• The Research Journal of the Costume Culture
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• v.10 no.2
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• pp.146-159
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• 2002

This study examines the textile pattern design of Italian fashion brands and their brand extensions by comparing their images. Five Italian fashion brands are chosen and the textile pattern design of their brand extensions, which were presented during the eight collection. Then their design style is compared with the design style of their main brands. The five main brands and their brand extensions are as fellows: Anna Molinari-Blumarine, Dolce & Gabbana-D&G, Girogio Armani-Emporio Armani, Gian Franco Ferre'-GFF, and Prada-MiuMiu. Their color, motive type, motive layout, motive expression, and pattern drawing technique are examined and compared. Results suggest that most brand extensions generally use color, motive type motive layout. and motive expression similar to their main brands. In particular, their pattern drawing technique is a painting style white their main brands use a graphic style. This result suggests that to create and develop new brand extensions, Italian fashion (main brand) firms in general employ color, motive type, motive layout, and motive expression technique similar to main brands, but different drawing technique to differentiate from their main brands. The results of this study suggest that textile pattern design plays an important role in developing new brand extensions and thus should be considered as a crucial part of the product.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.2
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• pp.87-106
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• 2001

This study is to measure and evaluate the sensibility image for textile color and pattern design of woman's golfwear. Four-group colors and four patterns classified by a pracical survey on the market are presented. A questionnaire has 14 sensibility related words scaled by 7 point semantic differential method. The practical research is performed for 150 women screened by sensibility test for individual preference analysis based on the ages. Each subject is answered by a face-to-face interview method to improve survey's accuracy. For statistical results there are significant differences in treatment means of sensibility measurements according to the ages. Sensibility image for textile color and pattern design is significantly different according to individual character based on ages. In summary, this paper has proposed the sensibility image scale for textile color and pattern design of women's golfwears to satisfy individual sensibility according to ages. The results of this study can be effectively applied to develop textile color and pattern design based on human sensibility.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.1
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• pp.41-53
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• 2017

The purpose of this paper was to figure out the status quo of development of textiles in fashion industry by analyzing through in-depth interview with domestic women's wear converters on the process of textile planning. Professionals in top3 domestic women's wear converters were selected and interviewed in-depth on actual work process of textile development. The result of the research is as follows. First, the interviewed converters were having transactions with entire domestic target market of women's clothing and also exporting to China. Second, production of textile was mostly domestic, with some from China. Third, the number of textile development was 20 - 50 items per season accordingly to size of converter, and the number was larger if taking into account the sourcing development, the special finished fabric development and the print design development. Fourth, for methods to gather information, converters got ideas through overseas exhibitions, overseas color swatch books, fashion-related web sites and market research. Fifth, when setting up direction of textiles, it was investigated that they had motif from in-trend material or on previous season's best-selling material. Sixth, textile planning map did not start from early in season but prefers in-progress board map. Seventh, ways for many method types for textile planning were found depending on sales type of converter and textile production price.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.9-10
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• 2004

ㆍ Exhibitions at National Museum of American History (NMAH) of Smithsonian Institution (SI) ㆍ Textile Conservation Lab at NMAH ㆍ Concept of Conservation, Preservation, and Restoration(omitted)

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.115-117
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• 2005

• Proceedings of the Costume Culture Conference
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• 2005.10a
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• pp.76-76
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• 2005

• Archives of design research
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• v.16 no.4
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• pp.299-312
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• 2003

In modern industry, creative sense together with advanced scientific technology is an important element. In modern textile industry as well, these two elements working in dose relationship one to another play important roles in the advent of high value-added textile of unprecedented high quality, high capability, and high sensitivity. Especially, creative sense which is necessary in generating additional value of textile is all the more essential for the development of diversified, unique, and differentiated products that are sought by all contemporaries. The aim of this research is to recognize the importance of handicraft which has a great impact on modern textile design in the generation of additional value, consider the applicability and the aesthetic method that this technique presents, thereby contributing to the development of modern textile

• Archives of design research
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• v.15 no.1
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• pp.69-79
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• 2002

The Korean textile industry contributed much to the country's economic success during the 1970s-80s. Since the end of the 1980s, however, most of the Korean textile industry has begun to suffer from both high labor costs and skilled-labor shortage. During this period, such countries as China, Indonesia, and Malaysia began to gain strong foothold in the global textile market, mainly owing to considerably low label costs. To maintain competitiveness in the global textile market, the Korean textile industry should undergo a structural change. It should switch from the mass production of low quality design to selective praction of high quality and well-designed textiles. An cement of high value-added should be put into the textile product.: Usage of functional material, new processing technology, automation, pro-environmental dye shes, and strategic marketing is required. In this appear, I suggest ways and means to make the Korean textile design be good enough to compete in the global market.

• Journal of Fashion Business
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• v.23 no.5
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• pp.124-136
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• 2019

Capstone design is a creative and comprehensive educational program requiring practical adaptation skills for the industry. The purpose of this study was to analyze the results of design development, lectures and curriculum satisfaction for textile fashion products based on four years of capstone design curriculum from 2015 to 2018. The curriculum consists of 26 groups of 72 students and a total of 26 final results were obtained via industry-university cooperation. The materials for product design development included differentiated clothing, leisure goods, bags, dog goods, smart goods, interior goods and recycled products based on textiles. The degree of satisfaction with lectures involving the capstone design class was very high, with 4.2 out of 5.0 when the number of students was less than 10. However, when the number of students was 20 or higher and the number of students was large, the level of satisfaction was below 3.88. Therefore, the capstone design class comprising less than 10 students was better at individual teaching and teamwork. In terms of satisfaction with capstone design curriculum, the respondents indicated that the teaching method addressing the needs of industry and academia facilitated practical learning. It was very helpful in improving competency related to the design and development majors and future employment. The capstone design curriculum was effective in the training for practical design development and planning.

• Journal of Fashion Business
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• v.8 no.4
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• pp.68-79
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• 2004

This study aims to understand the history of the Victorian age that attached importance to various designs and aesthetic aspects by art and craft movement, and to present that the Victorian pattern is a factor with unlimited possibility in application and development of the modern textile product designs. Therefore, through documents research home and abroad, I considered the periodical background of the Victorian style, a change course of textile, and the theoretical backing of the Victorian pattern, and I studied and analyzed the cases of being applied in the modern textile product designs by classifying apparel, home interior, and fashion accessories. First of all, in apparel, the Victorian pattern transformed into geometrical form had much relative importance, and secondly, in the home interior, the Victorian pattern was expressed realistically or it was represented more boldly and complexly with new materials or techniques introduced. Thirdly, in fashion accessories, decorative nature was shown in intense design with the real description of the Victorian flower pattern and brilliant colors. With these results, it was found out that when the Victorian pattern was applied in the modern textile product designs, it was the factor that could be expected to make a high value added suitable with the modern sense, and it was the pattern with developmental potential with its unlimited use range. Therefore, based on this study, it is considered that the development of textile product designs utilizing the Victorian pattern and academic research, reorganizing the Victorian pattern in accordance with the modern design should be continued.