디키의 <예술제도론>의 관점에서 본 예술로서의 패션의 본질 -패션계의 구성요소를 중심으로-

서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2016 패션 비즈니스 Vol.20 No.5

The purpose of this study is to interpret the artistic nature of fashion from the point of view of George Dickie`s Institutional theory of art, which defined art from a sociological context. Five notions to formulate the institutional definition of art were regarding the artist, work of art, public, artworld, and artworld system. These notions were applied to the fashion world, and they deduced the definitions of a fashion designer, a fashion product, a fashion consumer, and the fashion system, which indicated fashion`s social status in the art system. Firstly, a fashion designer plays a collective role in the product with an understanding of the consumers, professional knowledge of the design, and knowledge of making images of fashion products. Secondly, a fashion product involves artifactuality in the form of clothes created by collaboration among producers and it is transformed into fashion by collective activity of distributors and consumers. Thirdly, a consumer is a set of people who play a leading role in the assessment and consumption of the fashion product, allow the fashion designer to read his or her taste and reflect it in the fashion product although they are not directly involved in its production. Fourthly, a fashion system is a social framework for the presentation of a fashion product by a fashion designer to a consumer, and a social institution which enables clothes to transform into fashion through design, production, display, distribution, and sales. As a result, fashion is defined as an artifact in the form of clothes created by a fashion designer and presented to a consumer by the fashion system.

PO 발상법을 적용한 3D 가상 패션디자인 개발 -티셔츠 디자인을 중심으로-

서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2021 패션 비즈니스 Vol.25 No.5

This study aimed to develop fashion designs by applying the PO (Provocative Operation) method as a 3D virtual clothing program and to derive the PO application method in fashion design. The first T-shirt design was presented as an existing thinking method, and the second design was developed by applying escape, reversal, exaggeration, distortion, and hopeful thinking techniques, which are techniques for 'provocation' of the PO method, to the first design. Thus, 18 T-shirt designs were developed as 3D virtual clothing, with 3 sets of 6 designs, including the 1st and 2nd designs. The method of using the 'provocation' techniques of the PO method in the development of fashion design derived from this was as follows. First, the 'escape' technique was designed in such a way that a part of the detail or structure was deleted, or a part of the structure or expression element of another item was applied. Second, the 'inversion' technique was expressed by inverting the position or shape of a detail or structure up, down, left, and right; fitting the structural detail or reversing the shape; or converting the structure and form. Third, the 'exaggeration' technique exaggerated the size, length, and volume of a structure's form or detail. Fourth, the 'distortion' technique was expressed as a distortion of lines or shapes or a visual distortion using the Trompe l'oeil technique. Fifth, the 'hopeful thinking' technique was developed and expressed from the idea of an hypothetical 'if' it was absurd, irrational, and unrealistic.

서울시 D구 보건소 금연클리닉을 방문한 흡연자의 금연 성공과 관련된 요인

김수현(Suhyoun Kim),서승희(Seunghee Suh),정일형(Ilhyeong Cheong),고은영(Eunyeoung Ko),이화경(Hougyong Lee),이주열(Juyaul Lee),정효지(Hyojee Joung),조성일(Sungil Cho) 서울대학교 보건환경연구소 2005 보건학논집 Vol.42 No.2

속성열거법을 활용한 청나라 복식스타일의 패션디자인 개발

류일녕 ( Yining Liu ),서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2021 패션 비즈니스 Vol.25 No.3

The purpose of this study is to analyze the characteristics and design elements of the Qing dynasty costume style, and accordingly, develop a new fashion design work incorporating modern aesthetics by using the attribute listing technique. A creative idea that drew out various ideas by considering the properties and characteristics of the object in detail through applying the attribute listing technique, and a modern fashion design in the style of Qing dynasty were developed. In the design development process, first, the theme was set as 'Developing a modern fashion design using design elements of Qing dynasty costume'. Second, design elements and components focusing on design details of Qing dynasty costumes were organized. Third, design ideas that replaced or modified design elements for each type of Qing dynasty costume were presented, and the design was developed by combining and modifying these ideas. Fourth, nine designs were selected through a design evaluation process by a group of experts to select a design for the Qing dynasty costume style. Fifth, seven final designs were selected through revisions to compose a collection with unity and balance. Sixth, colour and material were decided for the selected design, and the work was completed through pattern making, sewing, and fitting process. These seven works were designed with motifs of the Qing dynasty's slit, liling, yuanling, hujian, matixiu, manxiu, shuangmanxiu, zhaixiu, pipajin, yourengquejin, yikouzhong, lingyi, yunjian, magua, mamianqun, xingshang, taoku, chaofu, xingfugua, and pao.

현대패션에 나타난 언캐니 이미지의 표현방법

유아림(Arim Yu),서승희(Seunghee Suh) 한국복식학회 2015 服飾 Vol.65 No.6

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of ``The return of Repressed``, which is a psychological mechanism for generating uncanny sets to the component of ``repression`` and ``return``. ``Repression`` herein consisted of ``unconsciousness``, ``the other``, and ``anxiety``, while the return was composed of ``trauma`` and ``repetition compulsion``. Second, there are visual expression methods of the uncanny in contemporary art. The subject of ``repressed things`` was expressed as grotesque and having a terrible look. ``Fragmented body`` was analyzed as ``dismantling`` by mutilation, ``combination`` placing cut body parts in other places, and ``damage`` suffering from an illness or accident. ``Fear of death`` was shown as ``anatomy`` reminiscent of death and ``iconography of death`` meaning return of the dead. ``Post-human`` was a surrealistic being such as a monster and mechanized human, and was analyzed as ``gene variation`` and ``cyborg``. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as ``fragmented body``, ``fear of death``, and ``post-human``. ``Fragmented body`` appeared as the object reminiscent of the fragmented body, ``dismantling and combination of the body``, and ``damage of the body`` through the distortion of the clothing construction principle. ``Fear of death`` visualized the characteristic elements of the subject reminiscent of death as ``iconography of death`` and ``symbolic object of death`` through the motif. ``Post-human`` was the description of the subject beyond the body``s function and form, and was shown as ``gene variation`` and ``cyborg``.

스캠퍼 기법을 활용한 미얀마 전통복식 스타일의 현대 남성복 패션디자인 개발 연구

수웨이표 ( Su Wai Phyoe ),서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2021 패션 비즈니스 Vol.25 No.1

The purpose of this study was to develop a fashion design with a greater sense of modernism based on the characteristics and design elements of Myanmar traditional clothing focusing on the Yandanapon Mandalay period of the last dynasty of Myanmar using the SCAMPER technique, which is one of the creative methodologies. Contemporary menswear fashion designs were developed based on the individual elements of the questionnaire on the SCAMPER technique using fashion design elements. The design development process was as follows. First, this study set the developmental theme of contemporary menswear fashion design in Myanmar’s traditional clothing style during the Yadanapon Mandalay period. Second, to develop designs using the SCAMPER technique, the elements of Myanmar’s traditional clothing were first divided into item composition and design elements, followed by application of the SCAMPER questionnaire. Also, various designs were developed by combining and applying different elements. Third, optionally selective elements evolved from the design development process using the SCAMPER technique questionnaire. Fourth, the design evaluation was used to select the designs matching the study purpose out of 55 design sketches via FGI (Focus Group Interview) consisting of four fashion designers. Fifth, a total of six designs were selected by additional design modification. Based on the aforementioned processes, a total of six works of men’s clothing design were presented. This study provides basic data for the cultural and aesthetic understanding of traditional Myanmar clothing. It also serves as a source of new ideas to express modern fashion design in different ways.

팬덤 층 유형에 따른 여성아이돌 패션 이미지 특성

이지아(Jia Yi),서승희(Seunghee Suh) 한국복식학회 2017 服飾 Vol.67 No.8

현대 패션에 나타난 디지로그의 특징

유차향 ( Chahyang Lew ),서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2017 패션 비즈니스 Vol.21 No.5

Fashion companies are increasingly becoming aware of the importance of Digilog as a response strategy to an emotional stimulus, in order to win the hearts of consumers, because the Digilog provides a new type of emotional value. The features of Digilog found in modern fashion are characterized as follows: first, the “Fashion Image of Hybrid Nature” expresses nature in a new light or reinterprets existing expressions of nature, by using cutting-edge technology based on the psychological desire to return to, adapt with, and harmonize with nature. Second, the “Fashion Image of Nostalgia,” which exhibits past forms of regressive fashion, is a fashion code that can be understood as a social trend. It has a digital exterior, with retro materials and old perfumes that reflect psychological comfort, as its expressive medium. Third, the “Lifestyle through the Technique of Interaction” is the sharing of information through consumer participation and delivery, or its interaction. Fourth, the “Fashion Design through the Technique of Customizing” allows consumers to actively participate in the design process. It reflects the consumer’s desire to personally design fashion products. Fifth, the “Emotion Sharing through the Technique of Storytelling,” which focuses on intangible values, is based on the sentiment of communication between the consumer and the brand, thereby satisfying the inner values as well as the aesthetic demands of consumers. This study confirmed that digital fashion, which uses digital technology based on analog sentiments, has opened up a new environment for fashion culture and has also widened the boundaries of fashion.

직장남성의 추구이미지에 따른 패션스타일 표현요소 연구

최현경 ( Hyunkyung Choi ),서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2020 패션 비즈니스 Vol.24 No.4

The purpose of this study is to derive the type of image pursued by men at work and to present the fashion style element as a method of expressing the image to be pursued. The was carried out by deriving the types of seeking images of men at work through literature research and questionnaire on seeking images and analyzing cases through FGI. The results of the study on fashion style elements for each type of image pursued are as follows. First, the reliable image appeared a gentle and formal fashion style, and colors and items were identified as the main elements of expression. Second, the refined image appeared in a chic and dandy fashion style, and colors, fabrics and items reflecting trends were identified as the main elements of expression. Third, the neat image was identified as a simple and minimal fashion style, and details, fabrics, and colors were identified as the main elements of expression. Fourth, the luxurious image was found to have an intellectual feeling in a classic fashion style, and color and material are the main elements of expression. Fifth, the dignified image appeared in a fashion style that was well-dressed and felt classy and heavy, and colors, patterns, and items were identified as the main elements of expression. Sixth, the energetic image emerged as a business casual style, except sporty or active functional styles, with overall comfortable and cheerful feeling, fit, color, and items were noted as the main elements of expression.

현대 패션에 나타난 하이컨셉(high concept)의 퍼놀로지(funology)특성

유차향 ( Chahyang Lew ),서승희 ( Seunghee Suh ) 한국패션비즈니스학회 2017 패션 비즈니스 Vol.21 No.2

This study aims to identify the special features of high-concept funology observed in fashion products and expressional media by exploring funology in an era of high-concept, the emotional paradigm of the 21st century. High-concept funology in today`s fashion can be explained as follows: First, `virtual reality`, which is often seen in fashion shows and fashion commercials, enhances consumer participation and involvement with blurred boundaries between the real world and the virtual world. With the expansion of various forms of real-time communication with consumers, positive images of the brand are being projected to the consumers. Second, `form transformability`, which is often found in fashion products, promotes customers` purchase desire as they are able to present themselves in a more versatile way in the fashion product that is changeable in various designs. Third, `integration of different fields`, which is easily found in various fashion goods, engages consumers in a mutual interaction under an entertaining setting with the product that is made to satisfy their needs attuned to their digital lifestyle. Fourth, `interactive responsiveness`, which is mainly recognized in fashion stores and commercials, is characterized by its interactive playfulness that encourages consumer participation through entertainment contents and promotes brand intimacy, eventually adding more value to its name.