• The Research Journal of the Costume Culture
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• v.30 no.2
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• pp.208-225
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• 2022

The purpose of this study is to identify trends in modern Korean clothing design through investigation and analysis of the types and respective characteristics of silhouettes, colors, materials, patterns, and decorations present. To this end, research methods such as literature research and content analysis through case study research were used. The results of the wedding magazine data analysis were largely classified by design element and based on such, the conclusions are as follows. First, in the analysis of silhouettes, the appearance rate of traditional items decreased over the selected period and that of modified items increased. Second, among the same colors, adjacent colors, proximity complementary colors, contrast, and other harmonies, adjacent color harmonies showed the highest rate of appearance. Third, the cases where the same materials were used for the top and bottom elements showed a similar appearance rate as those where different materials were used. It was also concluded that traditional materials are being replaced by modern materials. Fourth, regarding the arrangement of patterns, the appearance rate of the absence of patterns gradually increases. Fifth, there were more case of decorations than those of none. This study made it possible to grasp the changes in trends of modern Korean clothing from 2011 to 2020 and provide basic data for the development of the Korean clothing market industry.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.2
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.107-119
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• 2008

This study aims to define the concept of the futuristic image in fashion since 2000. In this study, earlier studies of the futuristic images in the fashion are analyzed and it is discovered that the most important characteristics of the futuristic images are the cosmic space and virtual reality. An analysis of actual data of the futuristic images of the fashion since 2000 produces the following conclusions. First, since 2000 the futuristic fashion to convey the image of space tends to be minimalist, taking H or A silhouette and using white, silver, or other vivid colors. Second, since 2000 the image of virtual reality is often expressed in the fashion of futuristic image as female fighters or vampires of the future who mostly wear pants suit or skirts that expose the body line. Materials of advanced technology or shiny leather are often used and dark colors including black are dominant in these images. Third, when the space image is expressed, the androgynous youth is emphasized. However when female fighters or vampires of the future are shown, sexual image of gloomy atmosphere is often stressed. Fourth, the fashion of futuristic image since 2000 takes up the space age look of the 1960s and the techno-cyber look of the 1980s and the 1990s. However their internal meanings are lost and only external forms are repeated. In sum, the current fashion of futuristic image emulates the past look of the fashion which was circulated as futuristic images and may be considered as a result of combination of futuristic image and retrospective image.

• Journal of Fashion Business
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• v.28 no.4
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• pp.21-44
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• 2024

The purpose of this study was to research modern reinterpretation of traditional Chinese culture and design development of fashion items in the context of globalization and technological advancements, reflecting fashion demands of young female consumers in their 20s in China. To achieve this, this study investigated fashion preferences of young women in major Chinese cities, focusing on design elements such as form, details, patterns, and colors in 'New Chinese Style' fashion. Results indicated a high preference for overlapping collars, Mandarin collars, oblique front pieces, and slit sleeves. Additionally, there was a strong preference for natural and eco-friendly materials such as plant dyes and embossed velvet. Based on survey results and analysis of the popular brand 'TUYUE,' this study proposed two design themes. The first theme, 'natural symbiosis,' focused on casual wear with a soft and free image with a simple design. The second theme, 'chivalrous guest,' targeted work attire with minimal designs emphasizing power and confidence. Both themes aimed to meet aesthetic and practical needs of modern women by incorporating overlapping collars, asymmetrical front pieces, slit sleeves, and preferred colors and patterns. In conclusion, although this study was limited to design preferences of young Chinese women in their 20s, results offer valuable direction for future design innovation, contributing to sustainable development of the fashion industry and the preservation and innovation of traditional culture.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.397-406
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• 2024

Today, in the field of contemporary fashion design, AI is being actively utilized as a new design tool, leading to a new paradigm of collaboration between designers and AI. This study is about a method for developing integrated fashion design through collaboration between human designers and AI. The purpose of this study is to analyze the visual and formative characteristics and changes of fashion design images generated using the AI generation program Midjourney, thereby expanding the understanding and utilization methods of AI image generation programs in fashion design development. The results of this study are as follows. First, Midjourney has the characteristic of relying more on the characteristics of the existing image used rather than the command when creating the image. It also creates new images by distributing and applying the design through an eclectic interaction between the costume and the image background. By excluding the names of fashion items from the commands, you can generate images that can give you more diverse ideas. Second, Midjourney initially expressed clothing colors using colors used in fashion schematics in color creation, and gradually expanded to various color series. Third, there is a kind of compromise between color and design when Midjourney creates an image, and accordingly, by specifying and limiting the image background and clothing colors, more diverse and advanced fashion design images can be created.

• International Journal of Costume and Fashion
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• v.3
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• pp.107-120
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• 2003

The purpose of this study was to examine the differences in the clothing image perception of elderly women according to the clothing types, the clothing colors, the perceiver's sex-role attitude, and gender. Result of factor analysis revealed that the dimensions of clothing image perception was classified into four categories: evaluation, youth, warmth, and activity. Perceiver's sex-role attitude and gender gave a significant influence on the perception of evaluation factor. Youth factor had an interaction effect on the clothing types, clothing colors, and sex-role attitudes. The persons with a conservative sex-role attitude perceived the clothing image of warm color suits as younger than the one of cold colors. The clothing image of a warm colored Hanbok (Korean traditional dress) was perceived milder than a cold one, but there were no difference in suits. Bright color suits make the wearer look younger, and cold color suits make the wearer look active. The clothing color had greater influences on the warmth and the evaluation factor than clothing types. Persons who have a conservative sex-role attitude perceived the differences according to clothing types and colors in a traditional way. It could be certified that perceiver's sex-role attitude was one of the variables influencing his/her perception in social interaction.

• Journal of Fashion Business
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• v.22 no.4
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• pp.47-58
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• 2018

The Belgian textile wallcovering has the following background. The unique oceanic climate is optimized for flax. Beginning in the thirteenth century, British wool was produced for export to Britain or neighboring countries. Since the 15th century, Flemish paintings were influenced by color implementations, and these colors have influenced the developments of tapestry and art. Since that time, tapestry and paintings combined with paper technologies and Oriental civilizations, such as silk, that had been developed through trade ports, have been transformed into the form of current wallcoverings. Belgium produces the highest quality textile wallcovering using natural materials i.e., a combination of irregular and modern materials, and the implementation of different colors. The Belgian textile wallcovering is also a good representation of nature at the Heimtextil 2018, It provides a wide range of colors while retaining the best styles for wallcoverings in Belgium. The characteristics of Belgian wall coverings are: First, the high proportion of achromatic colors, especially the white ones, are analyzed for current trends. Second, it expresses the characteristics of materials by using only one material. This not only shows a high level of understanding of natural materials, but also shows a high level of development in terms of processing technology. Thirdly, linen was made into a formative expression using wrinkle processing and by printing geometric patterns, the rough texture of natural materials was expressed in harmony with modern patterns.

• International Journal of Costume and Fashion
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• v.10 no.2
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• pp.37-49
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• 2010

The Samguk-yusa(三國遺事) is one of the two classics of Korean ancient history together with the Samguk-sagi(三國史記); however there has not been any positive attempt to analyse clothing culture centering on the Samguk-yusa until now. Thereupon, this study aims to find the records related to fabrics, color and fashion appearing in the Samguk-yusa, and to analyse the fashion culture of the three kingdoms projected in the Samguk-yusa, referring to the Samguk-sagi and ancient Chinese reference books. According to the records in the book, the fabrics used for clothing of those days included Jikgeum-wimun(織錦爲紋), Geum(錦), Chaebaek(彩帛), Osaek-geumchae(五色錦彩), Geumbaek(錦帛), Geumsam(錦衫), Ma(麻), Neung(綾), Geum-su-neung-ra(錦繡綾羅), Poh(布), Daecho, Bira-geumjeom(緋羅金點), Gyeon(絹). Japchoe(雜綵), Robtyeom(羅緋染). Chimilpoh(緻密布), Gi(綺) and Whan(紈), and they had colors such as brown black(緇), black(黑), purple(紫), yellow(黃), blue(碧), clear white(素), white(白), five colors(五色). There is substantial amoung of report on Buddhism, and the terms used for Buddhist clothing included Beobeui(法衣), Nabeui(衲衣), Bangpoh(方袍), Gasa(袈裟) and Yueui(由衣). It is also ascertained that Gasa had a variety of Bira-geumjeom-gasa(緋羅點袈裟), Manap-gasa(摩納袈裟) and Geumra-gasa(金羅袈裟).

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.7
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• pp.984-999
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• 2013

This research examines the interrelation of clothes, colors and sentiments based on clothes and colors that stimulate sentiment. This study provides data that is useful to color therapy by means of clothes as medium. The survey for this study targeted 200 Pusan National University students who analyzed the colors of association and clothes colors for nine positive vocabularies (passion, love, warmth, happiness, interest, softness, comfortable, freshness, and coolness) and six negative vocabularies (anger, fear, despair, nervous, gloomy, and loneliness). The data collection process used 120 standard colors as represented by Munsell's basic 10 colors (R, YR, Y, GY, G, BG, B, PB, P, RP) as chromatic colors classified into eleven tones of colors (V, S, B, P, VP, LGR, GR, L, DL, DP, DK) and achromatic colors divided into ten steps of brightness N1-N10. The results of the research are as follows. First, the warm class of colors were significant in the colors of association with positive sentiment and the cold class of colors were significant in the sentiment of refreshment and coolness. In addition, bright and clear colors (like V, S, VP, P) were associated with color tones. Second, the low bright achromatic colors were generally high for the colors of association with negative sentiment; in addition, the color of R, PB, P (as achromatic colors) were also significant. In addition, sober and dark tones (like GR, DL, DK, DP) were significant in color tones. Third, the interrelation between positive sentiment and clothes colors shows that colors of association were mainly used for upper garment colors. Similar colors against upper garments were used together for bottom garment achromatic colors and complementary colors; therefore, bottom garments play a subsidiary role in the concept of coordination with upper garments.