• Korean Journal of Human Ecology
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• v.14 no.5
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• pp.833-846
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• 2005

The purpose of this study is to find out the various impressions that tone-on-tone coloration of shirts and ties gives. This experiment was based on the $2\times4\times4\times2$ factorial designs; colors (purple and green), shirt tones (vivid, light, dull, and dark), tie tones (vivid, light, dull, and dark) and perceivers' genders (male and female). The materials in the experiment developed for this study were composed of various stimuli and the response scales for each stimulus. The stimuli were 32 upper body photographs, which were color printed by CAD system (4D-box program). We unified those colors of shirts and ties, and then made shirt and tie tone different. 27 bi-polar adjectives, each of which was graded into seven in its degree, were used to evaluate the impression. The subjects of this research were 192 male and 192 female college students in Gyeongnam province including Jinju City. The data was analyzed by using SPSS program. Analyzing methods were one-way ANOVA and LSD test. The items of the adjectives were classified into 5 impression dimensions; potency, activeness, attractiveness, visibility and tenderness. In conclusion the impression through matching shirts and ties could be varied by the colors and the tones of shirts and ties. This study can be used as the basic color data in the males' clothes market which gradually pursuits high-quality, personality, and variety.

• Journal of Fashion Business
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• v.18 no.3
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• pp.148-166
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• 2014

The purpose of this study is to establish the basic materials necessary for red carpet fashion design by examining the formativeness and fashion images of red carpet dresses at film festivals in the Great China Region. For the purpose of this study, research methods include a literature review on the origin and significance of red carpet dresses, the characteristics of film festivals in the Great China Region and their red carpet dresses as well as an analysis of the formative features and images of 615 red carpet dresses collected from each film festival official homepage, diverse media articles, and online search sites (www.google.com, www.hao123.com). The research finding can be summarized as follows: First, the formative features of red carpet dress designs were analyzed herein. It was found that the most frequently appearing type of silhouette was straight followed by hourglass and bulk in order. More specifically these included fit and flare, mermaid, trapeze, and slim in order. For the neckline styles, strapless was the most frequently seen followed by camisole, jewel, and one shoulder. Solid colors were more often seen than multiple colors. Bk, W, R, and YR were the most frequent main solid colors in order. Solid materials were frequent as well, such as soft and shiny materials. Non-patterned and unadorned styles were most frequent as for pattern types and details and trimmings. Second, the fashion images of red carpet dresses in the Great China Region were analyzed. The most frequent images were elegant, feminine, ethnic, modern, classic, avant-garde, others, mannish and sportive, in order.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.131-145
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• 2020

As the population of consumers of outdoor wear expands, there is increasing interest among consumers in trendy lifestyle outdoor. Accordingly, it is essential to develop designs that are drawn from outdoor wear. This can be limited to traditional mountaineering suits, and designs developed from men's outdoor zip-up T-shirts, which are highly utilized in everyday life, are very important. This study developed the design of a summer zip-up T-shirt for men with both functional and aesthetic qualities. Visual images of foreign brands and domestic outdoor-focused T-shirts from the spring/summer seasons of 2013-2019 were collected to analyze the following modeling elements: silhouettes, details, colors, materials, and prints. In addition, the design concept was derived by analyzing presentations from the global outdoor trade Fairs (2013-2019). To develop a sustainable eco-friendly outdoor summer T-shirt for men, the concept was derived according to three categories: eco-friendly, sportism-expressed active elements of sports, and an outro-concept of urban town wear as an outdoor lifestyle. Thus, a total of 12 styles of design were developed. High utilization of the outdoor wear T-shirts (which are also popular as lifestyle wear), is an important aspect of building a segmented lineup of the slow-growing outdoor wear market and supports expansion of the scope of theoretical research on outdoor wear design.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.199-214
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• 2020

The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan's and China's Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• Journal of Fashion Business
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• v.19 no.6
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• pp.58-73
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• 2015

The purpose of this study is to examine the characteristics of men's wear designs unveiled while Hedi Slimane worked for Dior Homme and Yves Saint Laurent. The study will analyze and focusing on the modernistic characteristics in order to discover the postmodernism trends in his works. The results of the research are as follows. First, Hedi Slimane's fashion style can be cited as grunge and punk due to the trend of expressing the subculture of postmodernism. The design features shown in Dior Homme were straight lines, leather, metallic materials and dark colors used to reinterpret a grungy punk style, romantic patterns, glossy materials, elastic leather, and bright colors were the salient features of Yves Saint Laurent. Second, the feature of cultural pluralism of postmodernism appeared as a type ethnic style. He presented this through the Third World images in the Dior Homme but Spanish matador images, Marrakech's images and North African images in the Yves Saint Laurent. Third, he feature of his style is metrosexual feminizing men's fashion and breaking up gender stereotypes. I-type and X-type silhouettes that emphasize the human body and feminine design motifs such as a skirt are dominated in Dior Homme, and he completed the metrosexual style by using materials, colors and patterns such as bright feminine pink, red, laces, fur, floral and leopard prints, as well as flagrantly expressing body contour.

• Journal of Fashion Business
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• v.3 no.1
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• pp.93-103
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• 1999

This study is intended to propose the new design course on Contemporary folk Hanbok by researching their preference to Contemporary folk Hanbok. To do so, the definition of styles, preference in details and fitness for the occasion to wear Contemporary folk Hanbok were evaluated and analyzed. The collected materials were investigated in quality and content. As for the data, five Contemporary folk Hanbok brands, in the city were selected and twenty styles from catalog were extracted. The subjected of study were 219 university students living in Seoul and Kwang-ju, Mok-po. they answered the questionnaires, the results of study were following: 1) In style of Contemporary folk Hanbok, there were positive support on longer Jeogori than traditional one and a seamless one-piece skirt at the length of ankle. But they had the negative thought of various spapes shapes related to the styles of Contemporary folk Hanbok. 2) In a view point of coloring on women's Contemporary folk Hanbok, the student supported the saturation more than special preference to similarity or contrast harmony. Students liked the harmony of achromatic colors or same colors up and down which are not traditional 3) In men's Contemporary folk Hanbok, students were for the harmony of same colors in up and down, preferring wool/polyester to cotton or silk100% (traditional materials) in materials 4) It indicates that what students thought generally of the occasional appropriateness of Contemporary folk Hanbok didn't match with the choice of proper occasion on preferred style. The western clothes have difference in design, material, color and manners of co-ordination related to ordinary cloths and out wear, but Contemporary folk Hanbok don't have these difference. Therefore, it is needed to develop the expensive designs discriminated between ordinary clothes and out wear in design, material, color and co-ordination corresponding to the every day life style.

• 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.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• Journal of the Korean Society of Floral Art and Design
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• no.40
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• pp.45-61
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• 2019

This study attempts to examine the recent trend of 'Maison & Objet' exhibition which shows everything that forms a space, and seek cases where such 'green amenity' is applied. In terms of morphology, a minimal space was filled with a curved shape, and gradually a design that reproduces nature was produced. As the maximalism gradually emerged, decorative elements were added to the design, and a lot of craft products appeared. In terms of materials, the emotion of naturalism was the most common, and natural wood materials were mainly used. These materials combine with various heterogeneous materials to complete a new design, and natural elements were shaped in space. In terms of colors, the theme in 2016 was 'Wild', and it was possible to see a space where wild nature can be experienced. It showed various colors of nature centered on brown and green of trees. 'Silence' in 2017 is distinguished and characterized by its pink color. Also, pieces of warm reddish brown furniture were made. In the past, brass or rose gold would be trendy, but in 2017, gold or silver colors showed a greater popularity. In 2018, 'Show Room' was the theme, and the representative color was green, which affected new designs with yellow and pink.