• Proceedings of the Costume Culture Conference
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• 2005.04a
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• pp.74-75
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• 2005

• Proceedings of KHEA Conference
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• 2005.10a
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• pp.137-137
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• 2005

• Proceedings of KHEA Conference
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• 2005.10a
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• pp.142-142
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• 2005

• Proceedings of KHEA Conference
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• 2006.10a
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• pp.104-104
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• 2006

• 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.

• Fashion & Textile Research Journal
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• v.21 no.6
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• pp.717-729
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• 2019

This study defines critical fashion designs and investigate its critical messages on fashion itself. The critical messages on fashion are categorized into two major issues of a fashion industry system and fashion consumer culture. This study contributes to the understanding of meaning and value for critical fashion messages that match critical art. As the research method, this study combines a literature review and case studies and the research scope focuses on cases that have appeared in fashion media since the 2000s when social critical messages in fashion began to emerge. The results of the study are as follows. Critical designers such as Viktor & Rolf, Elisa van Joolen, Issey Miyake, and Mary Ping have delivered messages challenging the nature of fashion industry system that criticize the cycle and limitation of a fashion system and pursues changes in perception of sustainability. The critical message on fashion consumer culture articulated by designers such as Alexander McQueen, Vivienne Westwood, Hussein Chalayan, and Ricarda Bigolin & Nella Themelios insist on the formation of community while delivering a critical message on social, political, and cultural problems that raise the mechanism of social awareness through fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1924-1934
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• 2009

Mixture phenomena are present in the overall culture due to internationalization in a modern society. A unique feel is required in materials due to the increasing demand for knit wear and there is a need for a strategic plan to achieve this. This study analyzed the appearance frequency and expressive characteristics of mixture phenomena based on selected data from collections related to the mixture phenomena trends in modern women's fashion from 2000 to 2008. Among the mixture phenomena, the mixture of the high and low class cultures had the highest frequency of occurrence and was expressed most often since the expansion of design areas was due to vague high and low concepts. The mixture of sexes showed the sharing of knit wear trends between the sexes with the pursuit of functionality. The mixture of styles showed a tendency to increase since the traditional form was transformed into a mixture of typical styles. The mixture of spaces showed a mixture of old and traditional knit wear patterns from Northern Europe and modern elements. The mixture of other materials showed the partial preceding mixture and the decorative materials that existed beyond it. The mixture of functions refers to the used characteristics of the two items. Imagination will grow and increase the possibility of expressions with the mixture of the other areas.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.499-512
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• 2022

The purpose of this study was to first look at genderless concepts that are different from Unix, and by grasping the trend of genderless clothes in modern fashion and examining their characteristics, we looked at genderless trends and characteristics in modern fashion. To this end, this study conducted a theoretical review and collection case analysis through domestic and foreign literature and fashion websites. Based on this, the characteristics of genderless clothes expressed in the collection were derived by analyzing designs with strong genderless tendencies in modern collections. As a result of the study, genderless fashion in modern collections could be derived from three visible results: innovation, rebellion, and future-oriented. In addition, modern genderless fashion contains various needs for mental gender and physiological gender, not simply physiological gender, and this is seen by interacting with the current social phenomenon in which gender distinction becomes ambiguous. Understanding and studying the genderless phenomenon, which has become a cultural phenomenon and popularity, hopes that many follow-up studies related to genderless clothes will be conducted in the future.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.34-36
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• 2004

인간은 원시 시대부터 현대에 이르기까지 자신의 신체를 장식함으로서 많은 것을 표현하여 왔다. 신체장식은 미를 추구하고자 하는 인간의 본능적인 욕구에서 비롯되며 개인의 자의식을 표현하고 미적 경험과 심리적인 욕구를 충족시켜줄 뿐만 아니라 한 시대의 사회와 문화의 반영으로서 각 시대에 따른 다양한 상징적 의미와 내적 가치를 내포하고 있다. 과학의 비약적인 발달로 소외되고 혼돈에 처한 현대인들은 그 탈출구를 ‘원시로의 회귀’에서 찾고자 한다. (중략)

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.246-253
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• 2009

Technology and fashion are not as distant from each other as it might first seem. Early wearables were functional but awkward to wear and to look at. Today wearables are rapidly rising to meet the fashion world on its own terms by producing garments that are both stylish and comfortable. Personalization of wearables allows for new modes of self-expression, which is an essential factor in making fashion items that appeal to the public. Embedded technologies in the garment and the functionalities integrated into the electronic textiles influence the ‘wearability', comfort and the aesthetic of a fashionable wearable. Considering these factors is an essential part of the design process when creating user-centered fashionable wearables. Designers have to have a comprehensive understanding of the purpose, the user, the interaction, and in commercial applications, the right price point. An appealing design in combination with an intuitive interface will make for a successful fashionable wearable.