• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.857-863
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• 2008

The purpose of this study is to analyze the types of Hibiscus patterns expressed on Aloha shirts. This study analyzed real data collected from man's aloha shirts displayed at the International Market Place in Waikiki of Hawaii during January 21-27, 2007. 35 pieces of Aloha shirts with Hibiscus Patterns were was analyzed. The total of each analysis means all number of patterns sampled or appeared to analyze the types of patterns. The motif of Hibiscus was sampled a total of 42 units for some shirts having several motifs. Its motif was divided into two groups, 20 units(47.62%) of natural type and 22 units(52.38%) of stylized type, according to modeling. Two types were much the same percentage. Hibiscus patterns were classified into three groups, isolated, band and arabesque type, by formation type. The isolated type was appeared most frequently. The layout of Hibiscus pattern was classified into three groups, engineered print, all over print and border print. All over print was appeared most frequently. The data of this study will be provided as a resource to promote using and developing of the pattern of Korean rose of Sharon.

• Fashion & Textile Research Journal
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• v.25 no.3
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• pp.333-345
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• 2023

The rising demand for fashion do-it-yourself (DIY) products that cater to individual preferences and which allow for creative expression has highlighted the need for systematic organization within the clothing society. This study addresses this gap by identifying and discussing clothing DIY packages and proposes a systematic package model comprising essential raw materials, commercial patterns, and production instructions. Four key elements have been emphasized to differentiate and enhance the product. Firstly, highly practical commercial patterns have been developed to facilitate easy transformations - from blouses to dresses. Furthermore, the versatility of these patterns has been optimized so as to allow their utilization as outerwear, increasing their efficiency. Secondly, to accommodate diverse body shapes, the package offers six different sizes, providing users with a range of options tailored to their specific measurements. Thirdly, detailed production instructions are provided, supplemented by a Q&A bulletin board. The instructions are available in a printed format, featuring actual photographs on A4 paper, while video production instructions are accessible via a QR code, ensuring comprehensive guidance. Lastly, the basic package comprises clothing patterns, production instructions, fabrics, and labels, providing a complete toolkit for clothing DIY enthusiasts. This study aims to contribute to the development of the hobby sewing field and to establish a practical resource for the clothing DIY package industry.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.121-134
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• 2004

Wiener Werkstaette(workshop) established in 1903 was an artistic handicraft working group, the central figure of which was an architecture, J. Hoffman. Especially its textile design part established in 1910 produced good results. The textile design part of Wiener Werkstaette took total artwork (Gesamtkunstwerke), which Pursued artistic work in all visual parts of life, as a central concept of their work and tried to insert the artistic creativity into the textile design. Regarding the influence relationship between Wiener Werkstaette textile design and formative art, it was influenced by the geometric tendency of C.R. Mackintosh and the style and motive of Japanese art. From 1910's, bright, vivid and cheerful designs were mass-produced by uniquely using various motives, techniques and colors. The formative significance of Wiener Werkstaette textile design are as follows. Firstly, the pattern includes both rational and sensual elements. Secondly, the aesthetic patterns of Wiener Werkstaette include formative elements anticipating the modernism. The leading artistic sense like this played role of catalyzer through which the golden age of artistic decoration, art deco, came. The significance of the textile was made aware through clothes design . The clothes design made with Wiener Werkstaette textile conveyed message as art to everyone and provided the elite of society supporting them with Proud that they are fashion leader ahead of times and have artistic sense. Wiener Werkstaette textile design like this played big role as an instrument for realizing the total artwork by attaining the new artistic formative fruits.

• Fashion & Textile Research Journal
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• v.6 no.4
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• pp.421-426
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• 2004

In an information-oriented and internationalized society of the future, the quality and the price of goods made by each country will be equalized. That eliminates competition. But the design and appearance of products is an important factor in international competition. Indeed, design symbolizes a country's culture visually, and it can show the cultural identity and originality of a nation in international society. And that will play an important part that can contribute to creating added value. It is necessary to revive our people's old lyrical stories which are far away from our memory, and we badly need design development to revive traditional cultural merchandise through visual modernization. In this study, I chose lotus as the subject material of textile design development. And my intention for this study is to reflect Korean traditional cultural value as much as I can, and to develop textile design of Korean images by adding modern scenes. Also, I intend to print them on fabric, and apply them to cultural merchandise including scarves and ties, by using digital textile printing systems. The reasons for doing so, are to create high added value, and to let other peoples of the world, know about our excellent culture.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.952-959
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• 2012

This study looks into the changes in collar patterns in tailored jackets with different numbers of buttons. The study discusses the pattern design method of tailored colors in 4 different styles, such as the effect of the number of buttons of tailored jackets on collar width and length, lapel width and length, and angle of lapel and overall balance in design. Through the first dress experiment, patterns were adjusted and corrected. The second dress experiment was conducted with the modified experimental clothes. The results of comparison and analysis are as follows. The 1 button tailored jacket was most preferred for its beautiful expression and overall balance of upper color and lapel when its lapel width was 7.5 cm. The second most preferred one was the 2 button tailored jacket with lapel width of 8 cm, and the 3 button jacket showed relatively good balance when its lapel width was 7.5 cm. The 4 button tailored jacket showed a bad balance in collar and button. Also, its overall silhouette was disappointing and thus was less preferred than others. For smaller number of buttons, the angle of lapel's break line increased, thus displaying a more refined and slim silhouette. On the other hand, the angle of lapel's break line decreased for greater number of buttons, thus displaying a dull and fat image. As a result, the jacket with many buttons was less preferred.

• Journal of Fashion Business
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• v.15 no.5
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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.

• Journal of Fashion Business
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• v.13 no.2
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• pp.100-114
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• 2009

In Honam province, the cultural prototype are largely unknown to the people, also the research on this subject are scarce, the artistic excellence, somewhat under evaluated, both in our country and internationally. It is imperative that we develop the modern design using this prototype. thereby apply it to many areas of cultural products. We should extend the dimension not only to the local festival but also to the mass production resulting in the commercial gains. The Unjusa Buddha festival for promoting the public relation would be greatly benefited by using the concept of the temple, the local prototype, by which we expect to create a ingenious textile design pattern, coinciding with the main purpose of this study. The ancient material around Unjusa come to be the subject of our textile design by way of selecting the most remarkable ones of heritage among the materials of Unjusa. In the long run, the harmonious contrast of both traditional and modern image were sought in this study. Designed patterns were edited using Adobe Photoshop CS3, a multi-purpose graphic program and were simulated in the towel for visual presentation. The design is of two kinds, the one is of the free style using combinations of reclining Buddha, stone Buddha, stone pagoda, and geometric patterns freely not to be standardized. The other one is mixing of lotus pattern, reclining Buddha, and geometric patterns. These designs were applied delicately on the towel, necktie and handkerchief, and the various colors were suggested by the 6 color ways. The brilliance of our traditional cultural property should be noted by these designs and I hope that this study would be a help to develop our cultural prototype and make a product of using the outstanding heritage.

• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.80-88
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• 2006

This study attempted to undertake comparative analysis of woman's jacket pattern and details based on the Crinoline and Bustle style of the 19th century, comprehend the relation and differences between the two styles. And it also presented the resultant characteristics and attempted reproducing the original dress of the past for the development of modern woman's jacket design. Larger portion was occupied for the breast front width than the back width for both Crinoline and Bustle style, which indicated the remarkable difference between these styles and modern jackets in terms of pattern size. Circumferences also showed that both styles had larger size for the front region than for the back. Divided by two types of pattern shape. The Crinoline style has a waist line and flare. On the other hand, the Bustle style does not have a waist line and has pleats. These two styles shows distinct differences of patterns even if they seem similar. It was essential to undertake the designing of models by giving a consideration to the characteristics of patterns of the two styles. With respect to how to sketch the study models which will be applied for the reproduction to modern body sizes were as follows: the front bust circumference; B/4 +1+1 cm, the back bust circumference; B/4 +1-1 cm, front waist circumference; W/4 +1+1 cm, back waist circumference; W/4 +1-1 cm, the height of sleeve crown; AH/3, armhole line; B/4, the back width /2; 17.5 cm, the breast front width /2; 16.5cm. And for the rest parts, sizes reflecting the characteristics of the patterns of two styles have been applied.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.501-510
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• 2001

This study is focused on apparel textile design process applying pre-developed Korean traditional motifs. Since the fusion culture is in trend, Orientalism or Oriental look is the center of attraction in fashion. Under the circumstances, developing the traditional resources as sophisticated Korean-style is the goal of the BK21 team. This study makes a move to achieve the goal. As a method of accomplishing this study, 4 trendy motif samples such as stylized letter, butterfly, peony, and female face are selected after investigating fashion magazines and fashion related websites. As a result, pre-developted Korean traditional motifs are elected and revised using Adobe Illustrator 9.0. The newly revised motifs are applied to the textile pattern repeat form. The completed textile patterns are simulated on the simulated on the shawls to show their usages as one of souvenir items since the year of 2001 is the year of “Visit Korea”.

• Fashion & Textile Research Journal
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• v.20 no.4
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• pp.439-448
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• 2018

This thesis intends to suggest a new wedding dress pattern through researches on history and changes of wedding dress, researches on silhouette and details and analyses of existing basic patterns. In this study, to develop torso patterns of top dresses selected as preferred designs through literature reviews and company surveys, dress form sizes suitable for standard sizes were selected and study basic patterns were made using draping techniques. The study finds characteristics of body type dimension that is changed when wearing brassiere (hereinafter, 'bra') for wedding dress through customer surveys for development of basic patterns of wedding dress. That is, wearing wedding bra was used for the purpose of increasing the bust size and we will evaluate later whether this increase helps completeness of aesthetic impression through wearing evaluation. As the result, it was found out that top torso pattern wearing wedding bra made wearers feel more comfortable and in the aspect of aesthetic impression, it provided impacts on women's beautiful silhouettes. The effects of whether a bra is used or not on changes in patterns were reviewed through the degree of polymerization of finished patterns. When a bra for dresses was worn, the waist front length increased by1.7cm, the bust circumference increased by 2.1cm, and the amount of dart increased by 1.5cm in the patterns. A new torso pattern for top dresses, which will solve problems evaluated in each of the above from the aspect of composition of pattern by a method through analysis of existing basic patterns and multi-dimensional cut patterns wearing wedding bra, will be suggested.