• Sijohaknonchong
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• v.25
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• pp.5-27
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• 2006

This paper aims at examining how sijo works, including ancient sijo works, those published before the 1960s, those written by China-residing Koreans, and those published in the 2000s, convey the poetic meaning in terms of sentence structure. Firstly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, have sentences. whose meaning the readers can easily grasp, with simple structures and little rhetoric words. But moderns works published In the 2000s (modern sijo works after) are mingled with too many rhetoric expressions, sometimes misused. Secondly, ancient sijo works, those published before the 1960s, and those written by China-residing Koreans, having a clarified subject-verb context. are easily understood by the readers. But, in modern sijo works, there are many cases with an unclarified subject-verb context and redundant rhetoric words, which will cause misunderstanding of the meaning of the work. Thirdly, in ancient sijo works. those published before the 1960s and those written by China-residing Koreans, each of the three statements (called in) in a stanza is separate from the others in context. But, in some modern sijo works, the first and second statements (called chojang and jungjang) fall into just rhetoric parts for the last statement (called jongjang), and each of them is not read as an independent statement. Fourthly, there are some cases whose forms are distant from those of siio works. but are written in three statements like traditional sijo works. Regular poems, though written in regular rhythm, should be also acoustically regular. Sijo works should be easily understood when recited. If not, they are basically far from sijo works. If modern sijo works should overcome their easy expressions and simplicity of themes, they should be composed through using not complicated sentence structures but brand-new metaphors, clear images, and fresh themes.

• Journal of the Korean Society of Costume
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• v.20
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• pp.93-104
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• 1993

The purpose of this study is to clarify the adap-tation of traditional beauty of dress in Baek Eui for the establishment of tradition of dress culture. Especially, the color of the traditional dress rep-resent a symbol which is connedted with the na-tional character and the evvironment. But it is hard to examine closely because color preference are transformend with the times. This study is framed within the limits of the next themes : the origin, history and meaning of the Baek Eui ; the philosophical theory of cosmic Five Elements and the Prohibition of Baek Eui ; the beauty of Baek Eui. As the national character is indicative of the conservativeness and the purity, Koreans have kept up wearing Baek Eui spite of the occasional prohibition. Since the color of the dress represen-tatived the signs of the social class and the power, over the eighty persent of the common people put on the Beak Eui : ramie and flax fabrics that has it's own color in Chosun-Dynasty. I think that the use of natural color harmony is prominent and the beauty of Baek Eui is the naturality and the non-artificiality. The meaning of the symbol on the Korean Beak Eui is the divinity, the holiness, the purity, the cleanliness, the modesty, the frugality, the integ-rity, the constancy, the elegance, the simplicity.

• Journal of Fashion Business
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• v.2 no.3
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• pp.73-86
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• 1998

Jean-Charles de Castelbajac is gaining worldwide recognition as a designer who is not conscious of fashion and meet the desire of times. Castelbajac's works can be devided into three periods. 1. Creative challenge period. (1968~78) - His works started from creative challenge against haute-couture attract with practical design and extraordinary textile use. 2. Artistic development period. (1979~88) - He made unique ideas with the four primary colors affected by modern formative art. Pop-art clothes using cartoon or graffito were highlighted. 3. Aesthetic maturity period. (1989-now) - He received chevalier of Arts and the Letters at 1989. He was acquainted with other many designers in the world at 1990s, and his works came to mature. The aesthetic qualities in Castelbajac's works can be identified with the following themes. 1. Geometrical simplicity - Geometrical form without decoration and unnecessary lines used for the most comfortable cloth to wear and act gives an impression of explicitness and intelligence. 2. Humorous decoration - An unique idea having wit and humor shows his philosophy that must be new, vital and delightful. 3. Parody presentation - Pictures or people are reorganized 9Y work philosophy, then that get satirical and comic effects. 4. Pop-art image - Using mass communication media like a cartoon, figures, flag, graffiti, it produces clear and bright image.

• Journal of Fashion Business
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• v.24 no.2
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• pp.136-153
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• 2020

In the second half of the twentieth century, fashion shows were a long-standing promotional medium and changed form and styles as times changed. In the past, if a model were on the stage simply to showcase a brand's work, the stage would have been transformed into a more active space, displaying various performances or seasonal themes combined with art. Then in the 2000s, there was an increasing number of instances when the global fashion industry of used figurative objet in organizing a fashion show's stage. In particular, because fashion shows require audience response and satisfaction, producing displays using objet is an effective marketing method. In the early 2000s, many brands were already introducing runway displays using objet, and these cases are expected to increase further in the future. This collection of 23 ready-to-wear models, which constituted the runway display, was by utilizing the objet more than five times from the 485 brands listed in Vogue's runway category. Based on our previous research, we classified the objet expressive characteristics as reproducibility, simplicity, non-artificiality, and fantasy. Among the 207 collections that we analyzed, the collection that utilized objet in its runway display had 170 circuits. Using objet in the runway display leverages visual language which allows one to communicate the season's concept, brand identity, and desired message more easily. Futhermore, it was spatially expressed to create feeling of satisfaction.