• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.121-132
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• 2010

The purpose of this research was to analyze the Korean Formative-Artistic Characteristics which were expressed by Hanbok designers. In this research, Hanbok style is a combination of two main things: formative-artistic factors of the Korean past, which naturally focuses on the peculiarity of the tradition and the modern aspects of clothing. Hanbok fashion is defined as all products created by Hanbok designers that incorporate traditional design factors, but do not follow it exactly. There are four formative-artistic characteristics of Korean designs in the Hanbok fashion. The first is the practical usage of the form and the second is the application of texture, color and patterns of materials which are synonymous with traditional Korean costumes; the third, by utilizing specific features, such as a the string of Jeogori(jacket), the round line of Jeogori sleeve, quilting, slit of Dofo (coat), the line of goreum and git (collar), the beauty of the Hanbok can be expressed in various ways; finally, the decorations added to the clothing, like embroidery, dying, patchwork, and beaten silver have been used to express Korean beauty in a modern sense. At the conclusion of the research, the study suggests the following recommendations to upgrade the Hanbok designs and the Hanbok industry. The first recommendation is that continuous design research be done for the development and popularity of the brand image; secondly, collaboration with specialists from other areas of fashion would be beneficial; thirdly, it would be a positive development if Hanbok designers studied Western clothing; and fourthly, Hanbok materials should continue to evolve and be developed.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.1
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• pp.15-32
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• 2020

This study aims to develop contemporary fashion designs from the unique Yao minority costumes and to explore the possibility of developing creative designs by using knitting materials. The research method is based on the cultural clothing and costumes of the Chinese ethnic minority, as well as literature concerning the Yao costumes and photo data to investigate the cultural background and characteristics apparent in Yao costumes. The overall design characteristics of Yao costumes are as follows. First, the shape of Yao costumes are divided into straight-lined short tops with pleated skirts or shorts, or cardigan tops with pants and aprons, or long shirts, pants, and a belt. Each variant of tribal clothing is different. Second, the colors used are mainly black or dark blue, and these are accented by other colors, such as red, orange, yellow, green, blue, and white. Third, the clothing patterns are mainly in plant, animal, natural, geometric, and human, etc. motifs. The most common patterns in daily life are the patterns using geometric shapes, plants, or animals. Using the background of the unique lifestyles of the Yao ethnic minority, this study applied hand knitting and jacquard techniques for a knit fashion design. In order to develop traditional patterns, Yao patterns were entered into an Illustrator and SDS-ONE APEX3-4 was used for simulation. Using wool fibers as the raw material; the knitting machine used a Bird's eye Jacquard technique-10GG. The results of this research and design work were as follows. First, the knitted clothing design using Yao clothing elements has significance for the development and flexible use of ethnic elements in contemporary creative design. Second, the straight cut design using hand-knitted and jacquard-knit fabrics can minimize waste materials and provide more possibilities for sustainable design development. Third, it provides additional methods for the combination of hand-knitting and jacquard knitting fashion design.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.567-576
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• 2012

This study aimed to analyze preferences depending on consumption value in relation to fashion jewelry design, colors, and materials. For this, 156 female consumers participated in it as subjects, and for a research tool of consumption value, VALS (Values and Life Style) technique was employed to make an empirical analysis by dividing it into three types such as principle-oriented value, status-oriented value and behavior-oriented value. Research findings indicate that above all, there are differences in preferences depending on characteristics of fashion jewelry design depending on consumption value. It was found that there are differences in preferences depending on numbers of setting of fashion jewelry depending on consumption value, but it was found that there are no differences in preferences depending on jewelry materials. In addition, it was observed that for color characteristics of fashion jewelry, there are differences in preferences depending on consumption value. There are differences in preferences for fashion jewelry depending on consumption value, which indicates that preferences for products change depending on consumers' consumption value rather than use value. And it can be an explanation for this reason. Therefore, it is necessary to work out a more efficient strategy through a process of setting up a target according to consumption value.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.

• The Research Journal of the Costume Culture
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• v.13 no.1
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• pp.34-46
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• 2005

The purpose of this study was to research buying behavior and home fashion preferences based on housing size. The target consumers were Korean women, aged 20~40s who reside in the Seoul & Kyunggido areas. We distributed questionnaires to 650 women. However, only 600 questionnaires were used for the statistical analysis. Data analyses were conducted with SPSS program on the frequency, Chi-square test, cluster analysis, t-test and ANOVA. The results of this study are as follows: 1. The considering factors for purchasing such as brand, trends coordinating existing furnishings with new products and functionality were significantly associated with housing size. The buyers who reside in bigger size homes. over 40 pyung place higher value on brand name, trends. or coordinating existing furnishing with new products than residents in smaller units. However, women who live in smaller units place higher value on functionality when purchasing home fashion products. Considering factors such as brand, trend, and materials were also significantly associated with segmented age group; 40~49 age group considered brand, trend, and materials more than 20~29 age group. The group who are highly interested in home fashion considered design/color, rand, coordination, and functionality than the group who are low interested in home fashion. 2. Residents in over 40 pyung homes buy home fashion products at department stores, while residents in less than 39 pyung homes buy them at discounted store. 3. Respondents preferred solid colors more than patterns. However, they favored character pattern for textile bedding products for their children. 4. there is also a statistical difference in preferences for types of window treatments between large ad small housing sizes. Residents living in over 40 pyung preferred tie-back/cottage curtain, while residents living in less than 29 pyung preferred Roman shade style.

• Journal of Fashion Business
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• v.4 no.4
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• pp.1-16
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• 2000

The purpose of this study is to investigate the formative beauty, changes in fashion and aesthetical sense that can be seen in the bias drapings of Madeleine Vionnet and her influences on modern fashion since she used draping as a new fashion means to represent the new feminine images which modernism of the early 20th century and social changes from the two great World War's generated, and to provide proper data to encourage designers' creativity that is wanting in the circle of Korea fashion. Bias draping led women to respect worship their body from the heart with seductive modernism enriching the material's texture to the utmost through geometrical patterns of triangle, quartered plane and quardrants and simple cylindrical cuts and with an attribute adapting itself to the wearer's body. Bias draped wear consisted of light and transparent materials and overall surface decoration revealed women's movements and sought the extension of environmental movements and demonstrated its eroticism. On the other hand, biased daywear gained anonymity through cutting true to body line and psychological protective quality as of cape, and this went well with the independent femininity accepting difference as well as pursuing revolution from the inside. The great inflation and the 2nd World War gave birth to escape from reality like surrealistic artistic tendencies and Hollywood films and increased romanticism. Bias draping once underwent unpopularity except in expensive clothes due to knit wear boom and the utilization of new elastic materials, however, it began to receive lights again from pluralization waves and retro tendencies and to be introduced in many designers' collections. A young genius of England, John Galliano improved functions of Haute Couture through creation of new styles and fantastic shows to promote profits in the fashion markets. Bias draping fitted in human body line provides us comfort and aesthetic qualities through careful choice of material and elegance by delicate cutting.

• The Research Journal of the Costume Culture
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• v.8 no.1
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• pp.65-76
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• 2000

The purposes of this study were to claassify of clothing-wearing motives, to analyze tendency of fashion in campus, and to propose fashion merchandising plans and marketing strategies of companies for female college students. Research had been done during 1 week each on April and October in 1998 and 1999. Sixty-two students in spring semester and 54 student in fall semester were surveyed and analyzed. Their grades and majors were not considered in this study. Fashion Diary had been written by students and then their statements were analyzed by the means of the qualitative data analysis. Following conclusions were obtained from this study. 1. Clothing-wearing motives were classified with 'group depending on daily work', 'group depending on image', 'group depending on body supplement', 'group depending on weather', 'group of fashion following', 'group depending on courtesy', 'group depending on mood', and 'group of unconcerning'. 2. The fashion tendency of the students were layered look and they preferred casual styles, such as round t-shirts, jean pants, and cardigans. The color of white, black, and gray were prevalent for top wear, and the color of blue, black, beige for bottom wear in both seasons. For shoes, color of black, brown, white were popular. For bags, black, blue, and khaki color were prevailed. 3. The proposals obtained from this study are as follows : 1) Production of clothing enforced functional and practical base is wanted for 'group depending on daily work'. 2) Designs considering body parts such as hip, arm hole, shoulder, and thigh are needed. 3) Utilization of new materials such as waterproof with ventilation, opaque (means 'not see-through'), antipollution finishing process are required. 4) Simple designs of clothing which could be performed by herself with various accessories. Thermochromic materials are wanted for 'group of fashion following'. 5) Diversity of semi-suit is required for 'group depending on courtesy'.

• Journal of Fashion Business
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• v.19 no.2
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• pp.36-52
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• 2015

Nowadays, firms face the challenge of how to balance between the environmental request and business profit under the circumstances of being eco-friendly and sustainable. The purpose of this study was to investigate the effects of business environmental factors on the 4p mix of an eco-friendly textile in the textile fashion firms. This research was conducted by a questionnaire method, in which the questionnaires were distributed to the textile fashion firms. Of the returned questionnaires, one hundred of them were selected to be included in the analysis by developing descriptive statistics, factor analysis, cronbach's alpha, and regression analysis using SPSS18.0. The results of this study were as follows: There were significant effects of the firms' environmental management, organizational structure, and CEOs' environmental sensitivity in descending order of the business internal factors on the textile fashion firms' eco-friendly textile product. The factors of the firms' environmental management, organizational structure(internal factors), and legal regulation(external factor), in descending order, significantly affected the promotion of the eco-friendly textile. The factor of firms' environmental management (internal factor) significantly affected the distribution of the eco-friendly textile. The factors of CEOs' environmental sensitivity(internal factor), legal regulation(external factor), and firms' environmental management(internal factor), in descending order, significantly affected the price of the eco-friendly textile.

• Journal of Fashion Business
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• v.25 no.4
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• pp.61-78
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• 2021

Gianni Versace is one of the most influential Italian designers between the 1980s and 1990s and a representative person to add sexiness and splendour to Italian fashion. This study aimed to analyze the design identity that resulted in the successful handover to Donatella Versace and to review how effectively differentiated and unique heritage elements of Versace were transferred and operated. Literature reviews were performed to find Gianni Versace's design identity and archive. The scope of this study was Donatella's collection from 2018 to 2020. In particular, Signature, the most remarkable design identity of luxury brands with a visual identity that includes the mark, logo and symbol and design elements such as the item, colour, materials, details, etc., were the special focus. In this study, the elements of the visual identity of the signature were classified with the logo, icon, silhouette, materials, patterns, colours, and changes in details that were applied with the uniqueness and philosophy of the differentiated brand. Donatella Versace empathized with Versace's heritage as the brand heritage recalling Versace's honour in the 1990s and reproduced his honour again by reinterpretation of Versace's design images. Donatella is considered an excellent creative director who leads the brand by keeping the heritage and applying the trends of the times. This study as a case study of Versace has the meaning that Versace has maintained the brand identity starting from Gianni Versace as the first generation and successful takeover after the change of directors upon recreation to meet the modern times.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.3
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• pp.127-141
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• 2023

The purpose of this study is to develop a textile pattern design using the columnar joints motif and a Tyvek fashion clutch bags using it. As a research method, first, through a literature review, columnar joint and Tyvek are understood, and design cases were considered. Second, through a survey, the purchase perception and design preference of columnar joints cultural products were analyzed. Third, based on the results of the survey on color and print, the pattern design for each type of columnar joint were developed, and the uv-printed Tyvek clutch bag was developed. The results of this study are as follows. First, the reason why the public was not attracted to the purchase of cultural products was dissatisfaction with practicality, price adequacy, and aesthetics. Therefore, it was analyzed that quality, practicality, price, carry-on storage, collection value, and casualness, as well as aesthetic design were important factors for purchasing factors pursued by consumers. Second, consumers preferred small goods the most for cultural products, and they pursued the use of colorful and contrasting colors, modern and geometric patterns, and eco-friendly materials, such as Tyvek. Third, columnar joint can be classified into three cross sections and four arrangements. The design unit of the columnar joint could be expressed as a hexagonal column, and 12 different pattern designs could be developed according to the cross sections and arrangements type. In addition, it was found that it was easy to produce fashion products suitable for the sensibility of modern people by utilizing Tyvek materials.