• Journal of the Korean Society of Costume
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• 제64권6호
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• pp.1-15
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• 2014

In the fashion industry, the thing that shows the latest trends and makes issues is the fashion show. The function of fashion shows is changing from a promotional mean to a method of communication with customers. Recently, some fashion shows have used digital images and omitted traditional parts of a fashion show such as models, stages, garments, music and audiences. In this study, 30 fashion shows that used digital images were selected from the 2000-2010 collections of Paris, Milan, London and New York, and its communication characteristics were analyzed and discussed. The three categories of the communication characteristics are as follows: First, the shows used digital images as stage sceneries or effects to create desired stage effects. The digital images were used as extra tools to reinforce the concept of the fashion show. Second, the fashion shows used real-time videos to extend its presentation into the virtual space. The interactive videos were designed to encourage audiences to actively participate in the show. Third, the digital images were the focus of the show for the internet-only digital fashion shows. Since the Internet is not constrained by time or space, multi-faceted, communication between audiences and fashion designers or among audiences is possible. In addition, the number of audience it can reach is higher than traditional fashion shows. Digital images will be used more often in the fashion shows. In the future, fashion shows will try to become more interactive with audiences through the use of new digital image technology.

• Journal of the Korea Fashion and Costume Design Association
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• 제18권3호
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• Journal of the Korean Society of Costume
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• 제64권7호
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• pp.97-113
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• 2014

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer's creative world, the formation of styles and the expression of a fashion designer's identity.

• Journal of the Korea Fashion and Costume Design Association
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• 제14권4호
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• pp.113-125
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• 2012

This study, as one on the neck design of seamless knitwears, set out to make experimental clothes applying various knitting methods to the hem of round neck, seek the knitting methods of finishing touches on the ending part of round neck to enhance function and aesthetic appreciation through measuring tensile strength and assessing wearing sensation, and provide basic data that would be of practical help to developing the design of seamless knitwears and mass production in the national knit industry. The ending part of neck of the seamless knitwear is not only the last stage in making knitwear but also affects the function and appearance of the clothes. The investigator, thus made six different pieces of experimental clothes according to the finishing methods of knitting on the neck, then measured tensile strength and put them to the test by a group of experts for the assessment of wearing sensation. The results were analyzed based on variance analysis(ANOVA), and the items with similar results were put to the Duncan test for intergroup comparison. According to the analysis results of measuring tensile strength, Experimental Clothes B received the highest evaluation, Experimental Clothes E the lowest. Also Experimental Clothes B was ranked the highest in almost every evaluation criteria, whereas Experimental Clothes E was ranked the lowest in the assessment of wearing sensation.

• Journal of the Korean Society of Costume
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• 제59권10호
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• pp.137-150
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• 2009

Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

• Journal of the Korean Society of Costume
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• 제61권6호
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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.

• Journal of the Korea Fashion and Costume Design Association
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• 제21권4호
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• pp.55-67
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• 2019

This study analyzed the fabric and product size of the burn patient's custom compression garment and measured the pressure applied by the garment to assess whether proper pressure is being delivered for treatment. The test clothes were presented to the market by body size and commissioned with the same design. The subjects selected four people close to the average body size of men in their 20s determined by 7th Size Korea. The experiment was conducted by wearing a compression suit, performing activities and measuring changes in the pressure of the garment according to changes in posture. The fabric used for the compressive clothing was not ruptured even at 216 kPa, the elasticity recovery rate was measured between 80.5 and 94.5%. The product dimensions of the experimental clothing varied by up to 8cm from brand to brand, requiring the standardization of compression clothing. The experiment showed that four types of compression suit varied in pressure, and the pressure range, excluding the gastric arm (17.9mmHg), was between 2.5-14.1mmHg, which failed to meet the level of pressurization for treatment purposes. The clothing pressure in the chest area dropped when performing movements rather than standing still. This was interpreted to be a result of reduced the adhesion of the compression suit during operation. The peak pressure (31.68mmHg) and the lowest pressure (2.2mmHg) was noted in the scapula, indicating that no pressure was being transmitted on the vertebrae. The pressure of the garment on the right shoulder blade was elevated in a supine position. Because much time is spent laying down, it is necessary for the pattern design to accommodate for the increased clothing pressure on the shoulder blades. Standardization of the level of pressurization for burn patient's custom-made pressure suits for each stage of treatment is urgently required.

• The Research Journal of the Costume Culture
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• 제25권3호
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• pp.391-404
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• 2017

The purpose of this study was to identify the consumers' demands on functional design of sports climbing pants. Data were collected through a field survey. 82 male and 70 female amateur sports climbers in Seoul participated. The questionnaires measured aspects of functional design in sports climbing pants, specifically motion adaptability, comfort and aesthetic value of the climbing pants. The results of this study show that comfort during climbing postures was the most important value of the climbing pants. The subjects sought motion adaptability at the hip, crotch, thigh and knee. The preferred style and degree of fit of climbing pants were differed according to gender. Men preferred loose or semi tight fit style climbing pants but women preferred the leggings style of the sport pants. The soft touch seam line and body shaping function were also important for women. The type of pants preferred for sports climbing also differed by the climbing experience period. Men began to wear the outdoor mountaineering style pants when they had experienced sports climbing for 6 months and to wear the climbing expert style pants when they had experienced sports climbing for a year. Most women wore leggings style sports pants from the beginner stage. This study also analyzed Korean market trend in 2016~2017 F/W for sports climbing pants design. The men's pants were more likely to be designed to improve mobility compared to the women's pants, even though the aesthetic value of the sports climbing pants was important for women.

• Journal of the Korea Fashion and Costume Design Association
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• 제16권4호
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• pp.229-235
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• 2014

This study conducted a research on burn-out printing convergence technology for cellulose blend knit fabrics. Printing technology, which forms color pattern on the fabric, can be generally classified into four according to printer or printing method, e.g. screen printing, roller printing, rotary printing, digital printing. However, these printing methods are flat in design or pattern, which have limitation to overcome monotonousness of fabric, so that recently burn-out process method, which expresses three-dimensional pattern effect by treating chemical on the surface of fabric as the method to appeal its esthetics to the customers. Particularly, in case of cellulose/polyester composite material, first, it is proceeded in 2 processes, by dyeing cellulose or polyester fabric and burning out cellulose fabric, in this process, due to pollution caused by disperse dye migration, color of polyester fabric part could be discolored, which has high falt risk. This research considered coloring burn-out technique, which simultaneously proceed dyeing and burn-out by reducing dyeing and burn-out process to 1 stage, which were proceeded in 2 stages previously. As the research result, it was confirmed that reasonable depth of roller was 0.04~0.06mm in roller printing process, heat treatment condition of burn-out far-infrared radiation was $185^{\circ}C{\times}30m/min$. Color fastness to washing was confirmed to be 4-5 grade, color fastness to rubbing, 3-4 grade, color fastness to light, 4 grade. Also, it was confirmed that energy reduction effect appeared 38.19%, in case of energy cost per yard compared to the existing production, also, 19.74%, in case of production cost.

• Journal of the Korean Society of Costume
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• 제38권
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• pp.289-304
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• 1998

In Korean clothing industry, most of the manufactures produce garments by subcon-tractors partially or entirely. It is very often that the design part is remote from production part and there is miscommunication between these two parts resulting dissatisfaction to both. Therefore it is very important to communicate the manufacturing information clearly and quickly to produce garments exactly the design part intended. Also to automate the clothing out how to produce and use the information objectively and efficiently. As a first step of moving to automation, the purpose of the research is to find out how manufacturing information and data are communicated in clothing manufacturing at present. In order to follow the information flow of a cer-tain manufacturer, the case study method was used. The case study samples were 12 clothing firms of 13 brands. The results and suggestions are as follows :- 1. A manufacturing information is communicated through paper documents such as“Production Order”, sample and patterns. At present, a production order sheet is the most efficient communication media, which comprises most of the information being communicated. 2. A manufacturing information comprises control information on the product, design in-formation, pattern information, cutting information, material information, sewing information, production schedule information, quality control information, costing information and information about the subcontractors. 3. A manufacturing is not quite objective except pattern information and cutting information which is presented by CAD systems. The communication of design information and sewing information should be somehow more objective. 4. There is not much information from a subcontractor. Considering that a subcontractor is the other partener of the communication, more information from the subcontractor is required for both benefit. 5. A designer produce most of the manufacturing information, but the information is communicated through a production manager to the subcontractor. The difference between the information maker and information communicator can cause any miscommunication. In future automated manufacturing, it will be possible for the designer to communicate to the manufacturer directly from the early stage of designing.