• The Research Journal of the Costume Culture
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• v.25 no.6
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• pp.893-912
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• 2017

Crowdsourcing models in which organizaions obtain needed product ideas and services from a crowd in a network-based society are rising as a global industry trend. The purpose of this study was to figure out the types and characteristics of crowdsourcing design shown in the domestic fashion brands, and to provide implications for design strategies using crowdsourcing. This study was based on qualitative research which was brand case studies on crowdsourcing design in the fashion industry from January 2006 to July 2017. Also, quantitative analysis using frequency and percentage was applied. The results were as follows: First, crowdsourcing design was used in almost all types of fashion brands, such as sports and outdoor wear, men's wear, women's wear, men's and women's casual wear, shoes, bags, school uniforms, jeans, accessories, etc. Crowdsourcing design in the fashion industry was classified into three types: crowdsourcing graphics and artwork; crowdsourcing customized designs; and crowdsourcing product designs. Of the three types, crowdsourcing graphics and artwork was used most. There were four methods to choose the best crowsourced design: review only by experts, voting by crowd and review by experts, crowdvoting, and crowdfunding. Second, the characteristics of crowdsourcing design were openness, participation, reward and acknowledgement, sharing and interaction, and individualized collective intelligence. Crowdsourcing design could be used as an open innovation strategy in the fashion industry, which could collect new and creative design ideas for product development, resulting in the satisfaction of consumers and benefitting the company.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.327-345
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• 2018

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey's six display factors. Projection features and movements were categorized into "Direct movements," "Indirect movements," and "Relative movements." Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users' motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.145-160
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• 2015

The purpose of this study is to review the concept and thinking structure of deconstruction theoretically and thereupon, analyze the visual beauty and wearable comfort of the clothing and further, discuss the aesthetic characteristics and values of the decentering phenomenon in the 21st century fashion. Deconstruction provides for an cognitive framework whereby we could comprehensively review the difficult-to-understand and imprudent creativity unravelling in the name of the post-modernism as well as the ambiguous visual beauty and wearable comfort of our contemporary fashion. In particular, deconstruction refuses such concepts involving the relationship between the conventional clothing and its components as order, symmetry, balance, harmony, perfection and simplicity and instead, attaches some sense of value to such relatively inferior concepts as disorder, asymmetry, unbalance, disharmony, imperfection and complexity, and thus, reflects them in the modes of aesthetic representations to create new aesthetics and expand the expressive potential.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.136-149
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• 2010

One of the most important objectives that apparel company will pursue in 21 century is to achieve the critical factors of the sustainability. The concept of sustainability is to meet the demands for the valuable life of contemporary generation and to satisfy the desires for preservation of the species and the productive life of future generation by protecting the earth environment from the waste and pollution and by developing and maintaining harmoniously main economical, social, environmental and cultural factors. The practice of sustainability was focused only on the environmental factors in past. Now, the effective and efficient practice of sustainability should be fulfilled and executed in social factors of the responsibility company has, in economical factors and in the cultural factors that is the critical in fashion industry. The purpose of the study is to develop the practical framework consisting of four sustainable factors which apparel brand should refer and apply to the practice of sustainability. By executing the practical factors of the frameworks, apparel company can take a lot of advantages. By practicing the environmental factors, company can get Eco-efficiency. Apparel company can take the social responsibility by performing social sustainable factors, can make economical quality growth by fulfilling economical sustainable factors, and can understand cultural diversity by executing cultural sustainable factors. As one of the most important preparation in 21 century industry, the apparel brand should have an interest in and require the practical management of sustainability, objective setting and practice of brand unit, reflection on the sustainability in brand planning.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.126-145
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• 2010

The purpose of this research is to classify the design features of twentieth century women's tennis wear. The specific research questions are; how tennis has developed and what is the relationship between tennis wear and modern dress? What are the important developments in women's tennis wear design in the twentieth century? What are the characteristics exhibited in each decade in women's tennis dress? This paper conducted current research by considering the women's tennis wear as a background of dress simplification. Forty pictures showing tennis wear from international tennis games' catalogues and literatures were selected for this study. Researchers employed a qualitative research method providing a systematic review of the previous studies analyzed by content. The results show that sportswear has become an important trend in contemporary fashion. Tennis wear also had influence on modern dress. Current development is concentrated on functional new materials and sports marketing.

• International Journal of Costume and Fashion
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• v.14 no.1
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• pp.29-45
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• 2014

In the contemporary world, fashionable bodies are socially constructed in light of current idealized images. Media portrayal of such images can have negative health implications. This issue has long been problematic for women. Nowadays, men are subject to more scrutiny regarding their bodies, although male body image has been studied far less than female body image. In this position paper based on a review of the major studies that have been conducted on men and body image, we summarize the findings from these state-of-the-art studies that have been recently published in academic journals. Three themes related to male body image were extracted: socio-cultural ideals, masculinity, and minority men. This study adds to the literature I that it demonstrates that men experience and view their bodies differently from women, though some behaviors, such as disordered eating, are similar. Other behaviors, such as the drive for muscularity, are couched in the context of the social construction of gender and power. Most of the studies were done on white, heterosexual populations of young men, and nearly all used quantitative research methods. Little research has been conducted on ethnic and sexual minorities. We conclude with a discussion of what we need to know, and to that end, we suggest future avenues of research.

• Journal of the Korean Society of Costume
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• v.58 no.9
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• pp.81-98
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• 2008

This research aims to analyze humorous images expressed in 2D graphics fashion illustrations and to propose application of 2D graphics in humorous images for fashion illustrations to suggest a more creative and relevant fashion illustration for contemporary culture. The result of this research were as follows: First, theories on reaction of humor can be classified into Incongruity theory, Superiority theory and Arousal and Relief theory. Humor in visual arts are classified in Visual Parody, Visual Pun, Visual Paradox and Visual Satire. Second, Visual Pun, Visual Parody, and Visual Satire are used for visualizing fashion illustration, and the foundations for many humor images were simple-colored, imaginative, and unreal settings. And it was also found out that the physical proportion of the models generally was 1(head):7(entire body), 1:8, 1:15 and the models were usually laughing and smiling. Tone was usually pastel and vivid, and posture was usually standing-position or sitting-position. Third, based on such results, fashion illustration works of humor image using 2D graphics were created. To concretize the humor image, 'gift' as a concept was chosen. Humor alleviates the tension and stress. It also brings laughter and pleasure to people's lives. Therefore humor image will be an effective way of expanding creativity in modern fashion illustration.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.168-181
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• 2004

This research on the present state of production and circulation of boseong-sambae, based on the materials, has been collected and arranged through the survey for one you, 2003. Boseong-sambae, the hemp fabric produced at Boseong, hold 35% of nationwide production volume and 50% of circulation volume. The products of hemp include hemp fabrics, shroud, contemporary Korean dresses and other household articles. Dried hemp skin, hemp thread and hemp fabrics are traded at the fair held in every five days, mostly by direct transactions which is trusted between the producers and consumers. A bolt of boseong-sambae includes 20 ja(a Korean foot, 60cm in length) of hemp fabrics in breadth of 35cm. The price of a bolt is approximately 2∼3 hundred thousand won. They are endeavoring to revive hemp fabric that the image was lost due to the cheap and coarse fabrics woven with Chinese thread since the latter half of 1990's. The advanced countries have invested positively in this business because hemp is an environment friendly material. Thus, a strong national support is demanded in this field facing a crisis due to the inundating of coarse hemp products from China, and the aging problem of the initiate, the reason of the discontinuation of the inherited technique. Through this research understanding tire present station and the problem of hemp production, the future research will be followed expecting the Renaissance of the Korean traditional hemp fabrics.

• The Research Journal of the Costume Culture
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• v.4 no.1
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.805-819
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• 2011

In contemporary society, heterotopia is the law dominates thoughts and is the concept reconstituted spaces calls order in chaos. And that is the place which refuses the paradoxical and social custom and sometimes poses a danger and rise in rebel. The purpose of this study is to study how forms of clothing fluid form images are expressed in modern fashion develop body around in the spatial relationship between the body and its environment. The study method consider changed characterastics of fluid space through the heterotopia thinking system of Foucault Michel. Based on this method, the heterotopia space that appeared in the plastic arts in aspects of artistic significance and aesthetic value was examined. Based on the above discussion on modern fashion Fluid Form were expressed in any formative characteristics were considered. The results of this study are as follows. Fluidity is the transformed interaction. It expanded external representation of organic body structure and reconstructed flexible forms of dynamic structures continuously. Transformation is the new space structure. It constructed invisible transformation and developed convertible dress space by combining a variety of functional overlap and fold. Deconstruction was expressed structural forms, expanding the existing forms in the open structure which have ambiguous boundaries.