• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.712-722
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• 2011

The purpose of this study is to examine the types and characteristics of decorative techniques applied to the Korean traditional skirt of contemporary style. For the purpose, this researcher selected 167 pieces of Korean traditional skirts which were shown in relevant monthly magazines published between 2001 and 2010. Then, the researcher classified the types of decorative techniques found in those selected pieces and analyzed the characteristics of decoration technique for each area of the pieces and the characteristics of patterns used in relation to those techniques. The Korean traditional skirt, otherwise called 'Hanbok chima', was classified into two types, single and composite, in accordance with which technique of decoration was used to it. The single type was characterized by so many embroideries, while the composite type, a combination of two decorative techniques, seonchigi and jatmulim. In the Korean traditional skirt, decorative techniques were applied to the knotting and entire of the skirt. Patterns used to decorate the Korean traditional skirt were usually in form of embroidery, gold or silver foil or painting. Out of the patterns, those which were embroidered or painted were shaped flowers, while those which were plated with gold or silver are shaped bosangdangchomun and flowers. There were other decorative techniques than mentioned above, for example, applying two or more different colors to the hem of the skirt, attaching pads to the knotting of the skirt and padding a decorative cloth on the front center of the skirt.

• Journal of Fashion Business
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• v.28 no.1
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• pp.131-148
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• 2024

Among the various decorative techniques in fashion design, this study is to study the decorative effect of the aesthetic finishing technique on fabric. Despite the recent expansion of the use of decorative techniques by aesthetic finishing of fabrics, most of the studies have focused on one or partial techniques, and there has been no part on the use of broad techniques or the application of overall design. Therefore, the purpose of this study is to collect the expression techniques of aesthetic finishing and its fashion cases that have been sporadically performed by examining the decorative techniques of fabric aesthetic finishing as a whole, and to provide practical data, help design thinking, and further contribute to the development of higher value-added products. To this end, this study was conducted in parallel with theoretical consideration and empirical research. First, through the analysis of decorative images and fashion cases examined based on theoretical considerations, six creative costumes were planned and produced by reorganizing them according to the flow of modern fashion using a design concept. As a result, it was confirmed that each aesthetic finishing technique is an effective decorative technique that is applied and harmonized to a part or all of the costume to create a new and unique surface effect and formative beauty, and to increase strong visual effects and luxury. Therefore, through this study, it is expected that it will help satisfy the aesthetic sense of consumers seeking high-end and individualization in the future. Therefore, in future research, it is necessary to expand and deal with the aesthetic finishing of fabrics in more depth, and it is expected that multifaceted research and development will continue.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.272-288
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• 2021

The purpose of this study is to classify the types of decoration techniques used in women's Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.627-633
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• 2006

This study examined the kinds, expression, techniques and arrangement of patterns for the traditional women's costume from 1995 to 2002 in North Korea. And the results were compared with South Korean. Conclusions are as follows : In the kinds of patterns the natural plant patterns were much more frequently used in North Korea. These tendency was same to South Korea. And the geometric patterns were more frequently used in South Korea. According to frequency in the expression of patterns, it was the realistic, geometric, stylized shape in North Korea. To the contrary it was the stylized, geometric, realistic shape in South Korea. In terms of decorative techniques, not only the traditional embroidery, gold leaf, multicolored stripes, but also modern collages, painting, beads, applique, flounce, ruffle were used in North Korea. Modern techniques were found comparatively a lot in North Korea, traditional techniques were found comparatively a lot in South Korea. In terms of arrangement of patterns, the modern arrangement was much more frequently used. And localized type of modern arrangement was found comparatively a lot in South and North Korea. Therefore traditional beauty was generally expressed by natural patterns, realistic shape and modern beauty was generally expressed by modern techniques and arrangement of patterns in North Korea.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.145-152
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• 2004

The purpose of this study was to find out the traditional decoration techniques in the Korean costume. Both quantitative and qualitative research methods were used to collect and investigated the traditional decoration techniques used in the related literatures and museum catalogues. The results were as follows. The broad and back stitching are fundamental stitching, which used to Nubi and Keki. Top stitching applied broadly to the Korean costume, for example, Jergori, Wonsam, Jeonbok, Beosun, Bojagj and so on. The expression techniques for top stitching were one, two or three stitches. When the top stitching was used as colorful stitches, they were more decorative. The Zatmulim was used for the decorative effect on the seam line because it was triangular shaped and became more effective by changing the rotor and size. Sunmulim was used on the narrow line such as the seam lines of Gergori and Chima. The bakchi decoration was imitating a bat shape, had a meaning of bringing the goodness and gave the tiny and elaborated image. It was used to the neckline of Geogori, seam line of Chima, Pungcha Bazi and so on. Sattgi was used to attaching the bottom of two stiff fabrics adopting for Beosun, Ayam and Norigae. When it used colorful strings, the more decorative effect was added. The knot for button used the fabric instead of buttons and applied to the Cheonlik, Gergori. The aesthetic values of the traditional decoration techniques in the costume were both natural beauty and practicality with creativity.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.37-49
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• 2012

The purpose of this study is to provide basic data of dress design by researching three-dimensional decorative techniques representing flowers, a popular motif in dress design. This study analyzed 44 dresses that were presented in Valentino collection. The result of this study is as follows: First, the detailing expression method can show various patterns and colors through embroidery technique, sub-materials, and bonding techniques in embroidery, beads flower, and ribbon flowers. Second, the fabric flower technique expressed flower image in three-dimension in more various images than do either the ribbon or beads flower technique. Fabric flowers are mostly made from the same material as dresses. The expression technique of fabric flower is classified into the following three classifications: 1) A technique underlying a flower image with one, two and three large flowers, 2) a technique decorating a large area with a number of an identical motif, and 3) a technique highlighting a part of the body or design line by attracting eyes to one point, creating a corsage decorated where a designer wants to emphasize. Third, a silhouette technique realizes a flower image with a silhouette of a dress like sculpted structure and it is thus used less than a detailing expression technique. A flower image is expressed by making use of body lines or emphasizing the face. Finally, flower images on a dress were realized as a full blossomed flower, through visually streamlined shapes and curved lines.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.695-704
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• 2011

This study is an attempt to explore the expressive techniques and characteristics of tie-dye shown in the contemporary fashion. In doing so, the study conducted a literature review and analyzed the works show cased for 2001S/S through 2010F/W, especially from the "big four" collections in Paris, Milan, New York and London. In the contemporary fashion, tie-dye techniques such as tying, folding and sewing are used in an independent or combined manner to express unique images. They also highlight decorative images in combination with a variety of decorative techniques including draping, pleating, beading. In light of its characteristics, tie dye expresses unique formative aesthetics with diverse patterns and creates more gorgeous images than when many different colors are used for dyeing. The dyeing process works as a critical factor influencing the overall image of design, as it is expressed as a pattern by being applied on the whole of an item rather than in part of clothes. The characteristics of tie-dye techniques used in the contemporary fashion are associated with the expressions of natural beauty, abstract decorative beauty, and dynamic rhythmical beauty.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.902-915
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• 2007

This study examines decorative features found in the traditional costume of the Miao, one of the minority groups in China, and adapts them for the development of modern Korean-style fashion designs in order to present visual sample data and to introduce techniques. As for the research method, both literature and visual data are examined: the former includes Miao-related books and theses; the latter, pictures from various documents and real-life data in the possession of Seoul Women's University. The study result is as follows: 1. The basic structure of Miao costume is consist of a Caftan-type upper garment and an accentuated lower garment, pleats skirt although they are decorated luxuriously with various techniques such as delicate embroidery and dyeing. 2. Details and trimmings in modern shapes are developed and presented by adding modern materials to satin, twists, cross-stitch embroidery, stripe patterns, geometrical patchwork, machine pleats and smoking, trimmings of fringe & feather, and the border line decoration of coloration, braids, piping, embroidery, belts tied and wound with colorful threads. 3. Detachable accessaries such as front reinforcement strips, back reinforcement strips, belts, decorative aprons and patchwork skirts are developed and designed by adapting highlighted layered effects. 4. The silver decoration used as an necessary by the Miao is suitable for modern fashion design in futuristic sense. Various techniques and decorative features of Miao costume display their true value all the more in modern fashion stream in which ethnic trends draw much attention.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.61-71
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• 2008

Knit wear with comfortable feeling of wearing and various coordinations gives new values to the modern people, who seek activities and individualities, and the demand for knit wear is on the rise. This article aims to analyze the aesthetic characteristics of Korean knit fashion. Fashion photographs from leading monthly fashion magazines in Korea from 2005 to 2007 had been analyzed. The knitting techniques, and designing characteristics and aesthetic values of Korean knit fashion had been studied. The major conclusions of the study are the following: 1. Korean knit fashion applies various knitting techniques. The knitting techniques used in Korean knit fashion are hand-knitting technique, crochet techniques, lace techniques, plain stitch, rib stitch, and purl stitch technique. 2. Decorations by trimming and matching with different textile materials are used more frequently than decorations by knit material itself. Decorating methods include fringes, spangle, beads, Rhine stone, motif and embroidery decorating. Matching with different textile materials made contrasting decoration effect. 3. Patterms by knitting structure and by arranging colors are applied. Cubic effect by knitting structure patterns, and geometric patterns by arranging colors are emphasized. 4. The formative feature beauties are natural beauty, feminine beauty, and decorative beauty. Korean knit fashion has developed creative and decorative designs through various knitting techniques and decorating techniques. As individual activities may be increased in the future, the designs and applications of knit fashion may be diversified.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.