• Archives of design research
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• v.18 no.1 s.59
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• pp.167-174
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• 2005

This study is to objectively support the emotional and intuitional decision making of the designer by means of developing the supporting models and tools of color coordination. Based on the color grouping system and representative vocabularies suggested in the precedent 'Study on the Grouping System of Fabric Color,' this study suggested the manufacture of the supporting model of color coordination that could be used practically through the design of coloring group. The results of this study can be summarized as below. Firstly, 687 colors in total have been collected from the four world famous collections, the street fashion of 2002 F/W 2003 S/S Season and the representative brands in each group for five years from 1999 to 2003 in order to single out the basic colors for the purpose of composing the color groups. Secondly, 687 collected colors have been grouped into 144 colors in total through the three-step process for the extraction of coloring groups. Thirdly, the final extracted colors have been divided into , , , group by the grouping system specified in the precedent study and the said four large groups have been again subdivided into 12 small groups. Fourthly, the suggested colors in each group have established a color coordination system by introducing the concept of the crossover coordination that could be matched with other groups as well as the coordination within the group. Fifthly, we have dyed 144 colors in total that have consisted of the coloring system of four representative groups (twelve subgroups) in each methodical tone as in the above in cotton yarn, one of the representative materials in fabric fashion design industry. Besides, we have specified the symbol of the Pantone Color Book and CMYK values in each color that has consisted of the system considering the industrial characteristics of fashion as a global business and the compatibility with the related design industry. Sixthly, we have packed the completed yam made of fabrics in the designed container for the easy use of cross-coordination and have completed a color coordination system that could be easily utilized for the fashion-related working-level staffs.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1956-1964
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• 2009

Understanding ethical fashion consumers in Korea is essential for the expansion of the ethical fashion market. This study analyzed ethical consumers in Korea in an examination of the factors that influence ethical purchase behavior and attitudes. The differences between ethical fashion consumers and non-ethical fashion consumers were investigated using eight variables (perceived consumer effectiveness (PCE), self-direction, benevolence, universalism, social responsibility, perceived behavioral control, face saving, and group conformity). Data were collected by means of a questionnaire through both on-line and off-line surveys from April 20 to June 7, 2009. Only the respondents knowledgeable of ethical products or ethical consumption were asked to complete the questionnaire. A total of 494 samples were used for analyses. Using independent samples t-test, the differences in each variable between two groups were examined. There were significant differences between ethical fashion consumers and non-ethical fashion consumers in attitudes toward ethical consumption behavior, behavioral intention, PCE, self-direction, universalism, social responsibility, and face saving variables. The factors influencing attitude and behavior intention were investigated by step-wise regression analyses. For ethical fashion consumers, the attitudes to ethical consumption behavior were largely influenced by PCE and benevolence. Social responsibility was the most predictable variable in guiding behavioral intention. Behavioral intention was also influenced by benevolence and attitude. Group conformity was found to be negatively correlated with behavioral intention. The findings of this study provide significant guidance for marketers of ethical fashion products. This study is the start of ethical fashion consumer research in Korea and can develop into variable subfields in the future.

• Journal of the Korean Home Economics Association
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• v.33 no.6
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• pp.187-198
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• 1995

간학문적 특성이 강한 의류학은 최근 급변하는 사회환경 즉, 학생들의 전문적 경험에 대한 요구, 패션업계와의 유기적 상호관계, 컴퓨터 등 과학기술의 발달, 사회의전문화, 세분화, 정보화, 세계화 등에 능동적으로 대처하여 의류학 졸업생들의 경쟁력을 강화시키기 위하여 보다 질적으로 향상된 의류학의 방향을 모색하도록 요구받고 있다. 따라서 본 연구의 목적은 1) 의류학의 목표는 무엇이며 현재 강조되고 있는 분야와 교과목 및 취업기회는 어떠한지, 그리고 미래에 의류학이 당면할 수 있는 문제들은 무엇인지, 2) 프로그램이 어떻게 바뀌어졌으며 앞으로 어떠한 방향으로 발전되어 갈 것인가에 대하여 연구하고자 한다. 연구방법은 전국 43개 4년제 대학의 의류학 관련 교수 110명을 대상으로 설문지법을 사용하였으녀 회수된 58부(53% 회수율)를 SAS로 통계처리하여 Likert's method of summated ratings로 분석하였다. 연구결과에 따르면 의류학의 목표가 가정중심의 복지 향상(M=2.5, SD=1.0)에서 의류학 분야의 전문인을 양성(M=4.8, SD=0.4)하는 것으로 변화하고 있는 것으로 나타났다. 전반적으로 디자인 분야(M=4.8, SD=0.5)와 구성분야 (M+4.5, SD=0.7)가 풍부한 교과목과 함께 강조되고 있으며 디자인 분야의 취업성향이 가장 많은 것으로 나타났다. 교과목이 많이 증설되었으며 (특히 디자인분야) 실험실습시간이 증가되고 인접학문 교과목과 현장실습경험이 증가추세에 있는 것으로 나타났다. 앞으로 의류학의 발전을 위해 전문적 이미지 제고와 함께 졸업생의 취업기획의 증가, 의류산업체와의 인턴제도를 통한 산학협동, 그리고 컴퓨터 활용 증대 등이 요구되고 있는 것으로 나타났다.

• The Research Journal of the Costume Culture
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• v.29 no.4
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• pp.522-537
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• 2021

The purpose of this study is to develop a knitwear design with the potential for practical use through a combination of science and design by examining the concept and formative characteristics of fractal geometry and applying them to the development of 3D virtual clothing knitwear design. This study produced five main conclusions. First, the sub-concepts of "Repeatability," "Scale variability," and "complexity," which are based on self-similarity, appear together with simple regularity in the fractal formative characteristics shown in fashion design. Second, fashion fields apply fractal geometry in three-dimensional surface textures and optical textile patterns as a method of expression. Third, it was confirmed that various expressions can be created with fractal patterns by using the SDS-ONE APEX 3-4 design system; moreover, fractal patterns are a suitable design source for the development of Jacquard knitwear patterns. Fourth, in the development of knitted jacquard fractal patterns, by arranging the patterns in perspective, the effect of emphasizing or reducing the human body by optical illusion was shown. Fifth, a knit Jacquard structure with a pattern that exhibits fractal modeling characteristics and applying it to a 3D virtual clothing sample design reduces the time required for sample production while expanding the knit design's expression area and reducing costs. Thus, the clothing sample confirmed the effectiveness of practical knitwear design development.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.310-322
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• 2019

Since the late 2000s, fashion exhibitions have expanded to encompass a variety of concepts and sizes, and the need for research on exhibition planning, installation, and direction, including curating, is emerging. In this context, basic research is deemed necessary to encourage more experimental and in-depth research into the planning and orientation of domestic fashion exhibitions. Accordingly, by analyzing the exhibitions of Judith Clark, a pioneering fashion curator, and fashion exhibition planner, the aim of this study is to examine the characteristics and directing points of her curation. This study proceeds as follows: first, the concept and type of fashion exhibition and curation are investigated. Second, the exhibition cases curated or produced and installed by Judith Clark are examined and analyzed. Finally, based on this analysis, the characteristics and directing points of her curation are identified. In exhibitions, Clark's directing style features use of a variety of objects, the diversification of the flow-path through space division, and collaborations with various fields or experts. Clark's curation points, based on such characteristics, are as follows: reproduction-oriented curation to capture the age of the time based on historical research; storytelling-based curation; and transboundary curation with multiple methods and open processes. This study is expected to serve as a foundation and precedent that will lead to further research on fashion exhibitions and implementation.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.65-78
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• 2016

The purpose of the study was to investigate differences in job satisfaction, organizational commitment and intent to leave the job according to the characteristics of employees of korean fashion companies. For the study, the questionnaire was developed by the authors and distributed to 350 employees of Korean fashion companies. A total of 315 questionnaires was collected and used for the final analysis. Data were analyzed by frequency analysis, reliability analysis, factor analysis, independent sample T-test, ANOVA and Tukey's test, using the SPSS 18.0 Package Program. First, men showed higher scores in job satisfaction and organizational commitment, and lower score in intent to leave their jobs than women. Second, those who were in their fifties or older had higher job satisfaction and organizational commitment and lower intent to leave their job than those who were in their twenties. Third, those who work in the sales department or merchandising department had higher job satisfaction and organizational commitment and lower intent to leave their job than designers. Fourth, managers and executives had higher job satisfaction and organizational commitment and lower intent to leave their job than lower position employees. Fifth, those with 15 years or longer job experience had higher job satisfaction and organizational commitment and lower intent to leave their job than those with less than three years. Finally, those who had a monthly income of three million won or more had higher job satisfaction and organizational commitment and lower intent to leave their job than those who had a monthly income of less than one million won.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.79-90
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• 2017

The main purpose of the study was to explore effects of selection criteria of collaborating fashion companies on the partnership growth of collaborating artists with those companies. Secondly was to find differences in the selection criteria of collaborating fashion companies and the partnership growth of collaborating artists according to the characteristics of artists including gender, age, frequency and time period of collaboration. The questionnaire was developed by the researchers and was collected from 50 artists with experience in collaboration with fashion companies. The questionnaire was composed of three parts including the selection criteria of fashion companies, partnership growth measured by a Likert-type scale, and characteristics of artists measured by a nominal scale. Data were analyzed by a frequency test, factor analysis, reliability test, regression analysis, and independent sample t-test using SPSS Win 18.0. The results of the study showed that significant effects of the selection criteria of collaborating fashion companies on the partnership growth of collaborating artists with the companies. Also, there were differences in the selection criteria of collaborating fashion companies and the partnership growth of collaborating artists between artist groups according to the characteristics of the artists including gender, age, frequency and time period of collaboration.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• Journal of the Korea Society of Computer and Information
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• v.26 no.4
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• pp.149-159
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• 2021

This study wanted to analyze the types of recognition of messages expressed in clothing for women in their 20s who wear a lot of clothing and fashion products with text. It was intended to provide basic data necessary for the production of typography clothing and fashion products by considering the subjective evaluation of how women in their 20s type the characters expressed in fashion and the characteristics of each type. This study was conducted with the Q method, and the QUANL pc program was used for analysis. Type I thought that letters were a design element and fashion, and the characters expressed in clothes were recognized as images. Type 2 thought it was important that the characters expressed in the clothing were recognized as messages, and that the characters had social messages and period reflections. Type 3 preferred that letters be combined with casual clothes and valued the formability of the characters. Type 4 preferred characters to represent brands and liked to be placed in large positions. In the future, it is thought that additional research by various age groups and genders and detailed research should be conducted to identify differences in font, color, and sentence length.