• Proceedings of the Costume Culture Conference
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• 1998.09a
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• pp.60-63
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• 1998

• Archives of design research
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• v.19 no.1 s.63
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• pp.303-316
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• 2006

Eclecticism, fusing and mixing heterogeneous and contrasting elements to create a new awareness of beauty, is based on diversity and pluralism, and as such fits well with the demand of the contemporaries who pursue individualization and diversification, which explains the current vogue for Eclecticism. As a precondition to grasp eclectic styles that are expressed in modern textile design, this study looks into the characteristics of eclecticism in modern art and applies the insight so gained to textile design in an attempt to understand transformations of modern textile design by considering the aesthetic effects and plastic characteristics suggested by the new trend. The result of our research indicates that the trends that characterize modern textile design can be divided into three categories as follows: 1) Mixing of high culture and low culture through cultural fusion, 2) Fusion of differing sensitivities through blending of times, 3) Blending of regional characteristics through geographical mixing. Characteristics of textile designs as influenced by these trends can be summarized as: 1) a conversion in the way textile designs are viewed, 2) increasing emphasis on the playfulness of representation and 3) multi-cultural expressions. In short, eclecticism of textile design represents a phase of modern society that is increasingly oriented toward multifacetedness and points to a direction for a new possibility of future textile designs, necessitating a continuous research along this line.

• Journal of Fashion Business
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• v.16 no.2
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• pp.138-150
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• 2012

Nano Inkjet DTP technology, a new technology introduced recently, can be applied to various types of fabric, and pre-treatment process can be omitted, which makes the whole printing process compact. Some important factors for DTP are color difference between the color selected by the designer on PC and the color on the final product and durability of the final fabrics. In this study, the twenty-three trend colors of 2012-2013 F/W suggested by PeclersParis have been picked to be printed on cotton, silk and polyester fabrics, then K/S and ${\Delta}E$ value and color fastness were measured. The results show that dyeability of fabric is varied for each color group, and that also tone of color affect to dyeability when measured for colors in the same group. In general, for all fabric, light fastness, washing fastness and color fastness to sublimation are outstanding. However, because of poor rubbing fastness, additional treatment to fix colorant on fabric is required.

• The Research Journal of the Costume Culture
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• v.22 no.3
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• pp.481-502
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• 2014

This study intended to identify the relationship between textile print designs for local apparel, and fashion trends. This was achieved by extracting trend key words and analyzing apparel textiles. The fashion trends and print trends from the 2010S/S season to the 2013F/W season as projected by two trend forecasters, the Samsung Fashion Institute and First View Korea, were extracted for a comparative analysis. In terms of clothing patterns, a total of 1,582 print designs purchased by local apparel brands targeting women in their 20s and 30s from print design companies including Italy's NEWAGE, MyDesign and England's Pattern, were analyzed. After classifying the designs according to the trend key words which had been extracted, the demands by season, trend dependency, and design preferences were analyzed to produce the following results. The major key words for textile print designs from the 2010S/S season to the 2013F/W season were Check & Stripe, Flower, Geometric, Natural, Ethnic, and Graphical. Patterns corresponding to those design key words were more prominent in recent designs. Considering the trends by season, the designs presented in the F/W season were found to be more likely to correspond to the trend key words than those in the S/S season. A general preference for nature-inspired designs was also found in the local print market.

• Fashion & Textile Research Journal
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• v.14 no.4
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• pp.567-577
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• 2012

This study investigates how the type of fashion shopping orientation influence the selection criteria, attitudes, and preference of fashion products developed through collaboration. For data collection, the study conducted a survey in the Seoul and Metropolitan areas. The results are as follows: 1. Shopping orientation was identified with seven factors: pursuit of pleasure, trend, planning, uniqueness, famous brand, economic efficiency, and conspicuous consumption. Attitudes toward the collaborated of fashion products could be classified into two factors of reasonable ostentation and aesthetic value orientation. 2. The shopping orientation of the pursuit of trend is related to reasonable ostentation; in addition, the shopping orientation for the pursuit of uniqueness and economy is positively associated with an aesthetic value orientation. 3. The factors of fashion pursuit had a great positive effect on their preference for collaboration type among fashion brands and the factors of uniqueness and pleasure pursuit had a positive effect on the preference for collaboration type with fashion designers and artists. This showed that the pleasure pursuit factor had a positive effect on the collaboration type preference for celebrities. Fashion companies may be able to establish effective merchandising and marketing strategies that fit the characteristics and types of fashion collaboration.

• The Research Journal of the Costume Culture
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• v.18 no.6
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• pp.1179-1193
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• 2010

For a good design, it is important to understand consumers and trend of textile and fashion design. Previous researches on textile pattern design with CAD have been done. They have studied on Korean traditional floral motives/hand painting or some geometric patterns. Few studies have been done on conversational design. Therefore the purpose of study was to observe types of textile pattern design for the recent fiver years and determine fabric pattern trends, especially on the conversational motifs. The types of patterns were analysed with professional panels from the 2005～2009 collection sources, using SPSS program. This study was also develop textile patterns creating using CAD. We conducted design process on motif creating, repeat, and mapping jobs, using textile special design program Prima vision and Photoshop CS3.

• Archives of design research
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• v.20 no.1 s.69
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• pp.229-242
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• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.844-855
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• 2005

The purpose of this paper is to examine which fashion brands are most likely to be investigated by Korean textile firms when they conduct their market trend analyses. The result shows that for the domestic sales, textile firms are most likely to collect and analyze information on the Cheil Textil Co. It is followed by Bean Pole, Chanel, Buberry, Tomboy. For the future domestic sales, textile firms prefers referring foreign fashion brands such as Burberry, ZARA, MaxMara, Missoni, and Chanel. Textile firms majoring exports prefers collecting and analyzing information on D&G followed by Chanel, Gucci, and DKNY. This preference, however, differs when considering exporting areas. Textile firms targeting the French market considers Gucci, followed by Ferragamo, Dior, Louisvuitton. Textile firms targeting the Italian market prefer Chanel, followed by Valentine, ZARA, Gucci, and Armani. Chanel is also top brand for the North American and Japanese markets, and followed by GAP, ZARA, OZOC, Missoni, Munshing Wear. The information content collected and analyzed by textile firms is style, pattern, color, and textile materials for textile firms targeting the domestic sales, while the exporting firms prefer information on color and textile materials proposed and presented by the fashion brands to which they prefer to make reference. The result of this study can be used to effectively and efficiently collect and analyze market information on fashion brands for textile firms majoring the domestic and foreign sales.

• Fashion & Textile Research Journal
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• v.6 no.3
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• pp.285-296
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• 2004

Fashion business must reflect the seasonable fashion trend because fashion has change always, and therefore fashion business has a big risk at the attribute. Careful consideration should be given to the selection of a particular color code to meet the purpose of marketing research in various color products. It must be designed to grasp systematically and comprehensively the current trend of colors. The most suitable color code for meeting this proposition would be one based on the designation by color ranges. The ISCC-NBS method of designating colors, published in 1955, was established by dividing the color solid into 267 color name blocks. The detailed classification like the ISCC-NBS system is very appropriate to serve the purpose of giving all color names according to color ranges. But it is somewhat too complicated to answer the purpose of surveying the trend of colors and of comparing and evaluating the ups and downs in the popularity of the range of each individual color. I have worked out the most convenient method of designating colors in accordance with the type of investigation needed. It is the classification which involves four classification system in itself, fundamental, gross, medium, and minute. The fundamental classification system classifies hues and neutrals into 16ranges. The gross classification system divides the above 16 ranges into 30. The medium classification divides the above 30 ranges into 103 in terms of tones. The minute classification divides the above 103 ranges into 207 in terms of specipic hues.