼은 인물들의 직업이나 역할을 드러내기 위한 목적에서 나아가 소속감, 독립성, 권위, 사명감, 정체성과 동일체성, 자부심 등을 표출하고 있는데, 이 중 두 영화에 공통적으로 나타난 가치는 소속감, 독립성과 권위, 사명감 등이다.