• 감성과학
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• 제16권1호
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• pp.65-74
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• 2013

본 연구는 남성셔츠 소재의 선염 줄무늬 특성에 따른 시각적 감성 이미지의 차원을 알아보고 소비자들의 감성을 만족시키는 남성셔츠 소재용 줄무늬 디자인 개발을 위한 기초정보를 얻고자 하는 것이다. 본 연구 결과 남성셔츠 줄무늬 감성은 매력성, 성숙성, 품위성, 실용성, 단순성의 5가지 차원으로 구분되었다. 남성셔츠 소재 줄무늬의 특성이 감성 차원 및 선호도와 구매 욕구에 밀접한 관계가 있었다. 색상, 배열, 간격 등 줄무늬의 특성이 남성셔츠 소재의 시각적 감성에 유의한 영향을 미치고 두 가지 두께의 부등간격 줄무늬 조합이 매력성, 실용성이 높기 때문에 선호된다는 것을 확인하였다. 또한 대조되는 복합색의 줄무늬가 매력성이 높으므로 선호되는 것으로 나타났다.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2005년도 International Costume Conference PROCEEDING
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• pp.230-231
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• 2005

• 대한가정학회지
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• 제44권10호
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• pp.79-90
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• 2006

The purpose of this study was to make new suggestions for the production of high value-added, fashion goods by reviewing and synthesizing the design of dress shirts. (Ed-I've combined paragraphs here) For this study, 1491 photographs on the dress shirts were collected for analysis from men's collection$(2001\sim2006)$. Concerning the actual characteristics of men's fashion design, the following conclusions were obtained from the analysis of the dress shirts of men's collection. (Ed-I've combined paragraphs here) First, feminine ornaments such as frill, pin tuck, and embroidery can be seen in men's dress shirts and men's sexuality has changed into a softer men's image. Second, asymmetry balance using detachability are expressed in the collars, sleeves, and plackets of men's dress shirts. Third, in a very novel suggestion, a combination of two items was designed in a dress shirt and variant shirt forms were created. Fourth, formal style is mainly shown in men's shirts and the traditional classic is increasingly becoming emphasized recently

• 한국의류학회지
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• 제44권5호
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• pp.969-983
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• 2020

Zero waste fashion design to minimize the 15% fabric waste generated during production can be difficult to industrialize instead of having strong originality. This study designed shirts that are practical and reflect trends using the zero waste pattern cutting method and suggest the possibilities for industrial production. The content of the study are as follows. First, the pattern cutting method of zero waste fashion design was studied. Second, the recent trends of shirt design were analyzed and reflected in the design development. Third, 4 zero waste shirt designs were developed and produced by applying the geometric cutting, puzzle cutting, and minimal cutting methods. As for the research method, literature research was conducted on related references; in addition, design development and production were conducted empirically. As a result, the developed zero waste shirts are practical and trendy. In addition, the results of the study are meaningful to provide basic data for the commercialization and industrial application of zero waste fashion design.

• 한국의류학회지
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• 제36권5호
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• pp.573-582
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• 2012

This work is to develop a T-shirt by adopting a unique cloud pattern (a good auspicious sign as design material) from traditional native Korean patterns for application to various cultural products and textile design cloth patterns; subsequently, a T-shirt design was processed based on this. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used along with a literature examination as part of motive for design development and pattern realization. Three basic motives were selected as a new formative image in this work, utilizing graphical elements such as abridgement and simplicity of pattern, where flower-shaped cloud pattern, uprising cloud pattern, and 卍-shaped or swastika-shaped pattern of traditional cloud patterns were selected. Each motive diverged into two motives via the shape transformation and the application of different colors. The newly developed basic motive was further processed into a combination of one-time repeat pattern, stripe pattern, and application pattern with mixed cloud motives (that were previously developed), which altogether turned out to be 36 pieces of textile design. In addition, with newly developed motive designs and textile designs, a total of 12 shirt designs for 4 pieces were developed for these three each. The shirt design was developed into a shirt blouse, sleeveless T-shirt, half-sleeve T-shirt, and sports T-shirt among others in order to fit various uses and purposes.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2007년도 학술대회 1부
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• pp.123-130
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• 2007

본 논문에서는 기존 패턴캐드시스템 및 드레이핑시스템을 이용한 의복제작과정의 한계점과 개선가능성에 대해 알아보고, 이를 기반으로 새로 디자인한 의복제작시스템을 소개한다. 이 시스템은 원피스, 바지, 셔츠, 재킷 등 옷의 큰 스타일인 의복템플릿으로부터 의복디자인을 시작 한다. 소매, 카라, 포켓, 넥라인과 같은 템플릿 디테일들은 디자이너가 마음대로 다른 세부 템플릿들과 교체할 수 있으며, 세부 템플릿으로 커버할 수 없는 디테일한 수정은 3D 드레이핑 시스템과 2D패턴에디터에서의 직관적인 오퍼레이션을 통해 이루어진다.

• 복식문화연구
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• 제18권4호
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• pp.741-754
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• 2010

The current study aims to link Korean tradition to modern culture; to re-produce patterns of lotus depicted in Minwha, The study also aims to discover the beauty of Korean tradition and to modernize it. The current study is based upon document searches(including research papers) and the Internet searches. Through these searches, it investigates the concept of Minhwa, the origin of lotus depiction and its symbolic meanings, the traits of such pattern. Based upon this investigation, the study attempts to modernize the patterns of lotus and apply the modernized patterns to designing shirts. The process which employs the lotus patterns illustrated in Minhwa to shirt design includes four sub-processes: selecting, allocating, coloring, and selecting production techniques. The sub- process of selecting patterns is two folded: the first stage covers carbon-copying the distinctive features of lotus, lotus leaf, lotus bud, lotus pip, and lotus stem; the second stage is making these features suitable to shirt sizes. For the process of coloring those shirts, Piccaso's work(Pablo Picasso, 1881~1973) has been selected and the colors in his work have been adopted to dye the rest of the shirts as well as the lotus features. The process of selecting production techniques includes ornament tail in order to modernize the patterns allocated in the shirts. Once these processes are completed, the shirts are made on a scale of real-life size. These processes of creating shirt design by modernizing traditional patterns will hopefully contribute to researchers expanding the domain of shirt design.

• 한국의상디자인학회지
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• 제9권2호
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• pp.59-68
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• 2007

"Aloha" is the Hawaiian word that extends the warmth friendliness, and pride of the Hawaiian people to their island's visitors. The aloha shirt truly symbolizes aloha sprit to islanders and visitors alike. The earliest foreign settlers in the Hawaiian Islands were the Chinese and Japanese. They brought with them their myriad talents and trades, among them the art of tailoring. In July of 1936, a shirtmaker named Ellery J.Chun coined the term "Aloha Shirt" an apt characterization for such an eloquent garment. He was the first to make the shirt on a commercial basis. The shirt sold for as little as a dollar in Chun's own King-Smith store. The genuine aloha shirt is now regaled as a work of art and avidly sought out by collectors. When tourism came to Hawaii in the late 1930s, these unusal shirts were among the first thing that visitors had to have. Local designers and tailors worked quickly to meet the demand and began to expand the range of decoration to include palm trees and romantic beaches, tropical jungles and volcanoes, exotic flowers and scenes from polynesian legend. Therefore the aloha shirt had been born. The functional use of creative colors and amazing artistic renderings in these shirts certainly capture the simplicity and sprit of Hawaii. Aloha shirt is dress that display mystery and charm of Hawaii and cultural symbol of condensed Hawaiian mind. Furthermore, the innocence with which Hawaiians formerly translated their life and heritage onto fabric ranks these shirts with the finest of American folk art. Aloha shirt is made from cotton, silk, rayon in present and past. Most important design element of Aloha shirt is print pattern. Main print pattern of Aloha shirt are all over pattern, horizontal pattern, border pattern, Japanese pattern, picture pattern and back panel pattern. In this study I investigate the design characteristics and development process of aloha shirt.

• 한국의류산업학회지
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• 제19권6호
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• pp.777-785
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• 2017

The MICE industry is a new industry that combines corporate meetings, intensive tours, conventions and exhibitions. The convention (the international conference itself) is a conception born from the interpretation of multiple industries such as conferences, incentive tourism, exhibitions and fairs. It is therefore necessary to develop products that can contribute to the revitalization of the MICE industry. We will participate in globalization era trends by developing original design with unique color sense as well as traditional beauty and elegance that can represent the Korean Wave in order to develop high value-added fashion cultural products. We examine the formative characteristics of Chogakbo and apply them to the harmony of geometrical characteristics and colors. The morphological characteristics and sewing method of the Korean traditional 'fo' were also used for shirt designs. It is a fashion cultural product that applies to the Korean Cheokagbo design as well as maintains a basic aloha shirt design that can be worn by everyone (regardless of gender and age) to make it globally acceptable. We used a simple and interesting geometric configuration of the surface represented by the surface composition of the patchwork as well as proposed a design costume by 3D clothing simulation work. The research results can be used as basic data for the domestic fashion market and cultural goods market.

• 복식
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• 제61권4호
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• pp.76-91
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• 2011

During the era of Joseon Dynasty when the Confucian ideas were prevailing all over the manners of living, most women were usually living separated in the boudoirs, the isolated living quarters exclusively for women, where they used to do much troublesome needleworks for the traditional kerchiefs and embroideries for which they poured out their souls and hand skills. And therefore, nowadays, such works are deemed much valuable for either formative or artistic point of view, and their legitimate cultural designs are receiving much publicity from a number of mass communications as one of the national competitive powers. Thus, I, the researcher for the subject study, have completed 1-year researching lessons on the traditional kerchief and embroidery of Ms. Hyeon-Hee Kim, the Mater-hand, at Korea Traditional Handicrafts Institute of Korea Cultural Heritage Foundation, and then engaged myself in the creative works relevant to the subject by cultivating the power of understanding to such field, restoring the techniques of the traditional handicrafts, reconstructing them into the modern sensual descriptions, and also trying to apply various transformations and modifications to them.