• 한국의상디자인학회지
• /
• 제25권4호
• /
• pp.123-132
• /
• 2023

The term 'module' is an architectural term. It refers to the components or systems that make up a finished product. As industries develop, modules have become one of the methods that can create diverse and creative designs. Traditional modular fashion design mainly focused on structural methods, such as the combination, assembly, overlap, and arrangement of modules, as well as the tessellation of geometric shapes. However, in this paper, significance lies in exploring the application of shape grammar, a design method in architecture, to fashion design. It aims to search for ways to express three-dimensional designs, derive designs that can be worn and produced, and propose fashion design by applying the rules of shape grammar to the design process. Through this analysis, the paper aims to examine the methods and characteristics of shape grammar. The research method of this paper is as follows. First, by utilizing optimized programs for implementing the modules of shape grammar, it was possible to propose a method for producing modules of shape grammar and suggest module designs. Additionally, effective methods of representation using the Clo 3D program were explored in the design development process. Second, by applying shape grammar to the fashion design process, five-dimensional modular fashion designs were proposed, including a bolero, dress 1, dress 2, setup, and coat. The proposed modular fashion design using shape grammar in this paper provides a rational design process that differentiates itself from traditional modular fashion design. By formalizing the shapes between modules and creating rules, it overcomes the limitations of design that rely on the designer's intuition or sensibility and enables the development of more diverse modular fashion designs. This application of shape grammar in fashion design can provide an important direction in exploring a sustainable fashion industry.

• 한국의상디자인학회지
• /
• 제6권2호
• /
• pp.15-20
• /
• 2004

These days are referred to as 'the times of textile fashion,' owing to the emphasis on textile design in the fashion industry. Accordingly, apparel companies have increased their interests in developing new types of textiles to overcome the limits of style and silhouette. Now the ultra-fashion of textile, a new way of process and design development, is given much more attention. A Moire interference pattern has a longer wavy circle of interference, an effect of intensity interference, than one made by piling more than one reflecting plate or transmitting plate. Till now, Moire interference patterns have been used to confirm scientific theory and to measure the structure of a body or a subject in areas such as physics and medical science. Work has also been done on the Moire interference effects on TV screens said to cause dizziness and eye strain. This study focuses on the new types of textiles by creating the appearance of the Moire phenomena. Contrary to the present usual stationary patterns of textiles, it is a varying pattern according to the different gratings, different angles, piling gratings, and the movements of the human bodies. In the preceding study, we observed Moire fringes formed by overlapping two different or same kinds of gratings such as parallel line gratings, square gratings, conic gratings and semicircular gratings and tried to find a promising possibility of new textiles through the method of clothes design simulation.

• 한국의상디자인학회지
• /
• 제5권2호
• /
• pp.103-113
• /
• 2003

This paper analyses the geometric aspect of Sonia Delaunay′s works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration. One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Sonia Delaunay′s art was one of the first expressions of abstract painting and her "simultaneous contrasts" are among the earliest example of the aesthetic. In Delaunay′s geometric abstraction it is found that the technique of "simultaneous contrasts" is exploited almost without exception. Colour as well as Collage was the favourite technique Delnaunay used in creating a distinct simultaneity. Many "inobjective" paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.

• 한국의상디자인학회지
• /
• 제8권1호
• /
• pp.59-67
• /
• 2006

In textile industry of $21^{st}$ century, to develop materials and designs in fashion industry is being recognized widely as an urgent problem. In other words, the reality is that we must offer scarcity value and unique materials, and make a positive effort in a time when consumers' individuality appeals and an interest in fashion becomes higher. Felt is not only the oldest material in human history, but also a technique, and its applications are being handed down broadly. I have made various materials based mainly on a traditional felt technique using merino wool and nuno felt technique felting merino wool to cotton gauze. In nuno felt thing, I could observe that as wool and cotton was created as a single composite material, each material's aesthetic, sensuous, functional and emotional description became much more diversified. The purpose of this study is to produce fashion materials using materials with rich texture to meet the consumers' preference and diversity which are increasingly individualized, to design them and to seek possibility of developing differentiated wool materials which can satisfy the consumers' individuality demand and preference.

• 한국의상디자인학회지
• /
• 제24권1호
• /
• pp.99-112
• /
• 2022

This study analyzed how Kruchenikh's opera, "Victory over the Sun", performed in Saint Petersburg, Russia, in 1913, contributed to the birth of Malevich's Suprematism in 1915, and how the forms and features of the costumes were expressed in the opera's content. The results of the study are as follows: First, the theoretical background of the opera, "Victory over the Sun" was limited to Suprematism and non-objective art, which was divided into analytical cubism, cubo-futurism, and Uspensky's four-dimensional concept of space. Second, to reveal that Suprematism, appeared in the form of non-objective abstract art, was possible with the set and costume design of "Victory over the Sun," the set design was analyzed. Third, to reveal that Malevich's Suprematism was influenced by "Victory over the Sun," the study considered the characteristics of Suprematism in "Victory over the Sun". Finally, Malevich's Suprematism art costumes expressed in "Victory over the Sun" were divided into geometric spatial structures, images of black & white, mechanical human images, and images of warriors and the characteristics of each costume were considered. Malevich's "Victory over the Sun" showed a significant impact not only on the birth of Suprematism but also on the development of the non-objective art & costumes.

• 한국의상디자인학회지
• /
• 제26권1호
• /
• pp.77-98
• /
• 2024

The mourning attire worn by the Sangju (Chief Mourner) during Confucian funeral rituals is known as Gulgeonjebok. It is comprised of Gulgeon, Sujil, and Hyogeon on the head, and Jungui underneath. On top of the Jungui, the ceremonial garments called Choeui are worn, along with Choesang. Yojil and Gyodae are then tied around the waist. Mahye and Hangieon are worn on the feet, and a walking stick made of bamboo, paulownia, or willow is carried. A needlework master, Choe Onsun, who was designated as a Holder of Intangible Cultural Property of Jeollabuk-do on November 27, 1998, is recognized for her efforts in restoring and recreating the forgotten Gulgeonjebok. Thanks to her endeavors, the period, regional, and cultural characteristics of Gulgeonjebok in the Jeolla Province have been preserved. This study aims to examine and reproduce characteristic items of Gulgeonjeboks handed down by a needlework master, Choe, by conducting an empirical study on the dimensions and schematization of the Gulgeon, the method of cutting, and the sewing process. The empirical research on Gulgeojebok is expected to further enhance traditional sewing skills. It will also serve as a foundation for deepening the level of research on traditional dress and sharing traditional cultural heritage.

• 한국의상디자인학회지
• /
• 제13권2호
• /
• pp.147-162
• /
• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.

• 한국의상디자인학회지
• /
• 제14권1호
• /
• pp.151-160
• /
• 2012

The Purpose of this study is to examine the inner symbolic meaning of the revenge movies, forcing on , , by producer Chan-Wook Park. This study was analyzed with theoretical frames of Greimas's and Lacan's desire theory. The results of this study is as follows: Main characters of these films were tangled each their with love, desire, angry, hate and revenge. They also had desires and needs of revenge caused by deficiency. These films represented blue as sorrow, depression, frigidness, loneliness and deficiency, red as love, desire, angry, hate and revenge, black as strong will, till-eat, death, violence and bloody-mindedness and white as forgiveness, expiation and salvation. The function of colors in conveying meaning was very effected to analyzing the visual power implications and psychological effects on human feelings that colors have in the movie.

• 복식
• /
• 제55권3호
• /
• pp.150-163
• /
• 2005

Distance Learning Education has been adopted as an alternative educational method to actively face the changing educational field. Fashion design education essentially requires not only a theoretical but also a practical process in which feedback comes through personal interactions between an instructor and a student. Hence, the existing WBI system exemplifies its limitations by applying only a one-way methodology that limit interactions based only on the theoretical texts. The objective of this study was to reveal the effects of an originally designed Distance Education program factoring in a teaching-learning methodology that addresses the practical demands of a fashion design program. So It analyzed the pre-existing conditions through a questionnaire survey of 472 students and 60 fashion design instructors to determine how the traditional fashion design education is different from other programs and which method is being applied. then, It designed and applied an original web-based distance educational system specifically incorporating the needs of the fashion design curriculum based on the data collected from the survey questionnaire.

• 한국의상디자인학회지
• /
• 제22권3호
• /
• pp.63-74
• /
• 2020

Modern clothes are part of formative arts and express experimentation and originality. This tendency is especially prominent in structural fashion. This study set out to analyze structural fashion in various aspects, examining and analyzing the expressive and formative characteristics of Deformation and contribute to the development of creative fashion design. The approach of peer debriefing was used with three fashion experts to identify structural clothes in the women's haute couture collections from a total of 24 seasons from S/S of 2008 to F/W of 2019. The clothes with Deformation characteristics were then identified to analyze expressive and formative characteristics. The expressive characteristics of Deformation in structural clothes were exaggeration, distortion, and recombination. Exaggeration was expressed with exaggerated sizes, forms, and excessive use. Distortion was expressed with distorted forms and functions and through optical illusions. Recombination was expressed with the recombination of forms and roles. The formative characteristics of Deformation were maximum, playfulness, and unfamiliarity. The study connected the expressive characteristics to the formative ones and examined them simultaneously, finding that "distortion" and "playfulness" represented the expressive and formative characteristics, respectively. The characteristics of Deformation are expressed in various ways in structural fashion. If they are considered, they will make valuable contributions to creative ideas.