• 복식
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• 제56권1호
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• pp.121-130
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• 2006

Superimposition is a transforming technique that can facilitate the creation. Superimposition in previous studies, however, has only been fragmentary described as an expression technique, so the studies have not been conducted on the basis of its aesthetic value. The purpose of this study is to investigate how superimposition is applied and expressed in terms of forms of modern fashion based on multi-dimensional features of design processing. The codes of togetherness, ambivalence, sense of space and tension in dress were determined by using the expressional Superimposition. The forms of superimposition were limited to superimposition of clothing, superimposition of body and clothing and superimposition of body and Phenomenal body. This study found that superimposition has developed, in fashion forms/types, a new 'form' by overlapping various forms and thus provides a visual shock and a sense of mystery by using mismatched and arbitrary properties among the forms. Such a superimposition influences a methodology of fashion design through a designer's subjective tendencies, as well as influences a change in the view of the world. Also, a superimposition is expected to have a definite influence on new fashion trends.

• 복식
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• 제64권4호
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• 한국의류학회지
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• 제24권6호
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• pp.895-906
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• 2000

The study planned to testify the accuracy of the 3D scanner through analyzing the human body measurement method and the evaluation of flare skirt with 3D scanner. The results obtained from this study were as follows; First, the results of measurement for the dress form and human body by 3D scanner were more accurate than one or two dimensional measurement method. Second, from the results of the scan for the flare skirts as worn the human body, we could obtain very accurate horizontal section map. Third, in the clothing ergonomics viewpoint, the accuracy of the 3D scanner was very excellent and its utility was higher than that of the moir photography method. Therefore, the 3D scanner is very useful for the human body measurement and the wearing evaluation. In a nutshell, this study illustrates that we have to develop a program of automatic human body measurement system which will enhance the application of the 3D scanner.

• 한국의류학회지
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• 제33권8호
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• pp.1253-1261
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• 2009

The paper-folding effect of origami signifies a planarization of the body which questions the three dimensional construction of the body in a more conventional clothing system. Un-structured, variable space posited between the body and clothes, and an absence of gender identification characterizes the planarization of the body. Origami inspiration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores a trans-extensity that goes beyond the boundary of the body. This study inquires on the influence of origami as a method to create new vestmental space in contemporary fashion. The flat-plane clothes of origami-inspired design are no longer cut to the body and the clothes could be altered by the wearer. The space is introduced in between a three-dimensional dress-body and the body. Origami-inspired design in Japanese avant-garde fashion deconstructs the convention and promotes a symbiosis of body and clothing instead. The shape of the body is completely estranged by three-dimensional sculptures, alluding to the paper folds of origami and the movement of the body that are transmitted to the clothing through fine folding that transform into an unexpected event.

• 한국의상디자인학회지
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• 제22권2호
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• pp.151-165
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• 2020

In this study, the pattern of texture was developed by applying the pattern shown in the Amita Yeoraebul and the Avalokitesvara with symbolism suitable for children's clothing. In addition, the design and the manufacturing of a children's wearable Hanbok were attempted, and the results are as follows: Amitha Yeoraebul is a Buddha who oversees paradise in Buddhism, and Avalokitesvara controls both paradise and the real world and provides mercy. Applying the various patterns in the Buddhist paintings, four daily hanboks for children were produced using patterns featuring symbolic the meanings of large round original patterns chrysanthemums, turtles, and lotus patterns. The lotus symbol represents love, nobility, and wealth, while the turtle symbol represents longevity, the chrysanthemum pattern symbolizes auspiciousness, and the large round original pattern means a constant continuation. To maintain the traditional hanbok form but allow convenient wear it in daily life, it is made in the jeogori + shorts, vest + long pants, and one-piece + jacket style. Currently, the daily dress of Hanbok and the modernization of traditional Korean clothes are being promoted. At this point, the study developed Hanbok fashion products that contain symbolic stories suitable for children are trying to maintain the image of traditional culture as much as possible.

• 복식
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• 제53권4호
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• pp.17-29
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• 2003

Long Sleeve Costume is often seen not only in ancient China but also in various neighboring places throughout the time. Costumes show the societies cultural preferences and values at that time, and Long Sleeve Costume is no exception. In my research, 1 focused on the time period from Han Dynasty to Tang dynasty in ancient China. During Han dynasty, Shenyl style robe(심의형 포) was widely worn, and it shows very little foreign cultural influence. For the period of Wei·Jin Southern and Northern Dynasties, foreign aspects of costume started to show up Possibly due to the influence of Buddhism and influx of foreign tribes. For instance, it is not too difficult to find hufu (호복) as well as Shenyl style robe, and it appears this Wei Jin Southern and Northern Dynasties may have been a transitional period of accommodating two cultures without complete merger. Now, when it comes to Tang dynasty, we observe a creation of new cultural form in costume after adopting exotic culture. Because Sh ny style robe. often observed for a long time in Chinese history, disappeared, and tuanling(단영) and fanling(번영) became the main stream in their costume style in Tang dynasty.

• 복식
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• 제31권
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• pp.101-118
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• 1997

This research was carried out to sublimate our design with common sence so that the de-sign concept with our traditional chara-teristics can be acceptable in the world design area through re-creation works of tradition to be adoptable to modern concept. Form this survey the following could be derived. 1. in Korea designers should concern about the ration of skirt to jacket plait of Chima and string Koreum of hanbok. however they should pay more attention to string and color stripes to attract foreign customers in international market. It was found that koreans prefer the elegant and cur-vaceous design while foreigners demend edecor-ative design of Hanbok in addition to its el-egance and curvaeouseness. 2. It was also found that korean ramie fabric might be the most popular material for hanbok in Korea however silk and fine gauze might have to be used in international market. Generally it would be better to use the materials with natural and delicate feelings in Korea while the materials with gorgeous feel-ing in addition to natural and delicate feeling should be used in international market. 3, For the figures on Hanbok the embroidery figures and pictorial figures would be appropri-ate in Korea while it is necessary to develop the design with embroidery figures and gold foiled figures to satisfy the foreign customers. Accordignly it 8is required to develop the designers with figures with more elegant and gorgeous sence in both Korea and the world area.

• 복식
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• 제58권7호
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• pp.119-132
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• 2008

This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

• 한국의류학회지
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• 제28권11호
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• pp.1536-1543
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• 2004

Garment is made by a 2D pattern and should be fitted to a human body which has 3D characteristics. Therefore, to design a pattern more effectively, the use of 3D information of a human body and the investigation of relationship between the 3D garment and 2D pattern are necessary. In this work, ruled surface method was used to reflect the 3D information of a human body for a pattern design. The images of the brassiere line on the woman's dress form were captured by phase-shifting projection moire system and the 3D information on the design line was obtained. 2D patterns on the various parts of the brassiere were developed directly from the 3D data by the ruled surface method. In addition, design line, the area and the amount of dart were quantified. And then we verify the appropriateness of the ruled surface method to the 2D pattern development by measuring the distribution of the space between women's figure and segmented clothing item. It was found that the ruled surface method is useful to transform the 3D design line to the 2D pattern, if we followed the steps suggested in this paper.

• 한국의류학회지
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• 제39권1호
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• pp.121-132
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• 2015

All aspects of clothing, including color, are a visible form of expression that carries invisible value. The purpose of this work is to study the expression of resistance in the white Hanbok in modern culture, specifically after the 1980s. Koreans have traditionally revered white color and enjoyed wearing white clothes. In Korea, white represents simplicity, asceticism, sadness, resistance against corruption, and the pursuit of innocence. This paper looks at: (i) the universal and traditional values of the color white, (ii) the significance of traditional white Korean clothing, (iii) the resistance characteristics of white in traditional Korean clothes, and (iv) the aesthetic values of white Hanbok. The white Hanbok often connotes resistance when it is worn in modern Korea. It is worn in folk plays, worn by shamans as a shamanist costume, worn by protestors for anti-establishment movements, and worn by social activists or progressive politicians. The fact that the white Hanbok has lost its position as an everyday dress in South Korea (instead symbolizing resistance when it is worn) is an unusual phenomenon. It shows that the white Hanbok, as a type of costume, is being used as a strong means of expression, following a change in the value of traditional costumes as it take on an expressive function.