• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.993-1008
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• 2011

Traditional culture could be a wonderful source of inspiration for creative design. Tteoksal, the stamps used for making decorative patterns on traditional rice-cakes, have been used and passed on to generations to show the emotions of our ancestors. Numerous traditional patterns found in Tteoksal can be used to better understand and transmit tradition in modern ways. The purpose of this study was to develop fashion cultural products with a modern sensibility by understanding the origin, types and characteristics of Tteoksal and its patterns. The method of this study was through considering the proceeding studies and the references published by a specialist and museums having some information about further knowledge on Tteoksal. In line with the aforementioned study, neckties, eco-friendly bags and pouches were developed as fashion goods. Among the Tteoksal's patterns selected were lotus, bats, 樂 letters and complex patterns. Using a computer graphic software program such as Adobe Illustrator CS5, archetypes of patterns were traced as vector graphics, and two design motives were developed in every pattern. The patterns were developed into two types: one was a basic pattern faithful to a basic motive pattern, and the other was a varied type that was changed and applied. The fashion products were developed as two styles for basic and varied patterns for neckties, eco-friendly bags and pouch items. Twelve products were made for each pattern, which totals 48 unique products. In conclusion, the study could be a critical step to better understand the traditional culture and its influence to the patterns applied to modern fashion design.

• 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.

• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.731-740
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• 2010

This study attempted to understand the value of traditional floral wall patterns reflecting the distinct aesthetic consciousness of Korean people and reinterpret the images of floral wall patterns in simplified forms. In addition, the study created new floral patterns to apply them to the design of neckties and scarves. In a methodological aspect, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to make the traditional floral wall patterns motifs. Four basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating, and/or reducing shapes based on floral wall patterns, and each motif was developed in two variations with different colors applied to them. Each of the set motifs was expressed in a repeated arrangement and in a modified pattern of 45 degrees. Necktie design with a floral wall pattern made use of the motifs developed through a variety of effects such as simplification, repetition, size variation, and gradation and the pattern modified at a $45^{\circ}$ for application. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed and expressed them through such effects as repetition, rotation, compositional variation and gradation.

• Journal of Fashion Business
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• v.17 no.2
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• pp.95-116
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• 2013

The purpose of this study is to link traditional patterns to man's fashion goods design. Of all the traditional patterns, the bat pattern was chosen for use during the development of a man's fashion goods design as like as neck-tie, pocketchief and scarf. This study is based upon document searches, including research papers. Thought these searches, it investigates the form of traditional bat patterns, tessellation which can be found easily in the Islamic culture as well as in tile and carpet patterns and a modern painting by Gustav Klimt(1862-1918). Based on this investigation, the study attempt to modernize the bat pattern and apply the neck-tie, pocketchief and scarf. The design procedure includes three sub-processes: selection, arrangement and color-scheme. In conclusion, six designs of man's fashion goods were created by using one of Korea's traditional patterns - the bat pattern. Therefore, this study offer invaluable suggestions for multifaced research on how to come up with design concepts which apply Korea's traditional patterns to Man's fashion goods design.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.1-10
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• 2010

The purposes of this study are to review the Chinese traditional patterns and to apply one of them, the Peony Blossom pattern into modern textile designs for fashion For this purpose, first, the categories and symbolic meanings of the patterns existing in the Chinese traditional clothing from literature were reviewed. Second, the Peony Blossom patterns of Chinese traditional patterns from literature were reviewed and selected one of them, Third, authors applied the Peony Blossom pattern to creative textile design which would fit to appetite of people lived in modern society. The results were as follows: The patterns of Chinese traditional clothing could be classified as animal pattern, plant pattern, nature pattern, character pattern, lucky token pattern, geometric pattern and so on. All these patterns contained individual symbolic meaning, which varied according the different wearers. Moreover, it endows a peony blossom pattern of Chinese traditional patterns with modern style and purposes the textile design. The theme of the design is "Luxuriant Outing" with the concept of "Dream in Fantasy". The design target is the female born in the 1980's, that is, the target population between 20 and 30 years old. In addition, it is designed for the romantic one-piece. This paper perceives the national spirit revealed in the Chinese traditional patterns and designs with the combination of traditional culture and modernized technique of expression.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.100-117
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• 2010

This thesis has three main purposes: first, will show kinds, patterns, types, expression techniques of modern korean women's trimmings by every ten years. Second, it is to trace the effect of each decade on women's Hanbok trimming designs. Third, it will point out factors. that caused the change of modern Korean women's Hanbok trimming design patterns. Henceforth, there comes the result of the research and analysis. Trimming design patterns of modern women's Hanbok can be divided into three categories temporally: The first period of from 1910s to the first half of 1950s saw that design patterns did not changed much from traditional ones. It is because there were many catastrophes such as the invasion of Japanese Empire and Korean War. The compound design had expressed people's wish to earn many sons and babies at the end of Joseon Dynasty. But it turned to wishing luck for individuals affected by individualism and liberalism imported from the west. Realistic designs are the most frequently used and the least lines made up patterns. The second period of from the latter half of 1950s to 1970s saw that women wore their Jeogories and Chimas as suits. Screen printing technique enabled for various design patterns to come out. And the development of textile industry introduced various expression techniques such as making lace, meshing, flocking, burn-out etc cetera. The third period of 1980s saw that Hanbok became a kind of luxurious clothe as people's living standard rose. Hanbok again came into the spotlight, Hanbok designers came forward and their individualities are respected. The characteristic expression technique of grey-dying and geometric design patterns are more frequently used for the simple and modern beauty.

• Journal of the Korean housing association
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• v.19 no.6
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• pp.33-44
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• 2008

The street system in multi-family housing is an important design element to control the circulation of vehicles and pedestrians, and to form the spatial organization of the projects. In particular, in the case of high-rise apartments, the street patterns have an influence on the safety, amenity, and convenience of facilities. Until now, however, the design of street patterns in most high-rise multi-family housing projects has diminished the quality of residential environments because priority of design consideration has primarily been given to planning road ways and parking areas. Nevertheless, the design competitions introduced for the first time in the 1980s have played a significant role in developing fresh ideas and concepts in housing design. Because street patterns have been respectably modified as a result of the generalizing of design competitions, it is important to review the ideas that have been proposed in competitions over the recent past. In this context, this study classified the types of street patterns and analyzed their design characteristics for the proposals of housing design competitions since the 1990s. As a result of this analysis, the road patterns are classified into 4 types: 1) serial type, 2) isolated type, 3) mixed type, and 4) not a road pattern due to the system of connection. In addition, these were further divided into 8 types: 1) loop, 2) ring, 3) penetration, 4) tree, 5) direct entry, 6) ring and penetration, 7) loop and penetration, 8) not a road pattern due to appearance and the collector.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.3
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• pp.359-370
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• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• Journal of the Korean Institute of Educational Facilities
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• v.17 no.5
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• pp.11-18
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• 2010

Owing to generalization of design competitions and BTL since 2000s, fresh ideas and concepts had never seen before tried positively. As a result, school design methods in Korea has been more developing. Therefore, to analyze ideas that have been proposed in competitions is important to help developments, for the layout patterns of elementary school designs in the future. Based on these context this study is the most important purpose for analyzing and classifying layout patterns in prizewinners of elementary school design competitions As a result of the analysis, the layout patterns are classified into 8 types : 1) ㄱ type, 2) ㄷ type, 3) ㅁ type, 4) F type, 5) P type, 6) 工 type, 7) ㅌ type, 8) free type.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.131-142
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• 2009

In response to the need of developing children's wear design using traditional elements, this study purposed to develop fashion designs emphasizing contemporary images based on the symbolism and formativeness of traditional dresses. For this study, we reviewed the definitions and symbolism of traditional colors and traditional patterns using previous research, and classified them according to formative shape. In addition, this study made three pieces of dress and developed unique designs by applying the traditional patterns and elements of Korean traditional dress styles. The research methods were as follows. First, we examined the images of Korean traditional colors and classified the symbols and meanings of the colors. Second, we identified the types of patterns, and classified them into shapes and symbols. Third, we designed and made actual works by applying traditional patterns. Based on the theoretical studies as presented above, we developed contemporary casual hanbok designs for children by applying symbolic and formative traditional patterns and using DTP (digital textile printing).