• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.848-856
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• 2008

In today's world where a preference for prestigious brands prevails, it's essential to have creative design conceptions rather than try simple mimicking or following in order to be recognized for creative and objective design works. In that sense, the development of clothes design using construction lines offers a great approach towards the ideas of reinterpreting and creating new designs since it creates new forms by understanding lines as signs of conception and transforming them. That approach allows a designer to improve his or her imagination, creativity and expression in a freer and richer manner, think of many original ideas through diverse changing processes, and develop the skill to visualize the ideas by incorporating geometric forms of abstract lines into clothes. When approaching the conception of clothes design from the standpoint of construction lines, you need to adopt more specific and systematic design methods instead of vague imagination to introduce simple facts or theories to a new design process. That's one of the ways you can approach clothes design easily and enhance your conception skills. The process of clothes design according to the conception of construction lines is composed of the following stages; the preparation stage involves an understanding of the principles and the entire process of clothes design conception based on construction lines; the idea stage requires a designer to make free alterations of the given basic construction lines by moving and replacing the lines and sides in diverse ways; in the creation and expression stage, the designer uses the newly reconstructed construction lines to create clothes design; and in the evaluation stage, the designer makes a presentation of his or her subjective design works and has his or her works assessed and tested in an objective fashion. In today's modern society that demands new and original globalized design, the results of the study will help to invigorate the development of new fashion design in a more systematic and practical manner by suggesting a feasible and gradual educational program for the development of design based on the technique of construction lines.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1061-1073
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• 2009

Present expression methods have close relations with popular culture in the active acceptance of various kinds of genre. Fashion illustration is no longer limited to sketching garments or technically explaining construction, it is accepted as an art that is expressed by the desire and consciousness of the artist. This study examines the expressional characteristics and effects of photo-image appropriation as an expression method in fashion illustration. The word 'appropriation' (to steal something) is used as euphemism and not meant to be derogatory. The methods of appropriation in art indicate that paintings are not inventions but are self-satisfactory creations that show that the idea of originality is false and that paintings should be uninhibited from the greed of the authority of the genius of artists. In postmodern paintings, the photo-image of appropriation are expressed through the methods of re-photography, photo collage, and photo painting. Photo-image appropriation methods in fashion illustration are re-photography, photo collage, image mixing of photography, drawing, and graphic expression of photography. Fashion illustrators are able to develop expression techniques for expanding a field of expression and enhance the ability of communication through the photo-image appropriation methods.

• Archives of design research
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• v.13 no.1
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• pp.157-166
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• 2000

Since the cognitive science developed as a brandl of academic researdl, studies on human brains have flourished. Emotional features have been centered on the field of design, and the development of the design process has been diversified that makes use of the factors. The purpose of this study is to reflect the current trend and to convert the results into a method for designing. The researdl is based on the mind map techniques which spread like a trendy fashion, and tries to supply a theoretical explanation of how to overcome the fixed idea. Recognizing the importance of learned information in approaching a problem, I regarded the roles of left and right brain as analogue and digital images interpreting them by freely crossing language(digital images) and visual thought (analogue images), using mapping tedlniques. I pursued the research goal of the techniques focusing on the idea of using mapping. As a result of this. I established a logic system [figure 8] in that a proposition which starts as a problem introduction goes on until a problem solution, which is visualized with concept presentation, using a brainstorming technique. According to the suggested concept. I concluded that idea proliferation as a design demand can be solved by applying mapping techniques like one shown in figure 12.

• Journal of Fashion Business
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• v.15 no.2
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• pp.131-144
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• 2011

The purpose of this study is to propose 3D art make-up design process by reproducing real objects through preliminary digital drawing with Photoshop (Photo Shop CS4.0, Adobe, USA) and using special make-up that has never been done previously, and produce creative problem solving plan to make concrete expanding thoughts and ideas. As for this study method, this study was composed of preliminary study, literature study by book examination and positive study on design process that performed preparatory work and reproduced real objects. Real case study by art make-up design process can improve effective design expressing ability by utilizing special make-up, diversify techniques, extend expression areas by materials, and create unique design. In addition, preliminary work by digital drawing, a process to predict real object work in advance, could reduce time and cost while improving work skill for work production, raise design accuracy and make easy the modification of idea. This study is anticipated to activate digital make-up by various digital techniques including Photoshop.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.8
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• pp.814-827
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• 2012

This study analyzed the presentation trend of a checklist method for trench coat designs. Through this analysis, this study examined the flow of trench coat designs and presents future design directions. Research was conducted in the following method. A total of 1,307 female trench coat photos were selected from the photos presented in the top 4 collections from 2006 to 2011. These photos were used for analysis and frequency analysis was conducted. Among the checklist methods presented in trench coats, the modification type was most common, followed by the elimination type, conversion type, combination type, minimization type, addition type, and magnification type, respectively. Checklist methods were continuously presented even while increasing and decreasing according to the year and season. This showed that it was highly possible for checklist methods to be continuously applied in future trench coat designs. Generally, a high frequency of appearance was shown in 2010 and during the F/W season. According to the development direction of future trench coat designs applied with the checklist method, it is predicted that the modification type and the elimination type (which have generally displayed high appearance frequency) will be continuously magnified in the future. In particular, it is expected modifications in structural details (which have showed an upward trend in 2011) will be further magnified.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.327-338
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• 2002

The analysis and examination of this study are focussed on the external deconstruction trend expressed in the works of Jean Paul Gaultier. The external deconstruction is a way of expression faithful to the literal meaning of 'deconstruction' and is the applied case of exposure, destruction, poverty, and decomposition as they are. The method and scope of this study are from 1980's to present, and the followings are the results of this examination focussed on the various literature of philosophy, aesthetics and literary criticism, and the domestic and foreign fashion journals. The exposure phenomena through the deconstruction expressed repeatedly in the works of Gaultier deconstructed the fixed idea of 'the inner wear should be worn inside the outer wear' and at the same time denied the dichotomical interpretation of the exposure and suppression, the traditional beauty and decadent beauty, the chastity and unchastity, the asceticism and sexuality, and obscured the notion of the inner wear and outer wear. The destructive deconstruction expressed in the works of Jean Paul Gaultier introduced the elements such as hippy, punk, and kitsch, slashed before making dresses, crumpled unseemly like wastepaper, or made dresses with textures like paper scraps, and through destroying textures, yielded shock effects and tension. Poverty, through borrowing from the outwardly poor-looking elements of design, i.e. the patch work, decolor, dye, fading, fringing, incompletion, and handmadeness, liberated dresses and their ornaments from the outside. The traditional dresses were dresses having certain forms with formative beauty, but Gaultier disassembled dresses and raised questions about the logic of dresses themselves.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.55-73
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• 2009

Teenagers are fast in growth and very sensitive. They are more interested in appearance and clothing and they use it as a method of expressing themselves. Thus they show different attitudes toward clothing. This study is to survey teenagers' attitudes toward clothing, especially school uniform and to understand their psychological characteristics about clothing. The purpose of this study is to provide useful data in designing teenagers' school uniform which can serve to fulfill their clothing desire and beautiful school life. The results of this study can be summarized as follows. As of paradigm in clothing, they value individuality, economical efficiency, practicality, fashion, and conformity of clothes in the order of importance. They considered individuality value the most important. Students' preference of school uniform is not positive over all. About 60% of students support wearing uniform, and 50% like wearing uniform on the way to school. The reasons for wearing school uniform are psychological stability and economical efficiency. They think school uniform is well fitted for the student position and don't have to care about clothing if they wear school uniform. 63% of them prefer wearing famous brand but they think the price is too high. Comparing with male student, female students place more value on latest fashion and are more likely to purchase brand object than male students do. Female students have more experience in modification of school uniform than male students do. Based on the result of this study, we need to understand the students' attitudes toward school uniform and to accept demand of teenagers' idea in production of school uniform.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1153-1164
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• 2010

The objective of this study is to analyze the coordination images seen in comprehensive fashion items and their features. This will be done from the viewpoint of both the creativity as well as functional characteristics of items and images. For the method of study, I explored the idea of "snood" style, analyzing its features of 42 pictures appearing from the 2006 S/S to 2010 F/W collection. It is important to note that "snood" style has the characteristics of both a muffler and turtleneck. With looping design connected at both ends, it can be placed around the neck or head, creating the image of wearing a hood. After having examined the selected data and pictures, one can largely divide the exclusive high-fashion image categories into three types: feminine, avant-garde, and finally, active & functional sportive image. First, the orthodox image is widely accepted by most as it has forever evolved within the original tradition of the practically functional muffler(scarf). Second, since the metamorphic image tends to lend itself to free ideas, you can wear a snood around the shoulders like a collar. Worn together with the same type of clothing, the snood can be seen as an effective suit. Third, the aim of image emphasis is to highlight certain points, or make some features more noticeable, as a means of possibly attracting more interest and attention. The image of snood arises out of the use of shapes, colors, and other accessory parts. As mentioned earlier, snood stands out as an independent item instead of just being an accessory to clothing. Its primary function as a style coordinator is emphasized in order to create more distinctive fashion images. Through this study, I thereby intend to provide fashion style data on the latest trends, and high-fashion codes of snood coordination.