• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.790-801
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• 2006

This study analyzed features of elements that compose a logo of inner wear brands to get the following results: First, it was found that "elegance" was the most frequently used word to express the concept of inner wear brands to be followed by words like dignity, high-end and aristocratic, words emphasizing femininity, such as feminine, romantic and sexy, words emphasizing practicality, such as convenient, practical, modern, functional and reasonable, and words emphasizing hygiene, such as clean, healthy and hygienic. This suggests that consumers nowadays pursue image more than functional aspects in the shopping of inner wear and consumers' pursuit of such values is reflected in the concept of inner wear brands. Second, unlike logos for outerwear brands that generally used initials of brand name, word-type logos for inner wear brands used the full name of brands, thus suggesting that they put more emphasis on delivery of information rather than on the symbolic aspect. In case of combining characters with concrete objects, they were found generally to use objects that give an soft, elegant and feminine image, such as flowers, woman's head and ribbons. Third, colors in the series of pink and red seemed to be used to convey the concept of inner wear brands that pursue such images as romanticism, femininity, elegance and sensibility, while colors in the series of blue, black and grey for such concepts as functionality, practicality, simplicity, health, hygiene and refinement. With reference to typeface used in the design of logos, unlike outerwear brands of which 83% use sans serif typeface for logos, relatively high percentage of inner wear was found to use typefaces of serif series to stress feminine flexibility and delicacy and give the image of elegance and classical tenderness. With reference to language used in logo naming for inner wear brands, 33 brands were found to use English and only three brands used Korean among the 36 brands surveyed. Even with inner wear brand logos that have Korean name, it was found that they used English in the use of logo marks. Like the result of previous studies, the result of this study indicates that methods to design brand logos for clothing should be incessantly sought in a way to build brand power as an important component to represent concept or function of brands and reinforce brand image.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.109-130
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• 2009

This study examines the rotor characteristics of Guybang culture (women's living in Joseon) relics which the life images and mental world of women in Joseon if expressed to prepare rotor data to be utilized in modern design and information for color identity establishment of Korean women culture. The result of this study is as following: 1. From 176 pieces of relic photos, total of 1380 color chips were extracted. For color analysis, 1368 units (99.1%) of color data excluding achromatic 12 units (0.9%) among 1380 units of colors were used. With the standard of 10 color wheel of Munsell Color System, the result of studying distributions according to frequency, red was the highest by 25.9%, yellow was 21.4% in women's goods in Joseon period which the ratio of red and yellow was 473%. Other than that, GY 14.6%, YR 11.3% and RP 11.1% followed next which is studied that the warm colors that conveys enjoyable and glamorous feelings composed 84.3%; 2. As a result of tone analysis, high value low chroma ltg color showed highest distribution of 20% and d was 12.2%, b was 11.7% and sf was 8.8%. Generally, it showed high frequency in high value cocors such as ltg, sf and b of 40.5%t and in low chroma (ltg) and medium chroma (d, sf) of 41% and colors in bright and calm image was used the most. 3. As a result of analyzing relationship between hue & tone, the ltg tone of Y close to white in traditional color sensibility showed the highest frequency of 9.6% and ltg tone of GY(6.4%), b tone of RP(6.1%), and v(5.4%), b(5.4%), dp(5.3%) of R followed next. 4. As a result of analyzing the characteristics of coloring, it showed that in case of coloring contrasting hues, it is adjusted similar tones and in case of coloring less contrasting hue, the difference in tone is adjusted to be rather large to make harmonized coloring. Moreover, in case of coloring similar hues, the ratio of using same tone and similar tone was large which the coloring of calm image and dynamic image is all used.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.111-125
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• 2006

This study measured and analyzed musical sense objectively, and visualized it to express visual effects as if watching music with the eye. For the visualization of music, we examined the concept of synesthesia and the correlation between hearing and seeing, and reviewed theoretical grounds and a number of cases necessary in reproducing musical sense visually based on synesthetic expression. Furthermore, we studied the visual elements and associated colors of rhythm to prove that visual conception of music through various approaches enable a transitional approach to aesthetic exploration and interpretation. The conclusions drawn from this research are as follows. First, classic music selected for visualization had musical characteristics highly correlated with dress design. Second, basic formative elements suggested as materials of visualization in this study were suitable in their form for expressing the rhythmic sense of music and, because they started from the most basic form, they were effective in extracting design elements. Third, when the result of the questionnaire survey, which was focused on the visualization of the rhythmic sense of the five pieces of classic music, was analyzed from the aspect of sensibility ergonomics, design elements of each piece of music were obtained in an objective and scientific way. Fourth, it was confirmed that common concepts could be derived from intangible elements such as forms and sounds observed in the rhythmic sense of music obtained from the result of the questionnaire survey. Fifth, works were made based on the results of this study and, according to the result, musical images can express sense through dress design and obtain visual effects as if watching music with the eye. Dress desist through the visualization of music in this study was an attempt to suggest that the language of music can be expressed in dress design, a visual formative language, based on synesthetic expression. Through this attempt, we confirmed the infinity of music as motives of dress design and suggested a method of aesthetic expression demanded in contemporary society that is pursuing aesthetic values.

• Cartoon and Animation Studies
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• s.39
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• pp.393-412
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• 2015

See and feel the emotion recognition is the image of a person variously changed according to the environment, personal disposition. Thus, the image recognition has been focused on the emotional sensibilities computer you want to control the number studies. However, existing emotional computing model is numbered and the objective is clearly insufficient measurement conditions. Thus, through quantifiable image Emotion Recognition and emotion computing, is a study of the situation requires an objective assessment scheme. In this paper, the sensitivity was represented by numbered sizes quantified according to the image recognition calculation emotion. So apply the principal attributes of the color image emotion recognition as a configuration parameter. In addition, in calculating the color sensitivity by applying a digital computing focused research. Image color emotion computing research approach is the color of emotion attribute, brightness, and saturation reflects the weighted according to importance to the emotional scores. And free-degree by applying the sensitivity point to the image sensitivity formula (X), the tone (Y-axis) is calculated as a number system. There pleasure degree (X-axis), the tension and position the position of the image point that the sensitivity of the emotional coordinate crossing (Y-axis). Image color coordinates by applying the core emotional effect of Russell (Core Affect) is based on the 16 main representatives emotion. Thus, the image recognition sensitivity and compares the number size. Depending on the magnitude of the sensitivity scores demonstrate this sensitivity must change. Compare the way the images are divided up the top five of emotion recognition emotion emotions associated with 16 representatives, and representatives analyzed the concentrated emotion sizes. Future studies are needed emotional computing method of calculation to be more similar sensibility and human emotion recognition.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.223-230
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• 2019

This paper aims to derive the specificity of film music of Baz Luhrmann, a Hollywood film director, focusing on his representative works such as Dancing Heroes, Romeo and Juliet, and Moulin Rouge. Frist, Dancing Heroes captures various dance music genres through dynamic shooting techniques and shows trendy sensibility by using the main theme song 'Time after Time,' sung by the main character, Tina. Second, Romeo and Juliet, the original work of Shakespeare, keeps thier lines and stories while decorating gorgeous fashion and rock music in jukebox style. Also, it is harmonized with the most modern and trendy MTV-style video. Third, Moulin Rouge presents film music through the 'mix and match' method, which consists of jukebox-type trendy songs containing classical back stage musical and Bollywood musical images. In conclusion, the style of Baz Luhrmann has been reborn as a unique way of directing Buz Luhrmann's film music that it is expressed by connecting various juke box style music with amazing visual effect. Through director's style, it is possible to suggest the direction of various film music to the industries.