• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.39-56
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• 2021

The purpose of this study was to observe the expressive characteristics of Neo-Deconstruction design, examine the expressive characteristics of Neo-Deconstruction design in the collections of Jacquemus, and analyze their internal meanings. For research, observations were made based on the concepts and expressive characteristics of Deconstruction through prior research and literary review, and analysis was conducted focusing on the expressive characteristics of Neo-Deconstruction. The scope of analysis included a total of 605 photographs collected from a total of 17 season collections of Jacquemus from the 2013 S/S to the 2021 S/S season. The results are as follows. First, the Neo-Deconstruction of Jacquemus expresses the youth culture using bright images such as diverse colors and patterns with 'positive playfulness' and pass on positive messages with deconstructive and playful forms, such as exaggeration and reduction and recombination and reconstitution. Second, with tendencies of 'symbolic receptivity', Jacquemus gained inspiration from his own life, memories, and hometown, and attempted to express the street women of places such as southern France, Paris, and Monaco in a number of collections. Also, he proposed designs that can be worn easily by anyone, regardless of gender, and as plus size models began to become more common respect was given to the tastes and preferences of diverse individuals without distinctions based on body type or sexuality. Third, 'geometric simplicity' was generally expressed by pursuing simple and practical fashion with the addition of details, such as geometric forms including stripes or asymmetrical expressions centering around everyday material that is used in clothing. Fourth, with "open communication," Jacquemus constructed his identity by addressing the various needs of consumers based on social network services and continuously sharing his creative ideas with the public. He is gaining popularity in a unique way by responding quickly to the changing atmosphere of society.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.656-674
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• 2022

The purpose of this study is to reveal and compare the differences in the types and characteristics of purchase channel journeys of MZ generation consumers. In this study a survey was conducted on the purchase channel journey of 20 women in the MZ generation using the ethnographic method of in-depth interviews and observations. As a result, three purchase channel journeys were identified: mobile, multi-channel, and offline. These were variously subdivided according to the characteristics of the MZ generations. Gen Z's journey was categorized into types: fashion platform app, Youtube, multi-channel supplement, multi-channel non-planned store visit, offline loyalty store, and impulsive offline store. Gen M's journey was categorized as: an online community bond, portal site, online loyalty store, multi-channel brand involvement, multi-channel efficiency, a multi-channel conversion, offline efficiency and offline task. The difference in mobile journey between generations was found in the time and length of the purchase. Gen M recognized both online and offline search processes to be tiring, while Gen Z enjoyed the search process using the online path. In the offline journey Gen Z began with their own intention to purchase, while Gen M sometimes recognized that purchasing fashion products necessary for work was a cumbersome task.

• Human Ecology Research
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• v.57 no.4
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• pp.513-522
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• 2019

This study analyzes the characteristics of somatotype changes of girls from the ages of 13 to 18 that provide basic data on clothing construction for middle and high school girls. We use data obtained from body measurements of 1,590 adolescent girls 13 to 18 years of age provided in the 6th national anthropometric survey report. The differences among the age groups for 56 direct measurements were analyzed by ANOVA, and the structures of the differences by SNK (Students-Newman-Keuls test) were analyzed. The two major growth ages were 'ages 13-14' and 'ages 15-16'. The first major growth ages focused on all measurement items of height, length, circumference, breadth, depth and other items. The second one focused on measurement items of height and length of torso, circumference, and breadth of lower body. The major growth pattern of the age groups was 'ages 13<14&15<16&17&18' which appeared focused on the height and length items of upper body and torso, the width items of lower body and the circumference items of upper body and lower body. The measurement items of front length like waist front length, N.P. to B.P to waistline, N.P. to B.P., and B.P. to B.P. showed the growth pattern for 'ages 13<14<15<16<17&18'.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.17-31
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• 2022

The purpose of this research is to suggest diverse directions for eco-friendly knit designing through analyzing the characteristics of Stella McCartney's knit designs. The first stage of the research was to explore the characteristics of eco-friendly fashion design based on literature review. The next stage was to categorize the characteristics of eco-friendly design found in Stella McCartney' knit fashion based on the precedent analysis. The data collected showed 274 examples from 40 Stella McCartney collections, including Spring, Resort, Pre-Fall, and Fall Ready-to-wear collections between 2013 and 2022. All information was collected using www.vogue.com. As a result, the characteristics of Stella McCartney's knit design were classified into four directopms: 1) Perpetual Naturalism, 2) Cultural Complexity, 3) Practical Functionality, and 4) Subcultural Reproducibility. The first characteristic, 'Perpetual Naturalism' values the continuous symbiosis between animals and human beings, thereby protecting global environmental value. Stella McCartney's knit design continuously showed a longing for nature's beauty through fashion design, which allowed people to enjoy the meaning of symbiosis between human beings and animals. Second, 'Cultural Complexity' is the characteristic that appears in Stella McCartney's knit fashion design when collaborating with various artists and/or mixing traditional knit motives inspired by traditional cultures and retro moods. Third, 'Practical Functionality' is the design characterisitic that allows items to be worn for a long time as it is comfortable, simple, and practical. Stella McCartney's knit designs pursue easy-to-wear designs that are comfortable and have practical designs with simple details. Lastly, 'Subcultural Reproducibility' showed in Stella McCartney's knit designs reflect Hippie culture, which pursued a rejection of conventional values, and promoted sustainable energy. This culture peaked in the 1960s and 1970s, when 'Beatles' were mainly working. Additionally, retro styled knit designs inspired by other various music genres from the 1980s and 1990s appeared in this category as well.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.31-41
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• 2006

The purpose of this study is to formulate a concept of naturalism in fashion and verify the design characteristics found in such designs via reviewing the concept of naturalism and its influence on dress making in different periods in history. The references from various academic fields including philosophy, literature and fine arts were used to examine how the naturalism was formulated over the years. This study was then to identify the naturalistic influences by closely examining various Western dress codes found in literature, publications and actual samples. The results of this study shows that the close examination of naturalism in fashion with the changes of times displayed the complex evolution process over the years, and they were classified by four distinctive categories; Retro, Ecology, Primitive and Ethnic. Naturalism in the contemporary fashion design showed higher frequency of adopting ecological and retro styles, especially retro style adoption being on the rise, combining wide range of partial components of each style. The color usage showed the skewed concentration on YellowRed, Red and Yellow colors with pale, light grayish and grayish tones.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.110-122
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• 2010

The purpose of this study is to analyze the expressional traits and internal meanings of fake design in the 2000s' fashion, based on study of art and design area. For achieving the purpose, this study performed related research works and a demonstrative analysis of fashion collection photographs. The scope of this study is from 2000 to 2009. The results are as follows. Fake design uses trompe-l'oeil which is an art technique related to the meanings of 'deceive or fool the eye'. This eye-deceiving technique has been used for a long time in the art, and particularly noticed as one of techniques of Surrealism. Art works using trompe-l'oeil express familiar and unreasonable world at the same time, and also the fusion of reality and fabrication. Fake design in design area of the 2000s makes people take daily life in unfamiliar way by unusualness and breaking the boundary between real and fake. By fake design, people can enjoy fun and a sense of freedom with amusement rather than unpleasant of being deceived. Fake design in the fashion of the 2000s uses eye-deceiving technique and also focuses on the concept of 'fake'. The expressional traits were categorized as realistic expression, surrealistic expression and fake value expression. The internal meanings were analyzed as breaking boundary between real and fake, rediscover dailiness, new attitude to traditional thinking. In conclusion, fake design in the fashion of the 2000s gives playfulness, fun, feeling of release and will be pursued continually.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.595-603
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• 2015

The influence of Japonism, which is the post-mid-$19^{th}$ century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early $20^{th}$ century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in $20^{th}$-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.70-86
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• 2009

Today, digital technology is extending its influence to fashion design, which is closely related to people's lifestyle. In order for people to access information all the time, every place, people have to wear these devices all the time, every place. Intelligent wear allows people to communicate with their own body, other persons or surrounding real-time. The purposes of this study are to define 'Intelligent wear' by looking through the similar terms of intelligent wear on related fields, to analyze characteristics of intelligent wear and to provide not only theoretical data but also, practical data far product development on both functional and aesthetic sides. In this study, usefulness provided by intelligent wear were identified in the concept of instrumental & expressive function. For the aim of the study, literature and case study were considered at the same time. The conclusions are as the following. The characteristics of intelligent materials were found to be information, intelligence and protection, the characteristics of intelligent manufacture were combination and virtual reality. And The characteristics of intelligent products were multi-function, transformation, camouflage. Integration of operability function extends human ability and the area of human activity, entertainment, and communication, and provides convenience. Consequently, development of intelligent wear should promote through not only computer engineering but also, connection to other fields. Most of all, there is a need for active research in clothing design and the fashion design since intelligent wear is after all, clothing.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

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.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.455-476
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• 2022

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi's Nuo masks can be divided into those based on their origin and history, the user's social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks' splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood's original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.