• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.401-408
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• 2007

The study aims to examine consumer awareness of green fashion products and demographic characteristics by subdividing environmentally conscious consumers of such products in the current domestic fashion market. It then compares the result with the characteristics of environmentally conscious consumers studied by 1999 in order to understand the trend of the consumer group in the fashion market and to promote the use of green fashion products. Marketing strategies for green fashion products suggested by the study are as follows: First, fashion firms are required to develop and publicize shops selling recycled or second-hand clothing that environmentally conscious consumers show constant interest. For instance, clothing patterns may be developed to enable consumers to make their kids' clothing easily at home, and various garments made from recycled materials may stimulate environmentally conscious consumers' desire to buy. Particularly, advanced technologies should be developed and publicized to manufacture garments that can excel existing ones made of normal materials in their features in order to satisfy consumers' interest in clothing made from recycled PET bottles. In addition, various natural dyes should be developed to decrease water pollution. Second, it seems imperative to develop clothing made of recycled knitted apparel that attracts consumers' interest more than ever, fashionable multi-purpose clothing, and environmentally friendly materials. As the use of natural fur or leather can cause the endangerment of wild animals and the destruction of the ecosystem, synthetic fur or leather may be used to develop sophisticated products with the same texture as real ones to attract environmentally conscious consumers' interest.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.195-204
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• 2012

Since WWII and the Korean War, Korean modern fashion has been americanized by claiming, displacing with, and fusing with the traits of American fashion. The purpose of this study is to observe and analyze the traits of Americanization in Korean fashion, focusing on the designs of Nora Noh fashion from the 1950s to the 1980s. Nora Noh (1928- ), one of the first Korean fashion designers, who launched the first fashion show in 1956, introduced ready-made dresses to Korean fashion industry in 1963 for the first time, and later in the 1970s and the 1980s, exported Korean-made fashions to the U.S. market. For such purpose, this study first provides the theoretical backgrounds of Americanization in Korean fashion history and then conducts a case study by analyzing photographic materials. In case of Nora Noh fashion, the traits of Americanization can be defined as functionality, popularity, and hybrid. (1)Functionality in Americanized Korean fashion was expressed through simplicity, practicality, and usefulness. Noh's "homewear" style and exported silk dresses are the examples of the functionality. (2)Popularity was shown in kitsch images of materialistic and consumer culture. It was expressed in ready-made dresses and trendy styles of mini skrits and bell-bottom pants. (3)Hybrids of various multi-culture exist in American culture and fashion. In Noh's designs, traditional materials and the print patterns inspired from traditional motifs were used to add Korean nuances in Americanized fashion.

• Journal of the Korean Home Economics Association
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• v.49 no.8
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• pp.13-24
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• 2011

This paper purports to find the characteristics of blue costumes as expressed in modern fashion. As such, we made an empirical analysis, using 436 works from 2006 S/S through 2010 F/W collections. Result indicated that modernness was emphasized by applying a minimum expressive technique to items of a simple form, and an image of simplicity was emphasized by placing focus on the rational color image of blue. Second, images of blue, such as trust, stability, and success were expressed as refined elegance through the combination of tight silhouettes, glossy and translucent materials, and indirect exposure. Third, natural image was expressed through natural silhouettes, soft or natural materials, gradation of various tones, and natural motif decorations as well as the color itself. Fourth, dynamic image was expressed by introducing fashion items, mostly worn by men only, to simple and tight forms or through the inspiration of a masculine fashion image. Fifth, abstinent image was expressed by using an image of religious apparel or symbols, covering up the body, minimizing details, and using a dark blue tone.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.1-9
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• 2004

This research aims at the development of Korean fashion design for the world market, which combines the western beauty and Korean tradition into the product design focusing on the styling concept. Through the example-analysis of structural elements which form Europe and Korean fashions, the styling concepts of functional change, beauty-combination, and tradition-conservation. are derived. The results are as follows : 1. Functionality needs to be improved by the structural change and the development of new materials from the traditional materials. 2. Beauty should come from the combination of natural patterns and western-spatial allocation, as well as from the front combination of western-beauty. 3. Tradition needs to be kept as Korean beauty and representation skills in the colors, accessaries, and in the spatial design. The styling concept for Korean fashion design in this research is related to the visual structural elements, and is not expanded to the styling concept of Korean image and/or feeling. Therefore future researches may follow on these un-expanded points. and also may continue the wide comparison between the Korean fashion design and oriental image fashion in Europe.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.42-49
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• 2006

This study aims to revive modernized upstyle technique by analyzing the formative characteristics of hairstyle in Rococo ages. As a methodology, book-form literatures, periodicals, theses, and photographic materials including portraits related to Rococo ages, which had been studied from the time when Louis XIV died, to the advent of French Revolution in 1789, reaching a period of seventy-four years, were reviewed. Those materials for hairstyle revealed in modern fashion included related literatures and theses and photographs involving designers' works in fashion magazines, photographs of hairstylists' works, and movies with background of Rococo ages. Based on such materials, the formative characteristics of hairstyle in Rococo ages were studied for modernized upstyle. First, the formative characteristics of hairstyle in Rococo ages were divided and analyzed in Fontnage style, in Pompadour style Marie Antoinette style. Second, this study researched those examples wherein the characteristics of Rococo's hairstyle were expressed in modernized style, and manufactured modern upstyle works based on the research. Rococo ages featured various fashion trends and created sensitive and magnificent style with romantic theme in art field. Also, since the hairstyle in Rococo ages featured various styles that were magniloquent and magnificent, it is revived in today's hair shows and fashion shows in the same way or altered way. It is expected that this study will help understand the formative characteristics of hairstyle in Rococo ages and shed light on study on modern hairstyle in more various perspectives.

• The Research Journal of the Costume Culture
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• v.22 no.2
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• pp.339-345
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• 2014

This study analyzes and compares Hanji made with loess to Hanji made with kaolin, two yellow-based inorganic pigments, in terms of its physical properties, optical properties, and color fastness to light with the aim of using it as a fashion material. Hanji made by adding inorganic pigments showed an approximately 20% retention ratio on average. This figure was similar to those of loess and kaolin. Physical properties were analyzed, with the following results. A higher amount of additives lowered the apparent density and increased thickness and bulk. In general, inorganic pigment-added Hanji had lower tensile strength, bursting strength, and folding endurance compared to non-additive Hanji. The analysis of optical properties showed a lower brightness index for Hanji made with inorganic pigments compared to non-additive Hanji. When comparing the two inorganic pigments, the brightness of Hanji made with kaolin was higher. Regarding color fastness to light, loess showed level 4 and kaolin showed level 5 when 25% inorganic pigments on pulp were added to Hanji. Thus, Hanji made by adding inorganic pigments during the manufacturing process may perform well as materials for fashion because the additives enhanced both the color fastness to light and the bulk while maintaining the strength. In addition, Hanji dyed with inorganic pigments may have the potential to serve as materials for the fashion industry while still retaining the characteristics of Hanji.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.99-112
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• 2004

The purpose of this research is to examine the relation between the cyber environment and the contemporary fashion design by studying the formative feature characteristics of cyber character's fashion in the on-line game from the point of the contemporary fashion design. The research method is to understand the general concept of the cyber-space and characters and then is to contemplate characteristics and formative features of game character's fashion of the cyber-space mainly with cyber characters that were closely linked with features of the contemporary fashion design. As a result, the formative feature of game character's fashion of the cyber-space was to be classified into four categories; reactionism, mechanism, futurism, sensualism. First, reactionism takes traditional elements with symbolical and compromising form. Second, mechanism has a tendency of deconstruction due to its vitality and sense of velocity for objects through employing geometrical forms and new materials. Third, futurism deviates from the established framework. It makes use of high-tech materials and has surrealistic and futuristic features. Fourth, sensualism does emphasize sensual parts of the body and intends to convey aesthetic atmosphere through association of ideas. Character's fashion of the cyber on-line game is unnatural and artificial in its forms and wear for the lack of knowledge for costume's structure, and it shows just simplified design that accept extremely partial fragment of features in the contemporary fashion design.

• The Research Journal of the Costume Culture
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• v.14 no.4
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• pp.670-683
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• 2006

Such trend offers new fashion designs as a formative art with creative spontaneity. The purpose of this study is to seek to work out fashion design methods whereby fashions can be developed into an art form embracing handicraft premium textures, geometric formativeness and traditional beauty so as to satisfy the individualist expression desires of modern people who pursue practicality, originality, and beauty of simplicity. This art form also allows new images to be expressed. The corresponding methods studied include the space and technique of patchwork that can create artistry and aesthetic functionality into differentiated levels of images, and geometric ion from Mondrian' works. Fashion designs based on patchwork technique and the characteristics of Mondrian's works reveal that the patchwork technique using diverse materials is an artistic technique with high handicraft value. This technique provides new value to traditional aesthetic materials of clothing, and that Mondrian's unique designs are very effective in developing new fashion designs because they provide artistry and unique effects to modern fashion expression.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.125-143
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• 2015

This study has investigated the status of utilizing 3D printing in fashion field in order to keep up with the trend for 3D printing technology to be realized in all industries so that the materials and the modeling modes may be figured out. The following is the findings. The materials used most in 3D printing in fashion field are PA, PLA, TPU, multi-material, ABS and metal. PA, TPU and Multi-material have so much excellent flexibility and strength that they are widely used for garment, shoes and such fashion items as bags. But PLA, ABS and metal are scarcely used for garment because PLA is easily biodegradable in the air, ABS generates harmful gas in the process of manufacture and metal is not flexible, while all of these three are partly used for shoes and accessories. The modeling modes mainly applied for 3D printing in fashion field are SLS, SLA, FDM and Polyjet. SLS, which is of a powder-spraying method, is used for making 3D textile seen just like knitting. Polyjet method, which has higher accuracy and excellent flexibility, can be used for expressing diverse colors, and accordingly it is used a lot for high-quality garment, while SLA and FDM method are found to be mostly used for manufacturing shoes and accessories rather than for making garment because they are easily shrunk to result in deformation.

• Journal of Fashion Business
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• v.20 no.2
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• pp.59-77
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• 2016

The purpose of this study is to use data from studies of headdresses which might be helpful for creating new fashion styles. Headdresses in 2010 S/S-2015 S/S Paris haute couture collections were analyzed in the following categories: years, season, brand, type, color, material, and image. The types of headdresses were categorized as hat, hood, decorative or complex types. The hat type was elegant with a modern style, and coexisted with an exaggerated avant garde style. The hood type wrapped around the head with many examples having a distinctive sculpture on top of the knot. The decorative type varied dramatically in form and materials. The complex type was a blend of all the other types with the designer's individuality being outstanding. The characteristics of headdresses were revealed first, as an enlargement of the materials category, second, as an expression of dramatic forms, and third, as complete coordination of the creative fashion image. The headdresses illustrate the designer's creativity in producing a variety of images. Henceforth they will be important as fashion items and independent designs in fashion styling.