• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.131-145
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• 2011

The purpose of this study is to provide preliminary data on strategies to create a domestic prestige brand based on Korean traditional designs. This study also deals with how to promote this brand around the world. The two points mentioned above will be accomplished by examining the characteristics of the brand '3.1 Phillip Lim' which succeeded in both design and marketing during a short period of time. The method of the study will be followed. Firstly, the basic design and philosophical background of Phillip Lim was investigated, after reviewing the global luxury market and current status of overseas expansion of Korean designers through paper study and antecedent workups. Secondly, for the practical stage, design characteristics and marketing strategies were reviewed with the collections of '3.1 Phillip Lim'. Three factors found in '3.1 Phillip Lim's design success are as follows: First, practical and simple designs using fabrics of high quality. Second, handcraft elements and interesting details that differentiates his design identity. Third, femininity expressed in the feminine silhouette and color. The marketing elements that made '3.1 Phillip Lim' as a successful brand are: First, differentiated positioning as a luxurious contemporary brand. Second, brand promotion through various collaborations. Third, the gradual expansion of women's, men's, kids' apparel to accessory, lingerie and the stable flagship stores. Thus, '3.1 Phillip Lim' has combined modern and classic styles using high quality fabrics and practical designs with unique details. Through it's differentiated marketing strategy targeting New York's market, which prefers popular 'luxury contemporary brand's rather than high-end luxury brands, this brand's creativity and commercial aspects contributed to make '3.1 Phillip Lim' into a luxury brand that represents New York fashion. Korean designers who seek to enter the global fashion industry should consider applying Korean traditional designs on global designs to make favorable products and localize these products according to regional characteristics.

• Archives of design research
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• v.11 no.1
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• pp.119-130
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• 1998

The social-democratic ideas which define the modern national Swedish idea have had an important influence on Swedish modern design during this century. Swedish designers found humanistic and democratic values in the traditional design style and they tried to create a modem style that was based on handcraft traditions as well as modern industrial aesthetics. Issues raised by Swedish designers of that time induded how Sweden was achieving a national identity through design and how design retlected changes within society. The purpose of this study is to investigate the social reformation policy of the Swedish government during the 1930-1970 period and its influence on Swedish modern design. This paper, it is hoped, will provide an opportunity to place contemporary Swedish design in a social and aesthetic context.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.1-13
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• 2014

Hundertwasser's paintings have the characteristics in his works continue to emerge organical spirals, geometric pattern of squares, mysterious and gorgeous colors. This study by applying them, it has been purposed of expansion of representation outstanding artistic formative knitwear by using yarn of various textured fabrics and leather, felt, beads of the materials. The methods of this study are through the analysis of literature of Hundertwasser's paintings and art world and formative traits. It has been studied the literature of the theoretical background on general examination of knitwear and knit, felting, needle punching techniques. Conclusions from this study are as follows: The first, It could know the organic spirals and geometric square patterns and gorgeous colors of Hundertwasser's paintings are suitable as a decorative and rich motif of knitwear design. The second, It was possible unique and various texture expression of decorative patterns of Hundertwasser's paintings by expressing variety of materials of knit, felt and fabric, leather, beads. The third, It was expressed knitwear of unique texture to express Hundertwasser's image of the painting by using hand knitting, felting, needle punching, patchwork, beading of complex techniques. The forth, It was reflected well Hundertwasser's idea which was affected nature and art nouveau that all production processes are composed of handcraft techniques. It was suitable to express the naturalness of hand knit and not mechanical or artificial image. The fifth, It was analyzed lines and patterns of Hundertwasser's painting. The spiral is simultaneously constituted curve shape and area that square patterns also have devided area.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.2
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• pp.1-22
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• 2004

This study is about the paper of Mulberry(桑紙). The paper which was usually applied to the ancient bookpaper and documents. But there is a rare record about it today. So the paper was made from the Mulberry(뽕나무) bast fiber using traditional handcraft method. and Paper Mulberry(닥나무) by traditional method. And tested by physical and optical methods in comparisons with Paper Mulberry(닥나무). The ratio of length/width of Mulberry fiber was 475, and its lignin content was lower than the Paper Mulberry. The Mulberry paper had similar forming properties and physical strength to the Paper Mulberry fiber. Therefore, the Mulberry fiber seem to be a good paper fiber for traditional paper. For the aging test, in the thermal acceleration treatment for 72 hours and 144 hours at the temperature of $105^{\circ}C$ incubator, the Mulberry paper was more deteriorative than the Paper Mulberry. In the ultraviolet acceleration treatment for 100 hours and 200 hours the Mulberry paper was less interior to the Paper Mullberry, in the increase of treatment time. And the Mulberry paper was approved to be a good traditional paper in appearance. Furthumore, in considing the sample of bred Mulberry species grown today, its paper is thought to be superio to the paper of Paper Mulberry in symptom of senility in natural ultraviolet light.

• Journal of Conservation Science
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• v.31 no.3
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• pp.309-318
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• 2015

The staff given with chair to Yi Gyeong-seok, senior official over 70 years old by King Hyeonjong of Joseon Dynasty is representative handcraft of Joseon Dynasty. Results of analysis on the metallic decoration show that the metallic ornament of the end part which is connected to the spade was made by rolling of iron plate and brass plating. The plated part is limited to the ornament of the end part connected to the spade and the plating was not applied to the spade. Brass including 20% zinc was used for the connecting part of guard while brass gilded iron was used for the spade. This suggests that the tone of the connecting part of the guard and the spade was not different for reason of visual harmonization. Potential applied plating method can be amalgam, dippping in molten brass, and brushing but the analysis result suggests that dipping in molten brass method is the most likely accepted method. The brass guard of knife was joined by tin-lead solder. Rivet used to fix the blade was made by pure iron as an optimum material which satisfies flexibility and strength.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.29-37
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• 2017

Due to the pursuit of individuality by modern consumers, the day has come when it is hard for design to be sustained solely by external beauty. Accordingly, products with the psychological value and brand stories are appearing, so that products that reinterpret traditional crafts are now being appreciated for their merits. Handmade goods defined as new luxury goods or products of high-quality craftsmanship are being used to enhance the consumer's individual image, and has created an unprecedented consumer stratum structure. Japan is one of the countries that actively applies traditional crafts to contemporary design and this study aims to investigate cases that are being reinterpreted in modern fashion in the theme of Boro, which is not as well known among Japanese traditional crafts. The purpose of this study is to offer basic data for designers by investigating the cases of the reinterpretation of traditional crafts. In addition, in reinterpreting traditional crafts into other fields, it is regarded as a meaningful way to contribute to a variety of other ideas. As the research method, first, the definition and kind of Boro were investigated utilizing the related literature information about the traditional fabric of Boro, which is the starting point and basis of the research. Second, Japanese aesthetic sense defined in the previous research was classified and the relationship of the anti-decorative aesthetic sense and Boro investigated. Third, after classifying the reinterpretation cases of Boro that have appeared in four major fashion collections and designer brands from 2011 to 2016 by the selected aesthetic sense, its characteristics were investigated. The search for examples of the reinterpretation of Boro uses the results of the keyword search of Boro and Boro Fashion via the internet search engine Google from April 2016 to December 2016. In addition, the search results were selected on the basis of whether the designer specified borrowing from Boro or whether Boro on the collection order was included or not. In addition to introducing an unknown fabric craft, this study also raises the methodological problems of the reinterpretation of traditional crafts. Products containing psychological value are expected to come into the spotlight in the upcoming consumer market. Therefore, as a follow-up study, it is suggested to research examples in which various crafts are being applied as products before one knows, how this creates new originality, and the limitations involved in this.

• Archives of design research
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• v.20 no.1 s.69
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• pp.229-242
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• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Journal of the Korean Society of Costume
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• v.6
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• pp.121-143
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• 1982

Many studies have done on Egyptian Clothing because its unique characteristic culture. However, I was facinated by the exhibitions of Tutankhamen burial treasures which were shown in San Francisco and New York in 1978 and 1979. I found out myself that there are several interesting aspects of clothing to compare 18th dynasty king, Tutankhamun and other dynasties in Egyptian culture. Therefore, I tryed to analized the Egyptian clothing including accessaries with theigr symbols durin 18th dynasty King, Tutankhamun. The most of people were shocked and amazed when they toured the exhibition of Tutankhamun articles which were the most incredible burial treasures in existence today. The body of the King has been embalmed, bandaged and fitted in eight layers of coffins with pure gold mask to represent the god Osiris. Among eight layers of coffins, one is pure solid gold in mummiform, two of mummiforms are made of compact wood covered with sheets of gold and inlaid with multi-colored glass-paste and semi-precious stones. The Egyptian belived that the soul continued to exist throughout eternity if it had passed on examination of its deeds on earth at a "Last Judgement" presided over by Osiris. They also believed that the mummified body could exist in the tomb as a habitation that the soul could revisited. Thus a proper burial was vital for a full existence in the hereafter. They buried dead person in the sealed vault of the tomb with some of the possessions he had used during his life time, such as his furniture, clothing and jewels. In this studies, I've tried to research to various clothings, and accessories with their symbols used during 18th dynasty king, Tutankhamun. The studies are shown as: I) Clothings of Tutankhamun dynasity of Kalasiris, Sheath skirt. Gala skirt, Loin skirt, Hike and Dalmatic. The Dalmatic was first seen in this dynasty. Probably the Roman Christian borrowed the Dalmatica from Egyptian Dalmatic. No where has the same design at the period. II) Egyptian of 18th dynasty Tutankhamun wore big headdress, broad collar necklace passium, pendants, armlets, rings and earrings with very beautiful, exquisite handcraft. They seem the first people who wore earrings in Egyptian history. III) The symbols of decorated items vulture, lotus...Upper Egypt Uraeus, papyrus...Lower Egypt scaravaeus, Nile Riber...rebirth man(Ankh), +...eternal life solar disc, gold...sun ostrich-feather...nobleness God, Horus' eye...protection against enemy IV) Also Egyptian prefered the straight line and a right angle which were the basic principles of architectural arrangement.

• Journal of Fashion Business
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• v.5 no.2
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• pp.15-34
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• 2001

Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.