The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and threedimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer’s imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

이 연구는 경기도무형문화재제8호로 지정 된 화성재인청계열의 춤인 살풀이춤를 중심으로 화성 재인청에 대한 내용과 춤의 계보에 대하여 조사하였고 그 춤사위의 유형과 특징을 고찰하여 미적 특성을 바탕으로 외형적 구조와 내면에서 표출되는 사상과 가치를 고찰하였다.「재인청(才人廳)」 이란 조선시대부터 1921년 일본에 의해서 강제로 해체되어지기까지 무당들의 반주음악을 담당하 던 무부(巫夫)들의 무속음악뿐만 아니라 그 당시 백성들을 상대로 펼쳤던 재인이나 광대들의 오 락적 예능활동을 행정적으로 관리하던 곳이다. 화성재인청 살풀이춤은 화성재인청의 마지막 예인 인 이동안에서 제1대 예능보유자인 정경파와 현재 제2대 예능보유자인 김복련으로 이어지고 있으 며 경기도지방에서만 전하는 설화를 배경으로 무복과 춤사위가 전승되어지고 있다. 다른 류의 살풀이춤과는 달리 수건 두 개를 들고 추어지기 때문에 수건에 담겨진 스토리텔링의 상징성과 동양적인 정신세계를 담아내는 철학적인 의미가 작품에 내포되어 있어 화성재인청류 살풀이춤만의 특수성을 잘 가지고 있다. 화성재인청의 살풀이춤은 수건을 들고 음악적으로 엄격한 형식을 갖추어 동작에서 나타나는 기교적 형태의 틀과 반복적인 구성으로 추어지기는 하지만 설화를 바탕으로 우리 민족의 한과 정서를 예술로 담아내어 춤꾼의 사상적 표현을 끊임없이 자유자재로 표현할 수 있는 춤이기도 하다. 또한 다른 류파의 살풀이춤과는 달리 그 설화에 철저히 따르고 있으며 그것에 따른 외면적인 것과 내면적인 움직임은 살풀이춤의 기본 특성인 맺힌 한과 살을 소멸시켜 아버지를 살리고자 하는 효(孝)의 정신이 밑바탕에 깔려 있어 남에게 보여주기 위한 위인지학(爲人 之學)이 아니라 자신의 수양을 위한 위기지학(爲己之學)의 움직임으로 나타나 경천내효(敬天乃孝) 라는 사상적 의미를 내포하고 있는 것으로 분석되었다.

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer’s brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer’s name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical ‘Chicago’ formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.

The purposeof this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.