• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.27-34
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• 2006

Flexibility, love of symbols, small size-these are all qualites that accompany the proclivity towards compactness in Japanese culture. They developed and have been refined to an unusual level in Japan partly out of the necessity to use limited space economically, but these qualities also characterize the aesthetic preferences of the people. Because space is so precious, it receives a great deal of attention in every aspect of life. Over the centuries Japanese have devised innumerable ways to use space that are ingenious in their successful combination of pragmatism, harmony, and beauty. Folding, stacking, rolling, nesting, carrying, consolidating, miniaturizing and transforming are some of the techniques for living that have created the compact culture. Folding allows a one-dimensional object to be placed in prescribed small space. Stacking objects of the same shape makes use of vertical space, saving valuable horizontal space. Rolling an object reduces it to a tidy cylinder without creasing it, creating yet another form of repose for functionally flat things. Nesting several identically shaped objects of graduated sizes is known as ireko. Carrying things by hand makes them available for any occasion, by plan or on impulse. Consolidating is to bring together the multifarious systems of living into an integrated whole. Miniaturizing things is a way to bring even the universe down to the scale of a human hand. Transforming the face of things is another notable propensity in the Japanese life style. Each one is put to use in countless ways, suggesting principles and conceptions that encapsulate the wisdom of tradition. In this study I wishes to investigate the principals of Japanese traditional design and the applied case in fashion goods.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.43-55
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• 2010

The major advantages to use CAD System are that it reduce time and effort to manufacture products, and also can demonstrate the condition of the final product prior to the actual manufacturing process of the selected design using the simulation programs in CAD system. Specially in weave design, for use as Computer-Aided Weaving system, the complicated Dobby weave can figured out easily through calculating the complex weave plans of multi shafts. As to one of dobby weave structures, Supplementary warp is the warp threads which are in addition to the regular warps of the woven fabrics, and used for decorating the band or expressing some patterns. The purpose of this study is to research the weave design of Supplementary warp using Computer-Aided Weaving system, which is dobby weave design program of Weave Point. For performing this design study, it was researched the classified woven fabrics depending upon weaving processing, Computer-Aided Weaving system, and the characteristic of Supplementary warp fabrics. On the basis of the theoretical research, Supplementary warp was worked for the 24-shafts AVL computer dobby loom that applied to the various patterned images. The design work was done by Weave Point program of dobby weave, and simulated to fabrics before woven into the computer dobby loom. To see the visual images of fashion items, these simulated bobby fabrics were processed by three-dimension modeling through YoungWoo CNI CAD system. All the patterns of the Supplementary warp in this study could be applied for decorating the fashion clothing and accessories.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.59-68
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• 2007

"Aloha" is the Hawaiian word that extends the warmth friendliness, and pride of the Hawaiian people to their island's visitors. The aloha shirt truly symbolizes aloha sprit to islanders and visitors alike. The earliest foreign settlers in the Hawaiian Islands were the Chinese and Japanese. They brought with them their myriad talents and trades, among them the art of tailoring. In July of 1936, a shirtmaker named Ellery J.Chun coined the term "Aloha Shirt" an apt characterization for such an eloquent garment. He was the first to make the shirt on a commercial basis. The shirt sold for as little as a dollar in Chun's own King-Smith store. The genuine aloha shirt is now regaled as a work of art and avidly sought out by collectors. When tourism came to Hawaii in the late 1930s, these unusal shirts were among the first thing that visitors had to have. Local designers and tailors worked quickly to meet the demand and began to expand the range of decoration to include palm trees and romantic beaches, tropical jungles and volcanoes, exotic flowers and scenes from polynesian legend. Therefore the aloha shirt had been born. The functional use of creative colors and amazing artistic renderings in these shirts certainly capture the simplicity and sprit of Hawaii. Aloha shirt is dress that display mystery and charm of Hawaii and cultural symbol of condensed Hawaiian mind. Furthermore, the innocence with which Hawaiians formerly translated their life and heritage onto fabric ranks these shirts with the finest of American folk art. Aloha shirt is made from cotton, silk, rayon in present and past. Most important design element of Aloha shirt is print pattern. Main print pattern of Aloha shirt are all over pattern, horizontal pattern, border pattern, Japanese pattern, picture pattern and back panel pattern. In this study I investigate the design characteristics and development process of aloha shirt.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.29-39
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• 2011

The purpose of this study provides a high consumer-oriented wedding dress on the consumer and offering the consumer-oriented product and provide a basis data to develop a wedding shops so it can stable and manage of effective marketing. Wedding shop for a survey of consumer preference, and based on this wedding dress designed and made. The results are summarized as follows. First, when wearing wedding dresses and "graceful and feminine" image that seek to pursue an image that showed the highest response, "simple and stylish", "cute and vivid" image was in order. In the survey of wedding dress preference, lace is preferred, in tone of color white is preferred by and large. In silhouette, A-line is preferred most, in neckline, exposure of the shoulder, in sleeve length, sleeveless, in decoration, beads. Second, on the basis of these results, depending on the image to pursue the design, wedding was made of 3 creations. The work I is a target of the early 20s, the concept "simple and stylish", and A-line is adopted in silhouette focusing on modern simplicity, soft satin material used of high class. The work II is a target of the late 20s, the concept "cut and vivid", and fit-and-flare made of many folded tulle mesh material. The work ill is a target of the 30s overall, the concept "graceful and feminine", and high-waist- empire-line is adopted in silhouette, splendid lace material used, is of the gorgeous and mature beauty.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.2
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• pp.93-102
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• 2003

With respect to this research, the College of Arts and Design, Kon Kuk University founded Design Venture of KKU(Kon Kuk University) in July 2001 as an approach to tackle the issue on how to accept and respond to the waves of changes in paradigms of the 21st century represented by information revolution. Such move is to cope more effectively with the changes in the current educational environment with an aim to secure the competitive edges compatible with the conditions of each college under the uniform and standardized educational systems. Even the professionals in the design fields of this country try to find the significance in bringing out in the open the latent creative talents of the students by improving the quality of our daily necessities and putting the students through more practical training, and in creating international competitiveness of our design field by encouraging the students to gain more diverse experiences. Therefore, the purpose of this research is to present the approaches to revitalize Design Venture of Kon Kuk University which has been managed as part of the efforts to establish the new identity for the design of this country in the 21st century, and to present the new model for an enterprise which, rooted in the College, can grow into a high value-added business. The methodology for this research is based on the case study of Design Venture of Kon Kuk University and investigation into the literature. The contents of this research include the following three steps. Firstly, initial research is made into the background for founding the College of Arts and Design which had been promoted as a differentiated strategy for the long-term and short-term development plan of the College of Arts and Design, in Chungju Campus of Kon Kuk University. Secondly, the basic strategy for Vonchi, brand of Design Venture of KKU and the brand launching process are examined. Thirdly, Various approaches to revitalize the Vonchi brand recognition are collected and analyzed to present the conclusion and the alternative. Such research findings as given above on Design Venture of KKU may satisfy diverse consumer-oriented requirements on the strength of the characterization and differentiation of the college and may enhance the competitive edge of the college.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.117-123
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• 2008

When it comes to clothing design, after the mid 20th century some internationally renowned designers began to recognize the pivotal role clothing materials play in attracting the hearts of customers. Accordingly, they started to take advantage of new clothing materials in the sector of clothing design. While the theme of fashionable clothing products shifts from style and color to clothing materials, fashion designers place the quality of materials at the center of clothing designs. Fashion designers also realize that good quality of materials should be used to boost the value of products as well as to satisfy the conditions of creativity, practicality and aesthetics. In particular, as the non-apparel industry in which clothing materials are the most important aspect between fashionable color, silhouette and details is enhancing their attention to develop various materials in order to meet the needs of customers, the fashion industry places a high premium on textile design which is the pinnacle of expressing emotion on clothing materials. In addition, the industry raises awareness of developing more sophisticated and differentiated materials. Our thesis covers the way how to apply $moir{\acute{e}}$ pattern to clothing design on the basis of research. In order to put that research into practical use, we produced textiles which effectively display $moir{\acute{e}}$ pattern. Before this process, we tried to ensure that radial grating created $moir{\acute{e}}$ pattern effects. To this end, the weaving process was applied, depending on whether light can penetrate textiles or not. Then, we manufactured test-products using $moir{\acute{e}}$ pattern.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.3
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• pp.73-84
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• 2015

Analysis of design preference to Korean and Chinese casual style were made targeting Chinese female students in Korea. The following conclusion was derived from the result of final 300-copy survey data, using SPSS 18.0 program. The data were analyzed by frequency, t-test, chi-squre independence test, ANOVA and Scheffe test. Firstly, when comparing change of design preference before the stay in Korea with after the stay in Korea, the biggest change in their preference was character casual style, while the least change was easy casual wear. In terms of duration of stay in Korea, the biggest change was from the group of over 3 years, and in the order of the group of 1-3years, and then lastly less than 1 year, which suggests that the longer the duration of stay, the bigger the change. When comparing preferred clothing color before the stay in Korea with after the stay in Korea, both before and after the stay in Korea had the highest preference for achromatic colors. The frequency of change was mostly from achromatic color to other colors. In the preferred clothing pattern, 'plain' was their favorite one before the stay in Korea, while it turned to 'nature pattern' after the stay in Korea, followed by 'plain' one. In the textiles, the most preferred one was 'cotton', before and after the stay in Korea. However, their preference for cotton was lower after their stay in Korea than before the stay in Korea, and instead there was more preference for 'silk', 'synthetic fiber', and 'other' sources.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.1
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• pp.15-32
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• 2020

This study aims to develop contemporary fashion designs from the unique Yao minority costumes and to explore the possibility of developing creative designs by using knitting materials. The research method is based on the cultural clothing and costumes of the Chinese ethnic minority, as well as literature concerning the Yao costumes and photo data to investigate the cultural background and characteristics apparent in Yao costumes. The overall design characteristics of Yao costumes are as follows. First, the shape of Yao costumes are divided into straight-lined short tops with pleated skirts or shorts, or cardigan tops with pants and aprons, or long shirts, pants, and a belt. Each variant of tribal clothing is different. Second, the colors used are mainly black or dark blue, and these are accented by other colors, such as red, orange, yellow, green, blue, and white. Third, the clothing patterns are mainly in plant, animal, natural, geometric, and human, etc. motifs. The most common patterns in daily life are the patterns using geometric shapes, plants, or animals. Using the background of the unique lifestyles of the Yao ethnic minority, this study applied hand knitting and jacquard techniques for a knit fashion design. In order to develop traditional patterns, Yao patterns were entered into an Illustrator and SDS-ONE APEX3-4 was used for simulation. Using wool fibers as the raw material; the knitting machine used a Bird's eye Jacquard technique-10GG. The results of this research and design work were as follows. First, the knitted clothing design using Yao clothing elements has significance for the development and flexible use of ethnic elements in contemporary creative design. Second, the straight cut design using hand-knitted and jacquard-knit fabrics can minimize waste materials and provide more possibilities for sustainable design development. Third, it provides additional methods for the combination of hand-knitting and jacquard knitting fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.137-149
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• 2020

The purpose of this study is to identify the perception of New-Hanbok Skirts that female consumers have and to analyze the design preference based on the analysis of designs of skirt products currently in distribution. Based on the analysis of the New-Hanbok brand website, the research was conducted through a survey of 355 women in their 20s and older. The survey consisted of 24 questions which were divided into pattern, color, material, and recognition type questions. The research results are as follows. First, most adult women answered that a New-Hanbok skirt is appropriate to wear at a holiday, anniversary, or outer dress for the spring and autumn seasons, and the design is the most important thing when considering buying. However, the ratios of wearing experience and possession were very low. Second, the preferred design aspects of a New-Hanbok skirt were the Jarak-skirt or Deot-skirt, calf-length, 5cm width of the waistband, 3cm uniform crease, a normal length waistband, bright neutral colors, and a waistband in different colors. For the double skirt, the design that shows 4cm of lining fabric and the different colors of upper fabric was the most preferred. The most preferred material was plain cotton. On the other hand, small floral patterns were preferred for patterned materials, and opaque upper fabric was most preferred for the double skirt. Through this study, it was confirmed that the Hanbok is seen as a positive aspect for modern consumers.