• 복식
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• 제56권7호
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• pp.115-125
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• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.

• 한국의상디자인학회지
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• 제14권2호
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• pp.1-10
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• 2012

Clothing design is one of design products for human, the end user and corresponds to artifacts. Sometimes artifacts with one mono module exist, and so does artifacts assembled and combined with multi modules of same shape and size or various shapes and sizes and thus all design products can be understood by modularity concept. The purpose of this study was to make a new suggestion for the clothing design and production of high uniqueness and creativity by reviewing and synthesizing the foundation of clothing modularity concept as the original clothing design figures from the history have shown various modularity concept evolution from mono module to multi module stages. The methods of this study were to identify clothing modularity and analyze the type, evolving direction, and category of clothing modularity, and the value of clothing modularization design through comprehensive literature reviews on topic-related books and theses. The original clothing figures with Significance from the clothing history were analyzed in evolution sequence for application direction and value of clothing modularity in flat pattern. Clothing modularity in ancient clothing figures was classified as three types of the fixed, drapery, and straight lined in evolving direction from clothing of mono module to flat patterned clothing. The direction of clothing modularity was identified as mono- dual-triple-multi into another level of multi modularity after intentional devolution. The categorization of clothing modularity was identified in terms of clothing flat construction, clothing design construction, and clothing form modeling. The value of clothing modularization design using clothing modularity was identified as economical efficiency, convenience, promptitude, adaptability, functionality, and creativity.

• 한국의류산업학회지
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• 제14권3호
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• pp.347-362
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• 2012

The analysis results of the characteristics of children's clothes for school girls from the 2006S/S-2010S/S collections reveal that the most frequent type of item composition was 2'PS & 3'PS. T-shirts were the popular kind of item for upper garments and pants for lower garments. The major silhouettes were H and A line. The predominant neckline was U, which was followed by camisole and V. The major collar styles were stand-up and flat. Chromatic colors were used more than achromatic ones and after white the most popular colors were blue, pink, red, black, navy, and green. The dominant color scheme was a two-color or three-color scheme. The percentage of solid and patterned material garments was the highest and the most popular pattern was flowers. The most popular style of garment had no decorative detail that was followed by one-item, two-item, and three-item decoration. The major kinds of decorative detail were frills, pleats, and prints.