Buttons in general reflect the culture of the society, and their values depend on practicality, decorative feature, and symbolism. Their infinite potential enables us to attempt various original changes in formative factors such as forms, patterns, colors, materials and sizes. In addition new styles, methods, and techniques are tried to show that the decorative feature becomes stronger today than it did in the past when the function was more important. Now buttons are not only a factor of clothing but have value as composite art works reflecting the pride, idea and culture of a nation. Moreover consumers' interest in new designs increases everyday as the moderns' desire for unique individuality rises. Button designs of Korea, however, are still far behind in the aspects of materials, qualities, and methods, facilities, and scale of production. And uniform mass production prevails without the buttons of creative and artistic values made due to the lack of specialized designers. Therefore it seems necessary to carry out historial studies simultaneously with the rising interest in button designs now. Prior to developing new designs, the study will examine those of western buttons that are the origin, going through relevant literature and data to define the characteristics of each era and type. It may provide basic data for developing the backward button designs of Korea.

This survey paper examines general characteristics of "yellow" color, the oldest color in the history of art. Also the research aims to find meanings of the color and historical development embedded in clothing and textile both in orient and in occident where different philosophy and history developed. It is found here that the yellow symbolized both positive and negative meaning in the history of costume throughout the world. The color, however, was used to symbolize mostly positive meaning in the orient whereas not in the occident. "Yellow" color in orient used to symbolize the supremacy of the emperor, excellence and authority. The meaning of "yellow" color in the occident is two fold: from the positive viewpoint it represent god, king, wisdom, wealth and holy light, and from the negative viewpoint it represent image of betrayal and distrust, image of immorality, image of death and disease and image of jealousy and hatred. The concept of "yellow" was generalized in orient by the "Eum-Yang-O-Haeng Theory", while in occident by the Christianism. And the concepts came to hold concrete meanings and thereafter the symbol of yellow appeared.ings and thereafter the symbol of yellow appeared.

The purpose of this study was to explore the ways of improving Korean apparel firms' competitiveness by examining the Korea's number one trading partner U.S. apparel industry. Especially, the Los Angeles area apparel industry which is the second largest and the primary market center on the west coast was analysed. The following strategies are suggested to Korean apparel firms to function more effectively in incleasingly competitive U.S. markets: l)Basics can be produced in lower wage countries meanwhile quick turnaround and high quality works can be produced either in Korea or U.S. 2)Manufacturers might try to have direct relationship with powerful retailers who have their own private labels of store-brand lines. 3)Apparel companies can open market showrooms in the California Market Center. For small firms they can contact with independent representatives who receive commissions for showing lines for manufacturers or rent space for showing the lines during market weeks. 4)Apparel firms can contact buying offices to introduce their products to retail buyers. 5)Korean firms can contact Korean-American apparel firms to gain easy access to U.S.Market.

This study was aimed at analyzing the woman costume presented in the korean modern novel by continuity, mixture, and discontinuity. For the costume analysis, the korean modern novel written from 1910 to 1945 were used. The results of this study were as follows: 1. Continuity: It doesn't mean discontinuity from the past but succession and development of the past, which explains about the costume culture for the period from 1910 to 1919. During this period, people tended to wear korean traditional costume in an effort to maintain their national identity. 2. Mixture: It means the effort to synthesize and develop past, present and future, which explains about the apparel for the period from 1920 to 1937. During this period, western culture was introduced much into korea to be established as part of our people's life. The new generation of women who studied abroad introduced the western costume throughout the cities, while the convenient western costume served to improve korean traditional costume. 3. Discontinuity: It means a conscious departure from the past as well as a critical reaction to the past, which explains about the costume culture for the period from 1938 to 1945. For this period, western costume was popular among new generation of women, while it was more diversified with increasing population wearing them. Many country men and women proceeded to wear the western costume.

The rapid development of information media in the 21th century has given rise to the acceleration of fashion change and its diversification due to individual lifestyle, the personification and differentiation of consumers. This has got away from the function-centeredness of clothing and awakened people to the important task of hi-tech new materials development and design development. We immediately need to develop the measure to cope quickly and properly with changes in the dwindled fabric market. Consumers; needs are personified and diversified and the cycle of fashion materials become curtailed. From this perspective, this study attempted to manufacture the material for capable of satisfying consumers; psychology and needs with the handicraft based on the multi-item and small-quantity production system. This study attempted to present the possibility of differentiating products and developing diverse materials by applying the Woolsmok technique. It is expected that the development of these materials will not simply stay at the level of handicraft but contribute to the competitive materials of creativity and aesthetics by inducing it to be applicable to the industrial world and activate them as differentiated high-grade clothing materials for consumers at home and abroad.

The Purpose of this study is to investigate the jeogori included in the buddist statue in 1748. The jeogori was similar in shape to excavated costume of Andong Kwon, Papyung Yoon, and Chungyeongunju in 18th century. This jeogori was useful to estimate the interesting process of shape change of jeogori in 18th century. Four different silk fabrics were used in the jeogori. Outer fabrics were satin weave with floral, lattice strip, dragon, and cloud patterns. The ground area was 5-harness warp faced satin and the patterned area was 5-harness filling faced satin. An inner fabric was simple plain weave. Warp and filling yarns of all fabrics in this jeogori had no twist.

This study analyzed descriptions about dots, lines, and sides which are used as a basic elements to express geometric figures as followings: -In the aspect of formative art, dots form images and feelings through their concurrence when make a slight move to coordinates. The concurrence can bring out either positive or negative images; -Lines have unlimited variation as a core measure in body art. They can make optimal effects with different lines such as straight and curved lines of human body; -Sides express not only effects of texture and perspective but also of space and solid by color effects. Expressive characteristics and geometric shapes can be classified by tattoo, henna and body painting: First, colorful tattoos are favored by Caucasian and original tattoos are mostly used by yellow and colored races in the way of scarification to get decorative effects. Recently, a rapid cycle of fashion change in tattoo figures has developed a tentative method of tattooing and a variety of decoration methods. It has made it a lot easier to change a pattern of a tattoo. Tattoos are now popular among people because they no longer have to suffer from pains when they get their body tattooed for a long time. Since tattoos boast their unique beauty which consists of most dynamic and attractive images among the types of body art. It will be one of the most favored make-up methods in the nearest future. Second, geometric designs used in henna include crosses, dots, straight lines, triangles, date palms, and so on. Henna has been particularly loved as an instant decoration by the public since it gradually disappears as time goes on. Third, body painting enables to draw a three-dimensional effect because of its close relation with body movements in a limited space. Each individual will have a different feeling appealed in their body painting. Body painting has been applied to many different areas, especially to theatrical art using lights, music and performance altogether producing impromptu and experimental works. Unlike other arts such as painting, sculpture, visual and industrial arts, body painting has mobility. Since it is painted on a three-dimensional human body, it can bear originality expressing realistic objects or animals and strengthen creative functions using body lines. Moreover, geometric designs can be diversified by the sexes. As a result of analysis, geometric designs expressed in body art seemed to transcend expressions of beauty and turned out to be another way of decoration. Body art has also been used as a way to express visual integration and consolidation dynamically not by human instinct but by social changes. The needs for body art will grow as the future comes nearer and be recognized as a new and fresh value. Formative elements of geometric figures deliver visual impressions combined with human body and finally create more various types of body art in harmony of body lines.

With respect to this research, the College of Arts and Design, Kon Kuk University founded Design Venture of KKU(Kon Kuk University) in July 2001 as an approach to tackle the issue on how to accept and respond to the waves of changes in paradigms of the 21st century represented by information revolution. Such move is to cope more effectively with the changes in the current educational environment with an aim to secure the competitive edges compatible with the conditions of each college under the uniform and standardized educational systems. Even the professionals in the design fields of this country try to find the significance in bringing out in the open the latent creative talents of the students by improving the quality of our daily necessities and putting the students through more practical training, and in creating international competitiveness of our design field by encouraging the students to gain more diverse experiences. Therefore, the purpose of this research is to present the approaches to revitalize Design Venture of Kon Kuk University which has been managed as part of the efforts to establish the new identity for the design of this country in the 21st century, and to present the new model for an enterprise which, rooted in the College, can grow into a high value-added business. The methodology for this research is based on the case study of Design Venture of Kon Kuk University and investigation into the literature. The contents of this research include the following three steps. Firstly, initial research is made into the background for founding the College of Arts and Design which had been promoted as a differentiated strategy for the long-term and short-term development plan of the College of Arts and Design, in Chungju Campus of Kon Kuk University. Secondly, the basic strategy for Vonchi, brand of Design Venture of KKU and the brand launching process are examined. Thirdly, Various approaches to revitalize the Vonchi brand recognition are collected and analyzed to present the conclusion and the alternative. Such research findings as given above on Design Venture of KKU may satisfy diverse consumer-oriented requirements on the strength of the characterization and differentiation of the college and may enhance the competitive edge of the college.

This paper analyses the geometric aspect of Sonia Delaunay′s works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration. One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Sonia Delaunay′s art was one of the first expressions of abstract painting and her "simultaneous contrasts" are among the earliest example of the aesthetic. In Delaunay′s geometric abstraction it is found that the technique of "simultaneous contrasts" is exploited almost without exception. Colour as well as Collage was the favourite technique Delnaunay used in creating a distinct simultaneity. Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.