• 복식
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• 제63권7호
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• pp.31-48
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• 2013

It goes without saying that Yi Mae-Bang, as the sole owner of two of the intangible cultural assets including No. 27 Seungmu in 1987 and No. 97 Salpuri Chum, is a top-notch Korean traditional dancer. Moreover, in regards to traditional clothing, he is also known as the only traditional dancer who directly performs on stage as well as analyzes traditional clothing in order to apply them into his own dance performances by designing and producing them to meet his artistic spirit. In order to examine how Yi Mae-Bang's unique and creative stage clothing was developed, and what kind of process it went through to possess its unique style, which draws the attentions of people with its harmony of beauty and dance, this research first examined the change of the composition through the yearly picture data. Before 1984, the composition of the Salpuri Chum clothes changed by putting on 'Jeogori' on the 'Mudong-Bok' without the 'Kweia' (sleeveless), and in 1999 'Mudong-Bok' became widened with the decoration of embroidered hem making it more attractively colorful. after 2000 it became more splendidly adorned by embroidering hem on widened Mudong-Bok and tucking 'Kweja' in the layers which created silhouette like a dress that is seemingly wider and luxuriant than a skirt. One of notable features of Yi Mae-Bang's Salpuri is that its cloth and cuff ribbons are lightly colored in different colors enclosing the tip part. As for the ribbons, it was also changed as time went by from direct-cutting of the cloth just like the A-line of Mudong-Bok to drawing a diagonal line less than 5cm above the ribbon and 8cm below the ribbon so that it takes the form of getting widened as it gets to the lower part, and its length was also elongated in proportion to that of the bottom of Mudong-Bok.

• 복식
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• 제37권
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• pp.71-88
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• 1998

This study will analyze the aesthetic qual-ities revealed in the work of Vivienne Wes-twood in order to gain an understanding of the development process and uniqueness of modern avant-garde fashion. Westwood gained worldwide recognition in the 1970s as the Punk movement emerged in London. Although her works have often been described as decadent and anti-establishment, her anarchic view of fashion has had a considerable influence on other designers, both in England and around the world. Vivienne Westwood's works can be divided into three periods. In the first period(1971∼78). Westwood design demonstrated elements which were variations of the subcultural Punk style. The noteworthy designs of this period included ripped T-shirts, bondage clothes, and fetishist accoutrements. In the second period(1979∼83), her designs expressed elements from ethnic and primitive tribal societies through the 'Pirate', 'Savages', 'Buffalo Girls', 'Witches' collections, which inspired New Romanticism movement. In the third period (1985∼ ), through works such as 'Mini-Crini'collection, her works identified elements from the old west and used materials such as crinoline and Harris tweed and contemporized them by rearranging the innovative technique. In the end the news synthesis helped formulate new ideas. The aesthetic qualities in Vivienne Wes-twood's works can bed identified with the following themes : Punkature, Erotic Intelligent-sia, Anarchic Collage. First, within Punkature, Westwood's ideas are at the forefront as her impact on the cut of clothes and creative detailing have been considerable. Also, while her ideas can be extreme, her clothes are wear-able, resulting in the synthesis of Punk and couture. Second, as Erotic Intelligentsia, Vivienne Westwood does not present sexuality as a straight forward attribute that fashion so often tends to do, but instead as a matter for inquiry, exploration and debate. She asserts that sexuality is always an interplay between the polarities of masculine and feminine, of dress and undress. Third, as Anarchic Collage, she has taken, juxtaposed, and transformed objects and symbols from dominant culture, like every modern subversive movement from Dada to Punk. She has continued this form of anarchic collage, mixing styles from various times and places, taking them out of their traditional context. From thiss viewpoint, Vivienne Westwood's works can be considered to be made up of past themes merged with is contemporary. The usage of contrasting elements such as Punk and couture to communicate her ideas visually or technically.

• International Journal of Costume and Fashion
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• 제6권2호
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• pp.55-61
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• 2006

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

• 복식문화연구
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• 제25권5호
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• pp.611-628
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• 2017

As a plan for establishing Korea's cultural identity and its competitive edge in the world market and for enhancing Korea's cultural status, creative and unique high value-added cultural products need to be developed utilizing our inherent cultural assets. Accordingly, this study focused on the development of the design of fashion cultural products that utilize the convergence of Hangeul our peculiar font style and Korea's cultural heritage, which is registered as part of UNESCO's World Heritage. A design method was devised that converges archetypal images of cultural property with the unique Hangeul font in a way that targets Korea's symbolic architectures. The symbolic architecture includes Korea's world-heritage pagoda architecture, such as Seokgatap pagoda and Dabotap pagoda at Bulguksa temple. It also included the architecture of royal palace, such as Injeongjeon hall at Changdeokgung palace. Finally, it also included the architecture of the fortress wall, such as Paldalmun gate in Hwaseong fortress. Thus, by developing cultural assets made from a convergence between architecture and the Hangeul font as a consumer-product image that has universality, the possibility of cultural products was pursued by applying color planning after an analysis that involved extracting the compositional colors of the flags of the world. This research and approach will lead to opportunities for further progress for Korea's cultural products in the global market as a results of additional recognition for their value, excellence, and universal appeal.

• 복식
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• 제57권4호
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• pp.18-29
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• 2007

Since its birth, "Little black dress" that has been prospering and reviving continually for 80 years, is always favored as classical fashion item. This study focuses on how the "Little black dress", regarded as the beginning of the modern fashion, could become an eternal item over a century by analyzing the aesthetical characteristics of it. Thus, we can better understand the modern women and aesthetic value of modern fashion. The precedented studies and literatures are reviewed for recognizing the development of "Little black dress," and the scope of this study is limited only after the year 2000. Also, fashion work collections and various domestic and international fashion magazines are analyzed demonstratively. After the Little Black Dress was born with the bullish black color in the year 2000, the aesthetic characteristics of the newly spotlighted Little Black Dress in the modern fashion are as the following. First is modernism. Modern style of black dress is appeared through simple and moderate expressions such as pursuit of simple line, minimization of decoration and exclusion of accessories. Second is sensuality that emphasizes flashiness of black by gloss or see-through fabric and exposing one's body parts or dress that exposes body's curves not only express women's physical attraction but also show off woman's social status or roles. Third is feminism. Ruffle, ribbon, flowing-like fabric, and rhythmical details express charms of sophisticated and trendy women as well as romantic image of girlish sensibility. Fourth is hybridism. Experimental and creative thinking like designers' unique re-interpretation of "little black dress," fresh view to sexuality, breaking up of the existing principle of clothing compositions give wholly new aesthetic value.

• 패션비즈니스
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• 제22권2호
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• pp.51-60
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• 2018

This research focuses on the development of upcycled denim fashion designs, whichis a more specific category within general upcycled fashion design. Characteristics of upcycled fashion design, which has been identified previously by researchers, include the following traits: environmentality, uniqueness, aesthetic appeal, availability, convertibility, and deconstructivity. The expression principles include recycling, substitution, recombination, and reduction. The result of the analysis of the denim fashion design characteristics, which is based on the theoretical analysis, has found. The external expression pattern consists of the deconstruction and reconstitution of materials, the avant-garde style and convertibility, the ability to mix and match materials and techniques, the production of zero waste, and the use of layering. The expression techniques used included decomposition, depaysement, weaving, cut-off, collage, assemblage, overlapping, connecting, attaching, and stitching. The inner meanings were identified as economicality through recycling, convertibility through rearranging, and the rarity and value of hand-made products. The result of the research applying the identified characteristics are as follows. First, developing and creating designs using modified denim and sub-materials with various expression patterns and techniques could provide completely new images unlike existing denim products. Second, modifying the details while maintaining the basic format of denim clothing could provide unique and new possibilities for upcycled denim fashion design. Third, environment-friendly models with creative designs were developed by recycling used denim materials. This reduced waste and energy while maximizing the use of resources. This study expects contribute to upcycled fashion design research by recognizing the unique characteristics and value of denim material.

• Journal of Information Technology Applications and Management
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• 제26권3호
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• pp.61-80
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• 2019

The cooperation between universities and industries is already one of the most important factors driving the national economy in the knowledge-based society of the 21st century represented by the Fourth Industrial Revolution. The Korean government has also been carrying out legal and institutional re-adjustments to promote industrial-university cooperation in line with demands for such changes in the times. However, despite this industry-academic cooperation system, there is still a significant mismatch between industrial demand and the university's workforce development system. By the way, there is a Cooperative Education(CO-OP) in Canada and the United States. It's an innovative link between the university and the industry. The reason is that the CO-OP program not only allows students to gain experience with their majors in the industrial field, but also plays a positive role in improving their specialty expertise. In particular, field information, ideas, and job insights that students acquire through CO-OP also serve as motivation for starting a business beyond employment after graduation. Furthermore, CO-OP experience is an important opportunity for future researchers to come up with commercialized research results that are not separated from the field sites The purpose of this study is to overcome the gap between industrial demand and the college manpower training system, and develop a Korean-style coaching program model as a growth engine for creative talent-building policies, represented by 'creation of start-ups and new industry.' In addition, this study suggested measures that can be applied in real universities. In addition, the study also highlighted that the introduction of CO-OP programs with field practices in Korea could also boost start-ups. Based on the Korean CO-OP program model, the curricula applicable to domestic universities consisted of two types : general and research-oriented university types.

• 복식문화연구
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• 제17권6호
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• 한국콘텐츠학회논문지
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• 제15권5호
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• pp.108-118
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• 2015

한국에 서구 근대극이 도래한 지 백년의 세월이 지났다. 그 동안 무수한 배우들이 나타나고 사라졌지만 그들의 위대한 연기예술을 기록으로 남기는 작업은 아직까지 미미한 실정이다. 특히 무대에서 연희되는 공연 예술의 경우 작품 창작 과정의 기록과 복원은 작가론 연구와 예술 세계의 후대 계승을 위해 지극히 중요한 기초 자료가 된다. 이에 본 연구에서는 한국 근대극 역사에 작지 않은 발자취를 남기고 지난 2012년 작고한 원로배우 장민호(張民虎, 1924-2012)의 배우로서의 삶과 업적에 대해 회고하고, 그의 연기관과 예술세계를 고찰하고자 한다. 배우들의 삶을 기록하는 작업은 이미 그 자체로 연극의 본질과 배우의 역할에 대한 근원적 성찰의 기회가 되며, 배우의 연기 인생을 고찰하는 작업은 그 배우만의 독특한 연기술을 후학들에게 소개, 전달하는 효과가 있다. 이러한 배우의 삶과 예술인생을 기록함으로 배우에 대한 시대적 관심의 증대와 함께 한 시대를 이끌어가는 예술가에 대한 가치와 중요성을 인식할 수 있기를 바란다.

• 한국의상디자인학회지
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• 제17권4호
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• pp.77-90
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• 2015

This study is to designed to provide foundation for knit design which can apply the thickness and flexibility of jacquard knit by analyzing and comparing mechanical properties of 7 types of jacquard (normal jacquard, bird's eye jacquard, floating jacquard, tubular jacquard, ladder's back jacquard, blister jacquard, transfer jacquard) widely used in knit design to achieve the results. The sample was projected by using 7 gauge and SES-122S type computer knitting machine house tooth pattern with two colors were applied to 7 types of jacquard using Acrylic/Wool(30%/70%) $2/50.5^{\prime}s{\times}4ply\;yarn$ by Shimaseiki MFG., Ltd computer knitting machine. The mechanical properties of 7 types of jacquard samples were measured using KES-FB (Kawabata Evaluation System for Fabric, Kata Tech Co. Ltd). HV(Hand Value) and THV (Total Hand Value) were calculated by using the formula of KN-402-KT and KN-301-WINTER respectively. The measurements were evaluated by 0-to-5 rating scale. As result, the floating jacquard was found to have excellent drape, making it suitable for express feminine silhouette with its most flexible and smooth touch. On the other hand, bird's eye jacquard is adequate for a suit jacket and coat regarding its excellent volume and flexibility. Blister jacquard and tubular jacquard are thick, heavy and stiff knit and both are suitable for simple box-style design. Ladder's back jacquard, however, is more appropriate for expressing the design of feminine charm and voluminous design. Based on the result of this study, it is supposed to provide basic information for development of knit industry regarding jacquard knit by designing the creative knit wear with high production efficiency.