• 패션비즈니스
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• 제14권4호
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• pp.161-173
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• 2010

This study aims to examine for efficient production methods of custom-tailored clothing and application of 3D virtual clothing system in custom-tailored clothing market, by producing and analyzing both real clothing and 3D virtual clothing. For this study, a middle-aged woman is selected as the subject figure and one-piece is selected as the experimental clothes item. In real clothing, I conducted the wearing evaluation for experts and the subject figure. And In the virtual clothing, I conducted the wearing evaluation with i-Designer using 3D virtual clothing on simulation program. There are some differences between the data from body scanning and the real body size. In the custom-tailored clothing market in which the fitness is important, the research which measures the more exact data is needed. And in the case of complicate design, the functions which measure the activity and the fitness variously and correct the parts of curves are needed. This study experiments the availability of application of 3D Virtual Clothing System in custom-tailored clothing market by selecting one-piece as the experimental clothes item. So the follow-up studies for the other designs and fabrics are needed. Also, if the studies for checking the clothes pressure, the amount of composure, the space between skin and clothing when the virtual model wearing clothes is walking or shaking his arms are proceeding, then 3D virtual clothing System is applicable in custom-tailored clothing market. But there are some restrictions and lack of education in virtual clothing System yet, and it makes hard for workers in clothing market to use it in real production. However, 3D virtual clothing System will be practical in real market if there would be more research on its usability and practicality, and workers in clothing market can be easily educated on techniques of 3D virtual clothing system.

• 패션비즈니스
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• 제4권2호
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• pp.51-67
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• 2000

The purpose of the study was to investigate general characteristics of brand images of men's wear manufacturers and differences in their brand images according to characteristics of their brands and their merchandise. Thus, this study was to be an exploratory study to search apparel niche-market in men's wear market for the marketers by exploring trends of brand images of men's wear manufacturers. The questionnaire consisted of questions on brand images and characteristics of men's wear manufacturers and their merchandise. The subjects were to evaluate their brand images and rated on 5 point Likert-type scales of 36 adjectives. For the survey, the subjects were 100 employees (62 merchandisers, and 24 designers, etc.) who are employed by men's wear manufacturers which have national brands, designer brands, license brands, import brands or private brands. The SAS PC+ package was used to calculate factor analysis, mean, ttest, ANOVA, Duncan's test, and Tukey's test. The results from the study were as follows: 1) High scores of mean of brand images were simple, prestigious, mannish, and dynamic. 2) The brand images of men’s wear manufacturers were divided into 10 factors which explain 73.91% of the whole image. 3) There were significant differences in brand images according to types of brands, price lines of merchandise and ages of target consumers. 4) There were significant differences in brand images according to categories of apparel (suits vs. casual clothing), types of suits, and types of casual clothing. 5) There were significant correlations between brand images, such as simple image to conservative image, prestigious image and chic image, prestigious image to conservative image, chic image and simple image, etc.

• 마케팅과학연구
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• 제20권1호
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• pp.4-14
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• 2010

协同策略需要信息共享和其他各种对公司和股东都有利益的形式. 本文强调了在时装产业中运用到的特别形式的协同. 并且测试了对时装公司最成功的策略和消费者所感知到的协同的好处. 在本研究中, 我们定义了作为协作方的时装公司和品牌以及他们的合作方或股东. 我们定义协同为发生在至少两个公司, 品牌或个体之间, 在平等的基础上利用他们各自的竞争优势从而获得更大利益的合作关系. 协同策略需要信息共享和其他各种对公司和股东都有利益的形式. 本文强调了在时装产业中运用到的特别形式的协同. 通过合作, 时装公司一直都追求有形的差异例如设计和技术, 以及无形的差异例如对消费者情感和生理的好处. 结果就是, 时装产业中的合作已变成一个重要的创造价值的概念. 本文是一个定性研究, 使用案例研究和深度访谈来测试消费者对时装产业中协作的态度. 从1998年到2008年12月, 在韩国和国际市场中共有173个协同案例. 我们通过文件数据收集案例. 这些文件数据包括网站和产业数据和顶级门户搜索网站. 例如Rankey.com, Naver, Daum, 和Nate. 以及时装信息代表网站Samsungdesignnet 和Firstviewkorea. 我们搜集从2008年11月到2009年2月为止的个案. 个案用来分析有一个或多个合作方的时装产品生产(不包括纺织产品), 零售时装产品或设计服务. 其他在先前研究中的协同案例来自于新闻稿件, 期刊, 互联网门户网站和时装信息网站. 我们共选择了173个案例来进行分析. 清楚的显示了时装公司和股东的协作执行和策略所带来的产出和利益. 结果显示对所有参与协作的合作方(企业和顾客)来说, 最大的好处是通过共享资源降低了成本和风险. 例如设计能力, 形象, 成本, 技术和目标. 并且创造了协同作用. 考虑到协同产出的种类, 产品/设计是最重要的(55%), 紧跟其后的是推广促销(21%), 价格(20%)和地点(4%). 这个结果说明协同对给予产品和设计生命力有重要的作用. 尤其是在追求创造和新颖的时装产业里. 为了使协同可以成功, 本研究中深度访谈的结果确认了时装公司应该对为什么要进行这个协作有清晰的目标. 在设定目标之后, 时装公司应该选择符合产品形象和目标市场的合作方. 使得合作的产品有一定的概念和差异因素. 同时时装公司还要关注提升品牌知名度. 通过对消费者的深度访谈, 相互的利益可以分类为6个因素: 追求个人风格、追求品牌、追求稀有性、追求时尚、追求经济效率和社会性. 在访谈中顾客同时也强调了形象, 声誉和品牌信任. 然而, 在子范畴中, 本研究中的专家和顾客在成功因素认知方面有不同的结果. 因此, 从不同纬度研究目标客户和目标市场从而为成功的协作发展合适的策略.

• 복식
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• 제53권3호
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• pp.107-119
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• 2003

The purpose of this study is to explore ways toward the hat design development by looking into the formative and aesthetic characteristics of the works of Philip Treacy, the designer who raised hats to one of the important fashion accessories. This study concretely investigates the formative characteristics of Treacy's hats in terms of shapes, materials, colours and decorations. According to this study, the shape of his hats shows the natural and specific objects in three dimensions, not in basic shape of hats. He uses combination of a variety of materials, adding unique materials to existing ones, so that they not only create a specific atmosphere but also extend the limitation which used to be thought as materials for hats. In the field of colour, he mainly used black and white until 1999, but since 2000 he has been using vivid and splendid colors. And he uses feathers or nets for decorations of the hats. As the result of the comprehensive analysis of Treacy's works, this study characterizes his works by surrealistic, three-dimensional, rhythmic and future-oriented. Therefore, Philip Treacy's hat design can be defined three dimensional considering the formative beauty, and can be characterized by use of unique materials, vivid & bold colours, moderate decorations, f variety of lines, and asymmetrical structures. These characteristics show surrealistic, three-dimensional and futuristic message which rhythm can be felt. He presents unlimited capability in hat designs as a representative of human being's basic will for creating new ones beyond this real world. It is considered that this study can help broaden the limitation of the hat design which used to repeat simple forms in the Past and help explore ways for developmental direction of hat design in the future.

• 복식
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• 제64권3호
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 한국생활과학회지
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• 제14권4호
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• pp.653-663
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• 2005

The society advance of a development of the science technique and women from the industrialization, women prefered the tailor-made clothes to the convenient ready-made clothes in the aspect to be economic and save time in the clothing habits. After marriage, middle age women change the comparison of their body due to the pregnancy and birth, the body girth of them increases compared with young woman, the winding of the waist comes to be small and they show the feature of body which the vibration thickness and the brachial girth grows bigger. The reason is that the problem on the fitness of the ready-made clothes comes into being. According to this result which analyzes a ready-made clothes body of the jacket-brand which does the middle age woman to the target in research, actual purchasing age appears than the age which most companies do to the target so that it is high, and though the body is divided in KS standard, the measurement distinguished without the body and most companies were producing the jacket. There was many case to select a fitting model Among a designer or within firm employee with the similar body and measurement. It was revealed that high rate of mending relation of a sale jacket of the company. Research about the body of the ready-made clothes is thought by continuing over there.

• 한국안광학회지
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• 제9권2호
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• pp.371-380
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• 2004

안경의 역사는 인쇄술의 발전과 함께 시작되었다고 할 수 있다. 맨 처음 안경은 가죽으로 만들어 졌다. 그 이후 나무나 뿔, 혹은 뼈로서 안경테를 만들고, 수정이나 유리로 렌즈를 만들어 끼운 단 안경 두 개의 대못으로 연결시킨 대못안경(Riveted Spectacles)이 개발된 이래 안경테는 수많은 스타일로 변화되어 왔다. 그 후 코다리(Bridge)의 개발, 다리 (Temple)의 등장으로 오늘날의 안경의 형태가 나오기 시작했고, 오늘날 다양한 디자인과 소재들이 개발되면서 실용적이며 안경의 스타일에 이르게 되었다. 그럼으로, 안경제조업체와 안경디자이너들은 새로운 안경패션 트랜드를 리드할 수 있는 디자인 개발에 주력하고 있다. 본 연구에서는 현재의 안경테가 있기 까지 역사적 발달과정을 통한 다양한 스타일의 안경테를 분석하고, 디자인의 목적인 형태와 기능의 관점에서 안경디자인의 방법적 요소를 조사해보고자 한다.

• 복식
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• 제62권8호
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• pp.55-70
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• 2012

In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

• 패션비즈니스
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• 제15권5호
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• pp.1-14
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• 2011

This study analyzed the "research trends and the design processes" of the traditional patterns by examining the previous researches on the application of the traditional patterns. For this purpose, 96 studies which include master's and doctoral theses and research papers published in 8 Korean academic journals on Clothing from 2000 to 2010 were chosen. The findings of this study are as follows: First, when the previous researches on the application of the traditional patterns were classified according to their subject matter, they were classified into: research on clothing design, research on textile design, research on the design of cultural commodities, and research on mixed design. Second, the researches that were classified according to their subject matter were re-classified according to their year of publication. It was shown that the most active research was on the clothing design. The research on textile design, when compared with clothing design, alternated an increase and an decrease in every other year. Also, research on the design of cultural commodities were fewer than the research on clothing design or textile design although it is on the increase from 2008. Third, when classified according to the types of design, it was found that the designs based on a flora were most common. Fourth, in most cases, in the process of the designs, the designswere dispensed with the original form or were simplified. The choice of the tone of color, in most cases, were based on the concept selected by the designer. The most common method for the expression of the designs was based on the printing. Also, when it came to the presentation of the designs, the original work greatly outnumbered an imaginary work. Based on this study, it is hoped that there will be more active research on the application of the traditional designs which, in turn, can popularize the aesthetic beauty of Korea.