• 한국의상디자인학회지
• /
• 제14권2호
• /
• pp.127-145
• /
• 2012

In an effort to investigate the overall trends of knit fabrics in fashion trends books, this study analyzed the components(fabric, yarn, gauge, thickness, knitting structure, pattern, dyeing and finishing) of knit fabrics in fashion trends books by the years and seasons from the S/S season of 2002 to the F/W season of 2011. Analyzed in the study were total 883 knit fabrics including the knit samples in Nelly Rodi Knitwear and Promostyl Fabrics. Collected data were put to frequency analysis with SPSS 12.0. Group mean analysis was also performed for thickness. The research results were as follows: As for knit fabrics in fashion trend books by the years and seasons, knit fabrics were most used in 2004 with similar frequency of knit fabrics among the seasons. As for fabric composition of knit fabrics, the uses of blend fabrics were considerably prominent both in S/S and F/W seasons and recorded the highest level in the S/S season of 2003 and the F/W season of 2002. As for gauge composition of knit fabrics, S/S seasons saw the most uses of fine G of 20G or higher, while F/W seasons saw the many uses of 12G-18G, which showed the highest frequency in 2002. As for knitting structure of knit fabrics, the plain stitch was used most both in S/S and F/W seasons and recorded the highest level in the S/S season of 2011 and the F/W season of 2007. As for pattern of knit fabrics, stripes and solid patterns were used most regardless of seasons. As for dyeing and finishing of knit fabrics, non-processed fabrics were used most, recording high frequency in the early 2000s.

• 복식문화연구
• /
• 제30권6호
• /
• pp.779-798
• /
• 2022

The purpose of this study was to propose the direction of veganism-based fashion design in environmental and animal protection through the theoretical consideration of vegan fashion and the analysis of the practical design characteristics of veganism in Stella McCartney's fashion. The research was conducted through literature research and case studies. After investigating the concept and characteristics of vegan fashion, focusing on previous studies and various fashion-related Internet data, Stella McCartney's fashion was examined with particular attention on vegan characteristics. The results of the study are as follows: First, imitative nature pursues animal and environmental protection, but the motif or appearance is a characteristic of pursuing a multi-purpose design that imitates animals and nature. Second, expression of value is based on slow fashion, simplicity, and sustainable minimal design. It is expressed indirectly by pursuing permanence, simplicity, and long-wearable design, or directly expressing vegan values through phrases expressed in performances or costumes in the collection. Third, alternative eco-friendliness is characterized by using cruelties-free materials such as faux fur, recycling materials, new bio-materials, and regenerated materials. These vegan characteristics are comprehensively and organically expressed in the works of the collection, and through this, sustainable and eco-friendly vegan fashion is pursued. It is anticipated that by deriving the vegan fashion characteristics of Stella McCartney, who represents vegan fashion, it will be possible to provide the basis for practical direction and design methods for fashion brands aiming for vegan fashion styles.

• 한국의상디자인학회지
• /
• 제6권3호
• /
• pp.111-121
• /
• 2004

The influence of the 'well-being' trend on the every day life of our society can be found by recent books, articles, and magazines. The purpose of this study is to analyze the well-being trend and its effect on the current knitwear fashion. The results of this study can be summarized as follows; (1) The 'well-being' trend is very different from the past life style and it will be a preceding life style in 21st century. (2) The preference for organic food and the promotion of 'colorful menu' came from the 'well-being' trend. And, the yoga, zen, meditation, aroma-therapy, spa, and massage are also under the influence of 'well-being' trend. (3) The Neo-Hippie look and Neo-Vintage look are connected with the 'well-being' trend. (4) The influences of 'well-being' trend on the current knitwear fashion are shown in the hand knitting (bulky knit & crochet), twin sets including cardigans, hand crafted details, natural colors, and natural materials.

• 한국의상디자인학회지
• /
• 제10권3호
• /
• pp.1-13
• /
• 2008

The purpose of this research is to study the cause of obstruction in various knit pattern structures by understanding the needs of the customers, and to develop knitted fabric goods that satisfy the individual taste of consumers and that reflecting the latest fashions. Actual conditions of the manufacturer's designing processes must be examined. In addition, a comparison analysis of fashion sensibilities and preferences between producers and consumers had been made in order to study developing knit pattern structures. Questionnaires and interviews had been used as research methods. The research involved two groups: one group consisted of 57 producers, which included designers, programmers, and merchandisers working for a knit manufacturer in Seoul, while the other group consisted of 74 consumers, which included students with knitted fabric design as their major and those who have working knowledge of knitted fabrics. For a more accurate evaluation, 28 out of 150 patterns have been selected through a preliminary study conducted by 24 designers. On the 28 knit patterns, a sensibility evaluation had been made through the use of the sense of sight and sense of touch, which was followed by a frequency analysis, cluster analysis, and t-test using SPSS 12.0. The results are as follows: the fashion sensibility evaluation on knit patterns showed that structures, such as racking II or lace II, are typically elegant ('elegance'), while structures, such as links I or racking I, are typically 'active.' Furthermore, a 'country' image was displayed in structures such as cable I, cable II, and miss II. Links I appeared as 'sophisticated'. Miss I and milano were said to have 'modem' images. Lace II was regarded as 'ethnic', while racking II was said to have a 'romantic' image. 2:1 rib and milano were generally thought to be manly ('manish'). The fashion sensibility scale for each knit pattern has been made based on the above results. Based on producer and consumer responses, the sensibility evaluation on knit pattern structures showed that the two groups had similar preferences in knit pattern structures. Therefore, the fashion sensibility scale developed in this study can be used as a basic data for structure development when designing knitted fabric goods.

• 복식
• /
• 제59권6호
• /
• pp.106-117
• /
• 2009

The purpose of this study is to present a new vision for high value-added knit wear design by designing and producing knitted one-piece dress by digital textile printing which based on digital making a new industry, culture, and lifestyle in a new millenium. According as casual fashion is more and more popular, preferring knit wear, a key item of casual fashion, continues to increases. Therefore it is important to study knit wear design practically, try a new technique, and represent creative designs. As a method of the study, visual and textural data were investigated for theory of knit and DTP and a variety of knit design samples were illustrated Especially, to perform a study based on the industry, this researcher worked and experienced at J fashion Ltd., knit wear promotion company. Firstly, the theory of DTP was investigated and then 3 knitted one-pieces were designed and produced. The concept of design was digital geometry which represented chic and modern image in digital age. Target was city adult group from the late teens to the late twenties and keeping open mind and active lifestyle and enjoying the activity and unique characteristics of knit wear. This study has developed knitted one-piece design by DTP technique which has been generally applied to woven fabric. This is of great significant in opening a new way of high value-added knit wear design.

• 복식문화연구
• /
• 제26권3호
• /
• pp.390-408
• /
• 2018

The number of hand knitters has increased dramatically in the past few years. Recently, various hand knitted items have been seen in many fashion collections. The main purpose of this study is to analyze the design features of hand knitted items in the collections from Daniela Gregis. This brand was selected because it featured knitted items in its collections every season. An empirical analysis about form, material, color and knitting technique was done for hand knitted items from Daniela Gregis' collections from 2012 S/S to 2018 S/S. The results can be summarized as follows: In terms of form, garments such as pullovers, cardigans, and shawls used basic components, and accessories such as bags, mufflers, hats, and decorative pieces had various shapes. In the material, there were many items that expressed unique textures by combining various materials such as a mix of fabric and yarn. With regards to color, orange, yellow, and red were mainly used as accent colors, and combinations of two or more colors were prominent in the items. In terms of knitting technique, the methods used in the collections were mostly simple and basic. Among various techniques, plain knitting, garter knitting, and single crochet methods were mainly used. While this study is limited to the characteristics of hand knitted items from a single brand, therefore cannot be generalized for all knit fashion, the study provides basic data that could facilitate the revitalization of the hand knitting industry and expand the application range of hand knitting techniques.

• 패션비즈니스
• /
• 제10권1호
• /
• pp.1-19
• /
• 2006

The purpose of this study is to investigate the social and cultural background of hand-knitting things with handcraft feeling which is appeared conspicuously after 2000. And to analyze the types and characteristics of hand-knit design. The resorts of this study is as follows: First, it is found that the pattern of stitch in their forms and ornament technique of handcraft feeling are the remarkable factors to decide the specific designs in the most of hand-knit designs. The major forms are plain stitch, rib stitch, cable stitch, lace stitch, relief stitch and pile stitch and the ornament techniques such as patch work, fringe, embroidery and collage are being widely used. Second, after 2000, due to peoples' preference for handcraft feeling manufactures, pursuit trend of artless luxury by retouch appeared, it made feeling for recurrence of the past and the warm humanity. In addition, the pro-eco trend using pro-environment materials and capturing the nature as images are on its way to advance. Through the mix & match of materials, details and items, it becomes possible to express many kinds of images. Thanks to those characteristics, the hand-knit designs are now acknowledged as luxurious with the couture sense attached and are shaking off their previous image of recycling.

• 패션비즈니스
• /
• 제5권1호
• /
• pp.131-144
• /
• 2001

The purpose of this study is to examine the type of stitch and designs of knitwears using handcraft ornament techniques. This paper will also go on to develop and merchandize high value generated by design development. Knit is largely divided into weft knit stitch and warp knit stitch which are respectively woven by weft knitting machine and warp knitting machine. For clothing, circular knit and flat knit are frequently used while plain stitch, rib stitch and purl stitch are perceived as the basic stitches. Denbigh stitch, cord stitch, atlas stitch, which belong to tricot stitch, are the basic of warp knit stitch. There are also numerous fancy fabrics adapting the previously mentioned stitches and these are made into solid pattern and yarn dyed pattern. The handcraft ornament techniques in knitwears design are embroidery, beads, sequin, stone, printing, applique and fringe, etc. By applying these techniques thus creative expression, which cannot be expressed in other fashion items, is feasible. The women's knitwears are tries by mixed and various techniques, develope to high value knitwears, escaping from simple and practical items.

• 패션비즈니스
• /
• 제3권4호
• /
• pp.113-129
• /
• 1999

The purpose of this study is to discover the changes and characteristis of modern knitwears from the 1920's to the 1990's. The result of this study is as follows: The popular knitwears in the 1920's had a simple boxy-line and modern unisex image with a sporty look. The knitwears in the 1930's-1950's had seen more short, feminine detail and texture, fit silhouette with syntheyic fibers. In the 1960's, the knitwears of sporty look and unisex style was popularized by young peaples, and crochet with handkniting by the fiber artists was popularized. In the 1970's-80's, the layered looks and unisex styles of knitwears were popularized by influence of a ecology mood and a woman movemant. And various patterns was developed with the computer machine. The items of outer knitwear was increased by the use of fancy yarns and the knitwears as the total fashion was popularized. In the 1990s, the knitwears had a very forceful characteristics by the mixed style and the technique of design developed into the post-modernism. The key words of the character of the modern knitwears are funtional pursuit, unisex, high value, hightechnique, art. By the change of the life style and the develope of technical innovation, the knitwears will be the key item to leading the fashion in the 21th.

• 한국생활과학회지
• /
• 제19권5호
• /
• pp.873-882
• /
• 2010

Knitwear has become a part of fashion since aristocratic trend-setters of Medieval Spain and France began wearing luxurious silk stockings. However, in more recent times knitwear emerged as a fashion item in the early 20th century when jersey two-piece Channel dresses became popular amongst the French upper classes. Knitwear then evolved into genuine going out clothes through Sonia Rykiel in the 1970s. Sonia Rykiel has made a great contribution to developing knitwear, which she transformed from being used only in informal dresses or clothes for home wear, to a boarder in use in high-quality dresses such as those worn at parties. Unlike most designers who tend to make very different styles each year, she has restricted her clothes to those made with knitwear. The study examined the designs and formative characteristics of her knitwear in order to clarify why Sonia Rykiel's knitwear fashion is apparently so timeless. Results showed that her garments consistently used black oriented color combination, strife patterns, intarsia techniques and application of diversified subordinate materials and other materials that overcome earlier limitations of knitwear. In addition, her designs consistently express the typically Parisian sophisticated urban femininity through practicality, sensuality and playfulness. Overall, her fashion has shown that it exists for women in action through practical design within the scope of demode, the philosophy in her early days, and it has led her to hold great power over knitwear fashion for the past 40 years.