• 복식
• /
• 제61권6호
• /
• pp.113-130
• /
• 2011

Post-Modern Multiculturalism is spreading in many ways and other cultural interest has led to the Latin American culture, which has steadily appeared as the main fashion concept of the international collection. Frida Kahlo(1907-1954), a representative of Latin American culture and a Mexican female surrealistic painter, who gives us some inspiration for contemporary fashion design. The purpose of this study is to have a correct understanding of and research on Latin American culture and to expand the expression of fashion design. In the process, this article examines the costume of Mexico belong to the Indio culture which had been regarded as the Other for a long time and understands Frida Kahlo's fashion style: Tehuanas costume and her masculine style. The Tehuanas costume is a traditional style of the city, Tehuantepec, located in the southeast of Mexico, which is characterized by colorful floral patterns and a long skirt. Three fashion concepts were derived from her fashion style: tradition & modern, love & farewell, and masculine & feminine. The scope of this study investigates the Haute Couture and the Pret-a-porter women's wear collections and photos from 1998 to 2010 in Europe, USA and South America. From classifying the collected photos into each concept, three styles such as ethnic, romantic and androgynous style were derived. These fashion styles were analyzed through the formative elements of dress, color, silhouette, pattern, material and clothing construction in order to figure out how costumes of other cultures influenced on contemporary fashion. As a design inspiration, Frida Kahlo extends her influence into innerwear, accessories and hairstyles, as well as women's wear. These inspirations emerge steadily from the past and far into the future as an expression of a fashion design concept.

• 한국의류학회지
• /
• 제35권6호
• /
• pp.687-699
• /
• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• 복식문화연구
• /
• 제8권3호
• /
• pp.436-499
• /
• 2000

The purpose of this study is to be inquired social and cultural significance of the Grotesque phenomenon in the late 1990's make-up, as well as its experimentalism and avantgardism. The Grotesque is the aesthetic concept, which is composed of ambivalent structure of humor and horror, interest and disgust through join of heterogenous factors, distortion, extreme and overstatement in the patterns and materials of make-up. The Grotesque in the modern make-up is represented in the make-up advertisements and collections. In this paper, the author classified the Grotesque phenomenon with the Kitsch, the Machine, the Animal and the Devil, focused on heterogenous factors. The results are as follows. 1. The Kitsch in the make-up uses not cosmetics but imitations, ready-made goods, and ordinary materials. It expresses modern culture's laziness through shocking self-expression. 2. The Machine in the make-up means silver or white color's make-up, and represents cyber period's arrival through contrary irony, loss of the human value and the personifications of machine. At the same time, it is understood as the curing of human alinetion. 3. The Animal in the make-up utilizes the wild animal's horn, the reptiles'sputum, and the legend's animal. It points out a human false virtual image, and overturns make-up's traditional aesthetic concept. 4. The Devil in the make-up shows vampire's cuspid, demon's horn, artificial nail, and black color's make-up. It raises social irrationality and discrepancy of capitalism, and expresses paradoxically the nature of human life. The Devil in the make-up expresses the creator's innovation, anxiety of fin-de-siecle, and simultaneously criticizes and cures confused reality. It shows also avantgarde implementation of dissolution of traditional aesthetic concept and acceptance ugliness.

• 복식
• /
• 제34권
• /
• pp.195-208
• /
• 1997

1) The color of JOGORI and CHIMA was such gorgeous and those garments were put on during the events of GAM-EUNG-CHUNG-BAI HO-GU-GEO-RI JO-SANG-GEO-RI DEWT-JUN and CHAN-BOO-GEO-RI. 2)BULSA-JANG-SAM(JE-SUK-GEO-RI) was white colored and had wide sleeves putting on a pink priestrobe and a pink belt on it 3) they put on HONG-CHUL-NIK(GU-REUNG) and CHONG-CHUL-NIK(DAE-GEO-RI). 4)They put on GOO-GUN-BOK(JUN-RIP JUN-BOK(BYUL-SUNG-GEO-RI) DONG-DA-RI(Expel the demon) 5) MONG-DOO-RI(MAN-SIN-MAL-BYUNG) put on the garment constructed with the color and from of a white straight collar a wide sleeve and a pink belt 6) A long robe was colored with green (GAM-EUNG-CHUNG-BAI) and was used not as a headdress but as a man's overcoat. 7) CHANG-EUI was a green colored small CHAHG-EUI(SUNG-JO-GEO-RI). As observed above the Shaman apprel during Chosun Dynasty is a part of the traditional clothing originated from THE THEORY OF THE COSMIC DUAL FORCES and THEORY OF THE COSMIC DUAL FORCES and the FIVE ELEMENTS (i.e. metal wood water fire and earth) It's basic form and wearing method were not so different from the traditional clothing silmilar to the official uniform during Chosun Dynasty and the official uniform was the symbol of authority(almost almighty) at that time of period and to that the Shaman apparel was constructed with the more gorgeous colors to emphasize the sanctity or the descent of the Divine Being from heaven. We realized that a Shaman had put on the symbolic garment suitable for the grade and nature of the Divine Body at every events to enter into " The World of Gods"Gods."

• 복식
• /
• 제64권6호
• /
• pp.91-101
• /
• 2014

String, as clothing material, has played a functional, symbolic and decorative role in garment traditionally. The string has a shape of continuous line, which is one of the basic elements for the design: points, lines and sides. It can effectively represent the silhouette by making our vision flow to a certain direction. This study reinterprets the traditional form of string in a new modern way by developing "Tube-Shaped String" which has an empty hole in the middle. As a creative attempt, the new tube-shaped string can be used for fashion design by applying it to unique shapes, colors, textures, and draping expressions. In a role dimension, this string can become the main fabric material. The methods of the study are as follows. First, it examines the traditional shape and role of string in the history of garment. Second, it studies modern designers, such as Christian Dior, Ann Demeulemeester, Dolce & Gabbana, and 3.1 Phillip Lim, who have applied the string to their design, and have explored the various potentials of the string in the past four years. Finally, based on the theoretical research and practical analysis, this study creates a new tube-shaped string, applying its own technique to fabricating three garments: jacket, dress, and body suit. As a result, each garment shows unique silhouettes, rich texture and color, and rhythmical movement. The unique silhouettes reflect the shape and movement of different bodies. The texture and color are created through the shades of the string which come from the overlapping strips. The garments come with an unbeatable aesthetic design compared to conventional uniform design. As a new material in clothing, this tube-shaped string can be developed to satisfy the public, which has widely varying tastes in fashion.

• 복식문화연구
• /
• 제15권3호
• /
• pp.496-509
• /
• 2007

The purpose of this research is to find out the effect of a chromatic Korean jacket and an achromatic Korean skirt on the visual image of a traditional Korean dress wearer. This experiment was designed to the 3 factors which were composed of 3 colors(red, yellow, green), 4 jacket tones(vivid, light, dull, dark), and 4 skirt colors(N9, N7, N4, N2). The 288 students in Gyeongsang National University assessed the 48 stimuli which wear variously incorporated with colors and tones by a semantic differential scale of 7-point: The results of the study were as follows. Image factors of stimuli are youth and activity, gracefulness, visibility, and tenderness. Among these, youth and activity factors, and gracefulness factors proved to be important. The colors and tones of a jacket and a skirt used in this experiment showed that the colors and tone had an effect on dimension of 4 images by interacting of two valuables or working independently. While a yellow jacket with vivid and a white(N9) skirt had a significant effect on youth and activity factors, a red jacket and a dark- gray(N4), -black(N2) skirt were evaluated as a graceful image. In the red jacket case, a visible factor was considerably different according to skirt tones. Only jacket tones worked as a striking clue in a tenderness factor.

• 한국의상디자인학회지
• /
• 제25권2호
• /
• pp.97-110
• /
• 2023

The purpose of this study is to develop 3D pattern textile design of traditional Jogakbo motifs and fashion products using it. As a research method, first, through literature review, the three-dimensional representation of geometry on a plane with Jogakbo, design cases were examined. Second, through a survey, the purchase perception and design preference of Jogakbo cultural products was analyzed. Third, based on the results of the survey on color and print, the 3D pattern design for each type of Jogakbo is printed, and then textile fashion cultural products were developed. The results of this study are as follows. First, the reason why the public was not attracted to the purchase of cultural products was disatisfaction with practicality, unsuitable preference, price adequacy, aesthetics, and originality. Therefore, it was analyzed that quality, practicality, price, carry-on storage harmony and manageability, as well as aesthetic design were important factors for consumers. Second, the stereoscopic space on the plane expanded the two-dimensional plane space by forming a cube through the division and dissolution of geometry could be visualized using color expression of cubes of different brightness depending on the direction of light. Third, Jogakbo had eight types consisting of four detailed forms and three arrangement methods. The 3D pattern design could be developed through regular disolution and stereoscopic construction using Jogakbo's representative images for each type. In addition, it was found that it was easy to produce Jogakbo fashion products suitable for modern people through 3D pattern digital textile printing applying traditional colors.

• 복식문화연구
• /
• 제18권5호
• /
• pp.789-808
• /
• 2010

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel's clothing that is usually used by neutral colors and on Yohji Yamamoto's clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.

• 복식
• /
• 제24권
• /
• pp.121-142
• /
• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• 한국의류학회지
• /
• 제30권6호
• /
• pp.859-869
• /
• 2006

We proposed that the replicas be made as an alternative to achieve such reciprocal goals as the safe preservation of traditional costume relics and socio-educational realizations through exhibitions, etc., A replication was categorized for its purpose into a restoral replication: a work based on the historical research of color and shapes as they were originally made and a current state replication : a production based on a minute record of the relics as they are excavated. Then, we reported the reproduction process from the excavation to the exhibition on the excavated traditional costumes of Milchanggun's Jobok. The purpose of a replication of relics is to record the relics experiencing the change resulted from the inevitable degeneration over time as organic cultural assets together with the substitution exhibition of relics and academic researches and so on.