• 한국생활과학회지
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• 제24권3호
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• pp.407-421
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• 2015

This study examined the pixel's expression trend and nature featured in contemporary fashion, which works as a basic unit symbolizing the digital image, paying attention to its formativeness. The work through this process aimed at suggesting an opportunity for recognition about pixel image utilized as a formative component beyond its simple meaning of unit and providing the fundamental materials for usage in creative fashion design reflecting the digital emotion in the future, In research method, literature review was followed on pixel and the empirical study about its image was also performed that was found in the modern fashion. As a result, the trend in pixel has these characteristics. Its first nature lies in its plane expression. It was printed as mosaic or graphic grid image or expressed through patchwork technique. Also, rather than a certain form or figure, its unique image was emphasized according to the applied color, size, and position. Second, a stepwise pattern in pixel was applied to external format for part of clothing, eye glass and necktie, indicating some interest and wit. Third, in application to plane and external shape, the graphically modernized effect was realized, not to mention the illusive image with cubic expression. As shown, the characteristics in contemporary fashion via pixel expression were given in fantastic image, optical humor, and reflection of digital value.

• 복식문화연구
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• 제16권1호
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• pp.100-114
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• 2008

The purpose of this study was to analyze the characteristics of supermodern fashion designer's work, which is shown by responding to supermodern environment where non-spaces such as road, railroad and airport are surplus in modern city environment. For the study, the researcher used existing study and specialized book basically and analyzed photograph materials by selecting them in specialized fashion book, internet site and designer's homepage. The results of this study showed that supermodern fashion design is the functional fashion responding to the change of time and space concept of supermodern society directly. As the common points of supermodern designer's works, first, they try to create private space enabling wearer to cope with risk caused by the environmental change and transitional space by adding architectural factor to fashion. Second, they display the design with protective function and metaphorical expression of concealment and deception in the supermodern environment where nonspace is increasing. Third, designers search the functional design from the aspect of fabric and detail while intending the technology in order to cope with supermodern environment.

• 복식문화연구
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• 제26권4호
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• pp.583-597
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• 2018

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world's four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: "$Diff{\acute{e}}reance$", "Intertextuality", "Intermeaning of Meaning", "Dis De Phenomenon". The results of the study were as follows: first, "$Diff{\acute{e}}reance$" refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, "Intertextuality" indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, "Intermeaning of Meaning" is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the "Dis De Phenomenon". In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

• 복식
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• 제63권4호
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• pp.1-16
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• 2013

Using the premise that fashion and art reflects the characteristics of its times, this study examines the influence of Anti-form in fashion with a focus on physicality. This study combines literary survey and case analysis of both Anti-form in 1960s and 1970s and the fashion collections since 1970s when the influence of Anti-form began to appear in fashion. The influence of Anti-form focusing on physicality is summarized as deconstruction of garment and visualization of the physicality of material. Deconstruction of garment visualizes the invisible structures of garment by deconstructing, restructuring, and deforming the construction and the shapes of the garment, which is illustrated by visualization of design process, overlapping and fusing of materials, loss of stitches, and use of fabrics with flaws, questioning and destroying the sartorial conventions and aesthetic standards. Visualization of the physicality of material exposes the imperfect inside of garment which is concealed conventionally by presenting unfinished garments with minimized sewing procedure, crumpling and flattening fabrics, rubbing and fading surfaces, pulling threads, as well as using the selvages of fabrics.

• 한국의류학회지
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• 제41권3호
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• pp.468-486
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• 2017

In this study, three kinds of wearable fashion prototypes were developed using 3D printers with the goal of developing a practical production method for daily clothes. Prototypes were modeled using Rhinoceros software and developed using FDM 3D printers and TPU filaments. The results of this study are as follows. First, it confirmed the possibility of FDM-type entry-level 3D printers as a tool to develop wearable fashion products. Second, TPU filaments that are soft and ductile are highly likely to be used as a clothing material. Third, patterns designed through the 3D modeling process can be sampled directly to a 3D printer and easily corrected and supplemented. Fourth, it was confirmed that TPU prints of about 1.00mm thickness can be sewn with fabric using sewing machines through the development of 'Prototype 1' and 'Prototype 2'; in addition, hand stitching is also possible. Fifth, as in the case of 'Prototype 3', it is possible to fabricate a garment fit enough to the body if the clothing configuration is designed to connect the basic module using TPU filaments. In the future, the development of wearable fashion prototypes using various materials and 3D printing technology will help diversify everyday clothes.

• 복식
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• 제59권8호
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• pp.110-122
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• 2009

The objective of this study is to suggest a direction eco-friendly material based fashion products may pursue in the 21 st century in order to protect our environment. This is done by considering the knowledge of the products by housewives, the main consuming players in a household. 398 copies of the survey were collected amongst Korean and Japanese housewives in the 30s and 40s aged group sample and analysed using SPSS 12.0 statistic program. The analysis results are as follows. First, base material was highly knew by Koreans in contradiction with Japanese who were highly knowing the disposal process in regard to eco-friendly fashion products. Second, a higher ratio of Koreans tended to purchase the product with consideration of health issues, however quality of the material was considered more by Japanese buyers. Finally, the result showed that eco-friendly products buyers from both countries had more willingness to purchase eco-friendly material based fashion products than non-buyers in the future. Korean housewives showed more interest in environment, benefit to health and value from eco-friendly material based fashion products than Japanese. Koreans had a better understanding of information and knowledge of the product, as well as higher future purchase intention however, Koreans considered less durability, design and variety of products.

• 복식
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• 제60권10호
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• pp.65-79
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• 2010

Each season, many clothing companies dump small pieces of fabrics left over from making samples. Since fabrics do not decompose easily, this results in environmental pollution. This research was done to discover effective ways to reuse these fabric remnants. As most of these remnants were not large enough for making clothes, fashion accessories was chosen as the design object. Four steps of design development process followed: information research & analysis, prototype design & sample making, market testing, final design decision. After market research and trend analysis, four neck decoration wear -- scarf & muffler(SM). collar & cape(CC), vest & top(VT), and necklace(NE) -- were selected as final product types. 45 designs arose, and 120 items with variations in fabric materials and colors were produced as samples. The three main themes (multiple. reversible, cross) were applied throughout all of the design items. Samples were evaluated from the reactions of the consumers through a 10-day sale at a retail store. Based on the sales record and customers' opinions, five designs from each of the product types SM, CC, and VT were picked out as final designs. In conclusion, fashion accessories turned out to be a more appropriate item to reuse fabric remnants from clothing companies than clothes were, because they necessitate small fabric size and the limitation in fabrics could be compensated with creative design ideas.

• 한국의류학회지
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• 제29권2호
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• pp.318-327
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• 2005

The purpose of this study was to analyze the image perception of modern fashion according to erotic expressions ans erotic levels. The research methods werea quasi-experimental research. The experimental materials developed for the study were a set of stimuli and a responsse scale. The stimuli was consisted of 15 photographs according to erotic expressions and erotic levels. The reponse scale consisted of semantic differential scales. The subjects consisted of 254 male and 260 female undergraduate students of Chungnam National University by a convenient sampling method. The data were analyzed by factor analysis, ANOVA, Duncan's multiple range test and t-test. Result were as follows ; 1) The fashion image of erotic experessions and levels, were categorized into 3 images factors : sexy-potency, modesty, attractiveness. 2) The erotic expressions significantly affected on three image factors 3) The erotic levels showed significant differences in three image dimensions and stronger erotic levels pressented more sexy-potency, less models and attractive images. 4) The erotic expressions showed interaction effects with the erotic levels in three image dimensions. 5) Subject's gender had a significant difference on fashion image perception : male subjects perceived the fashion photographs more attractive than female subjects did.

• 한국의류학회지
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• 제35권11호
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• pp.1386-1398
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• 2011

Slow fashion can be viewed as an activism that provides an alternative solution to the problematic issues of fast fashion in a practical sense; however, (from a theoretical point of view) it is a fashion phenomenon arising from the criticism of an accelerating society. Slowness emphasizes the virtues of moderation. Slowness refers to the recovery of human ethics that have been neglected due to the goal-oriented nature of an accelerating society. Slowness can solve the problem of conformity and discrimination in society through pluralism and respect for local indigenousness. The characteristics of slow fashion can be defined by the aesthetic values of circularity, sustainability, moderation, expressivity and convergence. This includes the beauty of circularity (which views the relationships of all processes as organic), the beauty of sustainability (which ensures the maintenance of continuous emotions and the durability of products that can be promoted through slow processes), the beauty of moderation (which places importance on spiritual values and the moderate use of materials), and the beauty of expressivity (which plays the role of a social messenger that facilitates social assertion). These combined values present the beauty of convergence such as the harmony of local communities and the world in a blend of the old and the new with an exchange between producers and consumers.

• 패션비즈니스
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• 제4권1호
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.