• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.1
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• pp.15-31
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• 2023

This study aimed to propose a fashion design development method using the external and internal characteristics of the flower and bird paintings in traditional Korean folk paintings. As a research method, external and internal characteristics of folk paintings were examined through previous studies and literature research, and folk painting patterns were developed into digital textile designs. Five 3D digital fashion designs were proposed using the CLO 3D program. The external characteristics of folk paintings were as follows: simplification and planarization of object representation, diversification of viewpoints, ignorance of perspective and symmetrical enumeration, strong colors and contrast effects, and the simultaneous representation of time. The internal characteristics of folk paintings were as follows: symbolic meaning, the beauty of free humor, modest aesthetics, complexity of reality and fantasy, and desire of shamanism. The results are as follows. Firstly, the flower and bird painting was a decorative painting style that emphasized decorative beauty and was suitable for developing fashion designs with Korean originality because of the symbolic and internal meanings. Simple layouts and bold free-spirited representations were effective ways to fill the screen with objects and gave the pattern a decorative effect. Secondly, developing a virtual clothing prototype based on digital design method using the external and internal characteristics of folk paintings and producing realistic fashion designs suggest the integrated use of science and technology, embodying modern fashion through the combination of digital fashion content and traditional cultural content. Thirdly, as a result of the development of 3D digital fashion designs, an eco-friendly and sustainable fashion design methods with virtual clothing can suggest a design development method that saves time and cost in the fashion design process while considering the environment.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.196-207
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• 2012

This paper aims to study the representation of basic design elements in patterns of fashion design by analyzing the examples and trends of how basic design elements have been represented in major collections of fashion designers, thereby contribute to enhancing the awareness of the importance of basic design elements in the field of fashion design education. In order to accomplish this goal, utilizing the fundamental concepts and principles of basic design elements, we have analyzed the examples and trends of representation of basic design elements, focusing on the design works of fashion designers from the 2000 collections to the 2010 collections that can be viewed to have been directly inspired by three basic design elements. The result of the analysis shows that there was a popular trend of emphasizing basic design elements as a design motif particularly from the 2000 s/s collections to the 2004 s/s collections. In these collections, we have found a wide range of design works that were inspired by the three basic design elements of dots, lines, and faces. Designers such as Jil Sander, Bill Blass, ..., etc. produced diverse designs that emphasized dots with various feeling of space, weight and texture. The collections by I.S.Suano Kuwahar, ..., etc. were based on the concept of coordinating the design element of lines with various textures. Vestium Officina, Loewe, ..., etc. produced the designs where faces were divided by lines in various ways and various forms of faces were decorated with diverse colors.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.491-505
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• 2019

This study analyzes global fashion clusters to provide insight for the domestic fashion market to form a competitive fashion cluster. We examine formation factors and operation types of the global fashion clusters to understand their characteristics. We also explore the effectiveness of each global fashion cluster by investigating the stage of development in fashion clusters. Fourteen cases of global fashion clusters are collected and analyzed. First, global fashion clusters show three types of formation and operation: self-formation, self-formation & government based development, and government, institute, and enterprise based formation & development. Second, the characteristics of global fashion clusters are based on functions related to space, learning, innovation, network, and knowledge. Third, there are four steps in the development stage of global fashion clusters: professional clusters, industrial clusters, learning clusters and innovative industrial clusters. In particular, innovative industrial clusters, the final stage of development, have high levels of effectiveness in terms of co-growth and collaboration among fashion-related businesses in fashion clusters. The results of this study can help guide the development of local fashion cluster in Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.6
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• pp.1039-1057
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• 2022

The fashion system has been criticized for relying on a linear economy to reduce short-term costs and increase profits. Meanwhile, the circular economy strives to expand the value chain through a closed loop for companies, society, and the environment by separating consumption from resources. This study aims to elucidate the strategic characteristics of the technological measures that fashion companies and brands are trying to innovate into a sustainable fashion system on the basis of the circular economy concept. Thus, we conducted case studies by dividing the value chain of the fashion system into design, production, and consumption to identify the technological development of the circular fashion system from a technologization perspective that incorporates technological values. First, design appeared to strengthen emotional durability, design and process with circulation in mind, and fashion product digitalization. Second, production manifested itself as material development for the new fiber economy, improvement of non-environmental processes, and customization of demand-driven, responsive production. Third, consumption was the spread of the environmental consumption culture through the sharing economy platform, the realization of a virtual wearing experience to prevent rapid disposal, and the provision of information on sustainable consumption.

• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.156-166
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• 2018

The purpose of this study is to present the suitable material that can be a real help to make the creativity development teaching method for creative inspirations of fashion design. To achieve these goals, researched and analyzed the creativity studies in the fields of psychology, education, and design (visual design, product design, fashion design, etc.) published in the national journal. Through this analysis, were extracted the characteristics of creativity, teaching methods for creativity learning, and expression methods. Based on this, intend to provide the creativity characteristic, the expression method, and the problem solving process in teaching methods for promoting fashion design ability. After the analysis, the results are as follows; First, the classical 4P (Place, Person, Process, Product) is important to a creativity development teaching method for fashion design. The elements of creativity of a creativity development teaching method for fashion design are 5elements; curiosity, openness, originality, patience, and synthetic ability. Second, the typical method is a drawing (such as a sketch) when visually express and embody ideas in fashion design. Drawing is an important activity that is working with the right brain and the left brain. Drawing exercises will reduce the burden of expressing ideas, providing pleasure and fulfillment in the development of creative ideas. Third, offered 5stages to solve problems of a creativity development teaching method for fashion design; understanding stage, idea stage, visualization stage, evaluation stage, and verification stage. Abstract intangible ideas are concreted and elaborated through stages of visual manifestation such as language, symbol, and drawing.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.504-518
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• 2023

The objective of this study was to explore the symbolism associated with phoenix patterns in China and the temporal aesthetic characteristics of these patterns found in Dunhuang Mogao Grottoes. The study involved collecting examples of clothing designs featuring phoenix patterns from China Fashion Week and the Vogue website, spanning from spring and summer of 2016 to fall and winter of 2022. After collecting and organizing these examples, representative cases were selected for analysis. The objective was to identify effective techniques for incorporating phoenix patterns within the context of Dunhuang Mogao Grottoes and provided insights for future clothing design and textile pattern design research. Phoenix patterns boasted a lengthy history and were laden with symbolic meaning. Early renditions of phoenix patterns found at Mogao Grottoes in Dunhuang were relatively simplistic in design, mainly employing elements like rhythm, coordination, balance and symmetry to convey a sense of nature and gravity. Over time, these patterns evolved under the influence of the prevailing cultural backdrop, employing repeated emphasis to portray notions of abundance and tenacity. Furthermore, regarding the use of phoenix patterns in clothing, there were four prevalent expression techniques: embroidery, beading, printing, and knitting. Traditional techniques like embroidery and beadwork often prioritized aesthetic features like coordination, emphasis, and symmetry, thereby showcasing the opulent characteristics of phoenix patterns. On the other hand, printing and knitting techniques used a single phoenix pattern or a modified version to simplify designs by emphasizing or repeating aesthetic characteristics while adhering to a modern artistic approach.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1554-1561
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• 2005

This study aims to analyze modern hairstyle and fashion in the collections in the late 1990s, based on the concepts and characteristics of Minimalism, a buzzword of the art field in the 1960s. This study used qualitative research method, in other words, presenting an analysis framework by studying domestic and foreign books and dissertations on Minimalism and then applying the Internet or visual image to the analysis framework. The result indicates that Minimalism design in modem hairstyle and fashion has four characteristics: simplicity, unity, repetition and spatiality.

• Journal of Korean Home Economics Education Association
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• v.19 no.1 s.43
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• pp.149-162
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• 2007

Fashion industry that is apparel of the latest textile industry become the center and it is universal inclination that addend value of design is high more and our country apparel industry is accelerating change by life culture industry of the high added value center. Differentiation of goods, high added value anger can be required by activation of professional manpower for strengthening competitiveness of domestic apparel field, and it is design to be texture another thing can raise this. Specific education to train able member of society based on these actual conditions grasping society actual conditions in present age that is specialized and diversifies and atomizes should be achieved. Hereupon, we have researched over current education status about domestic textile related courses and come to a conclusion described below. Domestic textile related courses are offering mostly in weaving and staining as major subjects, therefore distinguished character of each university can not be found. However, in comparison of importance between theoretical courses and practical courses, theoretical courses are gradually considered more importantly And the number of courses about commodity and operation is steadily increasing compared to those of design element. Nevertheless, for the concept of creativity as design education ever been pursuing by experiment and practice, we are also required to keep close relationship with industry as well as making efforts to reduce differences between college education and practical business. In addition, textile related colleges also need to be armed with more professional knowledge in odor to provide their students not only with more job opportunities but also with chances for self-development.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.122-132
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• 2016

In today's society, being considered ecological in fashion design and having a cultural and humanistic approach is important. Using a technological approach, the fold concept was applied to understand and analyze the ecological characteristics of a modern fashion aesthetic design. The concept of 'Ecological Aesthetic Design', which we discuss in this study, is part of human nature, and the design concept is used to consider the relationship between the man and the environment to the design of Victor Papanek. From the perspective of interrelation between the components of an ecosystem, the possibility of the fold's application to ecological aesthetic design can be summarized by wholeness, biodiversity, evolution, homeostasis, and circularity. The concept of the fold is revealed mainly through three types of characteristics: indeterminate complexity, potential continuity, and decentralized interaction relationship. Based on the characteristics of the concept presented earlier, this study conducted a case review by distinguishing contemporary fashion that applied the complex, various, and indeterminate fold concepts into flexible transformation, continuity, and complementary circularity. This study was interpreted from the ecological aesthetic point of view based on the nature of the contingent folds presented before applying modern fashion concepts. It focused on the morphological side, and excluded the material aspects of the case study in order to examine the complex, diverse and content aspects. The result of the study is as follows. The study of the research areas that help the understanding of the changing fashion phenomenonneeds to be encouraged, and there should be a new research category, which can contribute to the ecological aesthetic design concept conversion.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.1
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• pp.15-32
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• 2020

This study aims to develop contemporary fashion designs from the unique Yao minority costumes and to explore the possibility of developing creative designs by using knitting materials. The research method is based on the cultural clothing and costumes of the Chinese ethnic minority, as well as literature concerning the Yao costumes and photo data to investigate the cultural background and characteristics apparent in Yao costumes. The overall design characteristics of Yao costumes are as follows. First, the shape of Yao costumes are divided into straight-lined short tops with pleated skirts or shorts, or cardigan tops with pants and aprons, or long shirts, pants, and a belt. Each variant of tribal clothing is different. Second, the colors used are mainly black or dark blue, and these are accented by other colors, such as red, orange, yellow, green, blue, and white. Third, the clothing patterns are mainly in plant, animal, natural, geometric, and human, etc. motifs. The most common patterns in daily life are the patterns using geometric shapes, plants, or animals. Using the background of the unique lifestyles of the Yao ethnic minority, this study applied hand knitting and jacquard techniques for a knit fashion design. In order to develop traditional patterns, Yao patterns were entered into an Illustrator and SDS-ONE APEX3-4 was used for simulation. Using wool fibers as the raw material; the knitting machine used a Bird's eye Jacquard technique-10GG. The results of this research and design work were as follows. First, the knitted clothing design using Yao clothing elements has significance for the development and flexible use of ethnic elements in contemporary creative design. Second, the straight cut design using hand-knitted and jacquard-knit fabrics can minimize waste materials and provide more possibilities for sustainable design development. Third, it provides additional methods for the combination of hand-knitting and jacquard knitting fashion design.