• 한국의류산업학회지
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• 제16권6호
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• pp.871-878
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• 2014

This study deals with formlessness designs that indicate a variety of related shapes between the human body and clothes depending on the 2D shape of fabric rather than a cubic and clear shape of fabric proportional to the human body. There have been formlessness fashion designs since the 1980s; however, there has been no attempts to define the concept of formlessness fashion designs. This study focuses on how formlessness clothing was named for clothes with no specific shape due to recognizing the body as a flat surface as referred in various prior studies and how a formlessness design is expressed. This study reviews formlessness designs from the viewpoint of eastern concepts as well as from the viewpoint of ancient Greek clothes to understand how eastern and western designers approached formlessness designs. We also simultaneously utilize a literature research and a case study of actual work. The scope of the research focuses on the case of female clothing starting from the 1980s when the formlessness trend first appeared.

• The International Journal of Costume Culture
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• 제6권2호
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• pp.117-125
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• 2003

Aesthetics of ugliness enlarged aesthetic field and brought back the repressed, estranged things. Hair style is not an exception. So I intended to examine the contemporary(1995-2002) women's hair styles on the basis of Rosenkranz' concept of ugliness. The results are as follows: First, extrinsic aspect contains formlessness and disfiguration. Among characteristics of formlessness, discord means appearing on a stage with a hair style derailed from our common sense or an incomplete hair style. Asymmetry means hair decoration or hair dressing which violates the principles of design. Disharmony means excessiveness beyond the concept of accent. Disfiguration has characteristics of vulgarity, disgust and caricature, and means cruelty, grimness or ridiculousness instead of pleasing beauty. Second, intrinsic aspect has incorrectness. As minority ethnic groups, estranged classes, children and women which in the previous field of absolute aesthetics were never considered as beauty appeared as subject matters of hair styles, the repressed things returned and a new genre was created thereby enlarging true aesthetic field. Like this, 1 cloud confirm that aesthetics of ugliness organized today's characteristic, peculiar hair styles, and enlarged aesthetic field.

• 복식
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• 제57권6호
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• pp.122-134
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• 2007

Fine art and fashion have influences on each other since both of them are the part of a culture. The similar patterns of fine art and fashion can be found either in the same period or in the different time. To find out this fact in the forms or content, this study researched into the fine art and fashion of 1960s and into recent year's fashion to see the revivals. In 1960s, fine art and fashion laid emphasis on the materiality of material itself, therefore both fine art and fashion have the tendency of formlessness and disorder in form. It ran be said that the socio-cultural background of this phenomenon in 1960s was mainly caused by the young generation called Hippies. They became a large influential social group that has a huge impact on overall culture in 1960s. As a result, this study firstly found that the fine art and fashion had common formative features and content in 1960s. Secondly, fashion since 1990 repeats the similar features in form like the Post-minimal tendency in fine art in 1960s. The similar features can be described as: artworks have the tendency of the formlessness and disorder in appearances; various materials were newly used to form a work, which had never been used in traditional artworks; new methods such as hanging, layering and knotting were applied to show the maximum expression of the materiality. However, unlike the fashion of 1960s, the Post-minimal tendency in fashion since 1990s doesn't symbolized freedom or peace, or opposition to the war anymore. Instead, only the formative elements were revived and reproduced and the formless tendency became one of the recent fashion trends.

• 한국의류학회지
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• 제41권1호
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• pp.98-115
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• 2017

This study categorizes the formative aspects of dress and their implications according to the extent of revealing or concealing corporeality based on body perceptions. By considering the notion of dress as bodily practice to be a theoretical and methodological framework, this study combines a literature survey and case analysis to analyze and classify the forms of women's dress since the 1920s when contemporary fashion took hold. As examined in this study, the typology of dress was categorized as body-consciousness, deformation, transformation, and formlessness. Body-consciousness that is achieved through tailoring, bias cutting, and stretchy fabric displays corporeality focusing on the structure and function of the body as an internalized corset. Deformations in dress are categorized into two different subcategories. One is the expansion or reduction of bodily features based on the vertical or horizontal grids of the body, which visualizes the anachronistic restraint of the body through an innerwear as outerwear strategy. The other is exaggerations of the bodily features irrelevant to the grid, which break from the limitations and constraints of the body as well as traditional notions of the body. Transformations of the body refer to as follows. First, the deconstruction and restructuring of the body that deconstruct the stereotypes in garment construction. Second, the abstraction of the body that emphasizes the geometrical and architectural shapes. Third, transformable designs which pursue the expansion and multiplicity of function. Formlessness in dress denies the perception of three-dimensionality of the body through the planarization of the body.

• 복식
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• 제54권5호
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• pp.27-39
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• 2004

Since around 1990. some experimental and shocking ugliness images have been expressed in Fashion and Make-up as well as Fine arts. The purpose of this study is to investigate the trends of ugliness images expressed in Modern Make-up from 1995 to 2003, especially focusing on color, and to enlarge the expressions through formative elements and to anticipate the prospect of Make-up in the future. Ugliness is the most negative aesthetic value which is lack of beauty. The 20 century art trends representing the ugly shape have been distorted or deformed or destroyed and extremely exaggerated with yellow, red, black, blue, white, green. The image and color of ugliness can be summarized as historical, avant-garde, decadence, de-constructive, humorous, futuristic trend and Most of colors are the achromatic ones like black, white, dark gray and red. blue, dark brown and so on. These colors cause some negative attributes such as fear. anger, death, devil, Pain, bad, ill omen, sorrow, despair and the like. At the turning Point in 21C are to be extended the range of color according to the experimental attempts such as informal, collage, graphic and the forth. Lastly, The characteristics of ugliness images expressed in the color of Modern Make-up have been analyzed into formlessness and inaccuracy and deformation by Karl Rosenkranz＇s theory.

• 한국의류학회지
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• 제19권2호
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• 한국산업정보학회논문지
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• 제13권5호
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• pp.87-97
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• 2008

서비스 경쟁력의 중요성은 나날이 증대하고 있다. 국내 기업들은 서비스 경쟁력의 중요성을 인식하고 있지만, 그 대응은 미흡한 수준이다. 서비스는 생산과 소비가 동시에 발생하는 특징을 가지고 있어 그 자체가 프로세스라 할 수 있다. 본 연구에서는 서비스 경쟁력 향상을 위한 방안으로 프로세스 혁신을 활용한다. 서비스 프로세스 혁신을 상품의 특성(유형과 무형)과 혁신 대상(신 프로세스 설계와 기존 프로세스 개선)에 따라 4가지 타입으로 구분하며, 각 타입별로 다양한 사례를 제시하고 이를 토대로 구체적인 경쟁력 향상 방안을 제안한다.

• 한국정보처리학회논문지
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• 제4권8호
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• pp.1995-2006
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• 1997

소프트웨어의 무형성, 비가시성으로 인해 체계적인 품질관리를 실시하는데 어려움이 있으나 구성관리를 통해 소프트웨어를 하드웨어 생산과 같이 일괄적인 품질관리의 시도와 함께 소프트웨어 품질관리 표준요강을 제정하여 이 표준지침에 따라 소프트웨어의 품질을 관리함으로써 효율적인 품질관리를 실시하고 있다. 본 연구에서는 오류의 입력감소 및 조기발견이라는 기본 방침하에 이러한 품질관리활동을 지원하기 위한 소프트웨어 품질관리 지원시스템을 개발하려는 시도로서 소프트웨어 품질관리 시스템을 장해관리 지원기능을 중심으로 살펴보고 장해관리 지원기능을 보조할 수 있는 각종 시각적인 출력 요소들을 정리하였다. 또한, 이러한 소프트웨어 품질관리 시스템을 구축하게 된 배경을 살펴봄으로써 품질관리 표준화에 따르는 문제점 및 기존의 품질관리 도구에서 제기되는 문제점을 고려하여 시스템 구축을 위한 과제와 그 대책을 수립하였으며 끝으로 장해관리 지원기능을 이용했을 때의 효과를 기술하였다.

• 복식
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• 제58권3호
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• 한국실내디자인학회논문집
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• 제38호
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• pp.266-273
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• 2003

The culture is a product of the century, and so a worldwide-recognized cultural legacy is like an incorporeal property owned by a country. It is a new legacy created In new environment conditions among countries. The meaning of this study is to give wider publicity to our intangible cultural properties through active database research. There are a significant number of museums that manage tangible cultural properties at a national level, but we can find that most stay very superficial in the aspects of database protection, classification system, and demonstration method. This is a critical physical factor that makes it difficult to create an information-oriented management system, or to manage intangible cultural properties as incorporeal entities. The preservation of tangible cultural properties may be a more proper approach of handing down valuable national characteristics to posterity In that they can show those characteristics more readily. Unlike tangible cultural properties, the preservation of intangible cultural properties requires a different approach and process. They are treated as a category of human cultural assets because of their incorporeity and formlessness. Since those intangible cultural properties to be preserved and quantified at a national level, it is an important consideration in the study on cultural properties. The objectives of this study are to present the intangible products by making the best use of the information society's merits; rediscover human elements constituting those products; ultimately help promote our cultural succession and development by databasing such human elements.