• The monthly packaging world
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• s.250
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• pp.106-113
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• 2014

한국상품문화디자인학회가 주최, 진행하고 있는 국제디자인공모전은 차세대 디자이너로서의 자질을 개발, 향상시켜 디자인 분야의 경쟁력을 강화하고 저변확대를 위해 진행하고 있는 공모전으로 'Red Award'라 불린다. 아이덴 분야를 비롯해 환경건축, 제품, 공공, 환경, 그래픽, 패션, 디지털컨텐츠, 일러스트, 및 패키지 관련 SP 분야로 나누어 시상하고 있다. 본 고에서는 지난 달 21일에 열린 국제디자인공모전 시상식에서 수상한 디자인 가운데 패키지관련 부문 수상작을 일부 살펴보도록 한다.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.155-166
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• 2002

The purpose of this study is to investigate the types of jeans fashion in the basis of designer brand. and to analyze the symbolic characters of jeans fashion. Designer brand re-established jeans fashion by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion. and escaped from fixed idea on materials and design. This study divides the types of jeans fashion within the designer brand into classifications of Hippie style, Punk style, American Street style, Neo-classic style, and Grungy style. Today, reinterpreting the resistant image of jeans fashion, designers creates the various styles and also restores the upscale image of it. The symbolic characters of jeans fashion are summerized as sexuality, deconstructiveness, conspicuousness, humour, and multiculturalism. As the results of the symbolic characters of jeans fashion in the new Millennium era will suggest the wide aesthetic expression and continue to influence a more diverse jeans fashion trends.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.53-65
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• 2004

As the contemporary public consensus prefers individuality to classical things, they have gotten sick of the universality and pursue fashion anew. As a result the new concept of artistic value delivers a shock to ordinary and traditional images. The bizarreness culture of fashion contains two extremes, horror and humor. which make people uneasy but amused by sensuous descriptions. Bizarre things captivate the audience regardless of the violent stimuli. The conversion of aesthetic consciousness is brought accordingly by horror and humor. In this paper, It is discussed that the concept of history of bizarreness and the social effect from its phenomena in current fashion are expressed through the two methods above. The bizarreness phenomena in current fashion is shown as a new hybrid type which has been recreated and came out of the internet. This phenomena has caused abnormal results and ironically mixed products, what was once directness, violence and disgust, are on the other hand enjoyment and amusement. A widening field, the bizarreness phenomenon, as an important implication in which can completely change the current trend, will be on track as a crucial concept representing contemporary cultures.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.1
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• pp.39-45
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• 2006

본 연구는 웹기반 3차원 패션몰 구축에서 의류에 대한 정보를 보다 세부적이고 전문적인 정보로 제공하기 위하여 의상 정보를 2차원 재단 패턴의 피스(piece) 정보로 구분한다. 구분된 피스는 의상에 따라 상하종속관계에 해당하는 피스정보별 상세정보를 가중치에 따라 검색하여 SVG(Scalable Vector Graphics) 파일 형태로 제공하도록 설계하였다. 이러한 의상 상세정보를 통해 디자이너가 의상구조의 다양한 조합으로 새로운 제품 디자인이 용이해지고 유사한 형태의 의상 표현이 가능해진다. 이를 통해 패션몰 상품에 대한 전문가적인 의상 분석도 가능해진다. 또한 SVG 형식의 파일을 이용하기 때문에 부하가 많은 쇼핑몰의 정보 표현에도 용이하다. 이를 위해 구축된 정보는 XML로 표준화 할 수 있도록 DTD(Document Type Definition)를 정의하여 검색 시스템을 설계하였다.

• Journal of the Korea Society of Computer and Information
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• v.9 no.1
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• pp.45-54
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• 2004

A CAD and diagraming program of clothing and fashion design field within the country variously exist, but this paper implements design CAD and diagraming system based on diagraming piece with database system. Proposal system can be used quickly and easily to designer because of providing various diagraming piece. intend to utilize the data to diagraming piece provide with various classification and key word. 2D fashion design system provide GUI, various drawing tool, vector type document. application data based on XML, diverse library and easy mapping capacity for user.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.17-27
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• 2007

The goal of the study was to research how the japanese fashion effects on the japanese fashion's current. This study was processed by the 'wabi', 'sabi', 'tsu', and 'iki' which were the foundation and core of the japanese traditional culture. This study also investigated the japanese style to help the recognizing of traditional design which needed for internationalization and informational periods. The review of related literature is presented under the following headings : (a) japanese culture, (b) japanese beauty, (c) japanese style, (d) japanese fashion designer. Conclusively, Japan complete unique design of world by on the basis of own tradition and beauty of japan which were revealed on the their common daily life. So To help there cognizing of traditional design which needed for internationalization and informational periods, fashion designer of the world must research the meaning of the trend and motive power of the world fashion, base on the cultural back ground of their country. And for this, the grounding educational curriculums for fashion designer include the process which can promote awareness of their country's culture, tradition, and beauty.

• Journal of Fashion Business
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• v.16 no.2
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• pp.124-137
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• 2012

This study aims to identify the meaning and formation cause of a style, and the essential elements of style formation, through psychobiological research as well as an analysis of the designs of Iris Van Herpen, a fashion designer, who in just 6 years has developed into a world-renowned new designer. As a result, it has been found that the psychobiological causes to form a style stem from the action of 'long-term memory', which is consolidated by 'selective attention', 'perceptional subjectivity', the principle of the 'neuron's connection specificity and invariance', and the principle of a 'neuronal signal's unilateral flow'. With such action, Herpen could develop her own original composition techniques. The formative shapes created by such composition techniques are characterized by enumeration, superposition, and hanging. The study has also found that the essential elements for a designer to be able to form his/her own style include 'aesthetic originality' in which the designer views the property of a thing from his/her inherent perspective, and finds the uniqueness from the thing that only he/she can express, 'technical differences' that are creative and original, and 'formative specificity' that is summarized into one property through an impressive shape.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.806-823
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• 2023

The aim of this study was to analyze the design characteristics of Chinese fashion designer Feng Chen Wang and interpret their implicit meaning from a neo-deconstruction perspective. A review of domestic and foreign literature, outlined the develop- ment of deconstruction and neo-deconstruction, with neo-deconstruction's aesthetic features termed 'traditional fusion', 'positive playfulness', 'open communication', and 'multiple inclusiveness'. These features informed an analysis of Feng Chen Wang's fashion design. Four key findings emerged. First, 'traditional fusion' combines traditional Chinese colors, items, handicrafts, and patterns with modern design to break down boundaries between past and modern, tradition and fashion. Second, 'positive playfulness' promotes creativity and fun, using bright colors, exaggerated accessories, and playing withthe composition of traditional clothes to create a positive atmosphere. Third, 'open communication' emphasizes design that combines practicality and creati- vity in response to consumer needs, incorporating the thoughts arising from individual experiences and interest in social phenomena. Fourth, 'multiple inclusiveness' breaks down boundaries of sexuality, hierarchy, and body shape, embracing various ideas of beauty and respecting uniqueness through design that are seen as available to all. Using a neo-deconstruction perspective, Feng Chen Wang provides novel product planning ideas for Chinese fashion brands and reflects the values and meaning of modern design pursued by contemporary Chinese designers.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.191-200
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• 2014

Employees overseas have a need to prepare according to the different environments and industrial structures between countries. Therefore, to investigate qualities for fashion designers to possess when they work abroad, especially in the United States, this study compared the level of knowledge required to fulfill the work of fashion design in both South Korea and the United States. Responses from workers who are engaged to fashion design from the representative online career information systems of two countries, 'Worknet' in South Korea and '$O^*Net$' in the United States, were used as data. Looking at the result derived from the analysis of this study, first by comparing various statistical indicators, results showed the difference between knowledge level required to fashion designer in South Korea and in the United States. Even with the same type of job, because environments and industrial structures of each country are dissimilar, a different level of knowledge will be required in order to perform their tasks. Second, fashion designers in both South Korea and the United States required a high level of knowledge in the 'fine arts', 'administration and management', 'production and processing', and 'design' to perform their duties as a fashion designer. As a result, both countries have similarities that fashion designers need to possess a high level of the knowledge in areas such as 'production of products' as well as 'sales of products'. Furthermore, human relationship field of knowledge such as 'counseling', 'psychology', and 'communication' appeared to be more necessary to fashion designers in South Korea than those in the United States. On the other hand, higher degree of knowledge of 'machines and tools', ' fine arts', and 'transportation' appeared to be more necessary to fashion designers in the United States than those in South Korea.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.