• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• Archives of design research
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• v.16 no.3
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• pp.291-298
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• 2003

In the rapidly advancing modern world, Fashion Illustrations are being utilized in various aspects of art and industrial works. Fashion illustrations are especially useful in fields like trend books thats show advanced trends where photographs are difficult to be utilized due to the fact the real object does not exist. Both the academic and industrial worlds have realized the importance of Fashion illustration and have started to study the field as a way of expressing the general image of a costume rather than a diagram for making clothes. The focus of this study is on Fashion illustrations using Photo Montages that express modern fashion using various and unique textures. The study is composed of a literature review on Fashion illustration and Photo Montages. and five work pieces are made focusing on expressing compounded images.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.87-96
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• 2007

Patterns have their own shapes and characteristics as a symbol in accordance with in what environment they are like a language. Especially our ancestor had wished present values as like riches and honors, longevity and health, love and happiness through all kinds of patterns of animals, plants, the sun, the moon, cloud, water and mountain, and expressed an aesthetic consciousness. Pattern design is important in fashion but it is insufficient in terms of the development of modern patterns based on Korean traditional patterns. Therefore, We need to create new senses and thoughts through the understanding and re-analysis about Korean traditional costume and a study on optical patterns could give an extreme effect without any changes of silhouette. Especially, Emilio Pucci and Missoni have been developing a variety of Pattern designs even though there are different tendencies each other. Consequently it could be a good chance to show Korean images and originality that develope the various textile patterns with applying to Korean traditional patterns based on an analysis of their works.

• Archives of design research
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• v.11 no.3
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• pp.199-206
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• 1998

Though development of semantic ratings of color image which is objective, concrete and reflecting our realities is urgent, researches on the area has not been active. To develop concepts and methods on semantic ratings of color image, study subjects, sampling, stimulating tools, analysis methods, and evaluation scale were critically reviewed on the literatures on color image. Planning color of costume commodity requires research on various themes and expanding study subjects into a variety of social strata. According to the context of study, stimulating tools should be selected prudenly, and analysis methods should be scrutinized. Factor analysis was used frequently as analysis method to extract factors associated with color image.

• Journal of Fashion Business
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• v.17 no.3
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• pp.85-98
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• 2013

Fabric industry has been developing enough to introduce diverse stretch materials to apparel market, so that tightly fitting leggings designs are taking over not only sports wear but also women's clothing. This study is aimed at developing prototype designs for leggings pants using stretch material that are appropriate for the lower part of body being functional, comfortable, and beautiful. As well, the study is intended to be of a reference in manufacturing such products. Some of the most popular leggings on the market in their kinds and materials were primarily selected to be tested in two ways: wear test and appearance test. Again, the test pants went through the same kinds of two tests, which turned out two designs. Finally, the test pants were treated to yield the most desirable prototype design. In conducting all these tests, some major defects causing discomfort and shortcomings of the leggings pants on the market were exposed and through the wear tests, the drawbacks were seen to be complemented in a big way. Thus, it is hopefully expected that this study will serve as a good reference for developing stretch pants.

• Human Ecology Research
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• v.52 no.6
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• pp.551-560
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• 2014

In this study, we have focused on various types of costumes for traditional Ganggangsullae and daily dance Ganggangsullae. To analyze their costumes, spot photographs of Ganggangsullae contests from 2011 and 2013 were collected from the Department of Culture and Tourism, Jindo County Office and the Jeonnam Information & Culture Industry Promotion Agency. Costumes were analyzed by categorising them as type, shape and color. Traditional Ganggangsullae costumes are two types: traditional hanbok and saenghwal hanbok. Traditional hanbok design dates back to the late Joseon dynasty and saenghwal hanbok design to the middle Joseon Dynasty. They reflects confucianism, a male-dominated society, totemism, shamanism and Yin-Yang and the five elements theory in agrarian society and community life. Daily dance Ganggangsullae has various types of costumes such as the fusion hanbok, saenghwal hanbok, cheering uniform and casual wear. They show modern color schemes. There is not any magical meaning from Yin-Yang and the five elements theory. Instead, they have individualism, liberty, equality and welfare in information-oriented society. So its costumes are easy and comfortable clothes. But traditional hanbok, fusion hanbok and saenghwal hanbok are inspired from Korean identiry. Even though traditional Ganggangsullae and daily dance Ganggangsullae have different costumes and ideology, they have a common denominator 'playfulness.' It will function as a key for Ganggangsullae to be performed continuously over the period.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.624-634
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• 2011

The purpose of this study is to develop the pattern of safety clothes used at flat or mountainous areas and to identify the pattern of safety clothes by conducting experimental evaluation of virtual wear. Three subjects were selected, based on fire fighters' physical constitution. A prototype design for safety clothing was determined after in-depth interviewing of professionals and surveying of Forest service staff and related agency. Wearing test should be carried out in the order of pattern making, virtual and real wearing evaluation. For data analysis, technical statistical values should be obtained by using body measurements of subject, frequency analysis and T-test. The jacket is designed to have a front extension and the entire length of clothing enough for wearer to put on it over ordinary shirts or sweater. The collar of jacket is of round type. Cyber reality enables to identify the movement and activity of virtual fitting model and to find out errors or problems in safety clothing prior to on-the-spot wear test, thus raising the precision level of pattern. There was significant difference between real and virtual fit preference. The results show that the virtual try-on system need the development of a specific style.

• Journal of the Korean Home Economics Association
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• v.48 no.2
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• pp.75-83
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• 2010

Hanbok Chima, a Korean skirt, with large-volume should have an archetypal drawing model for appropriate cultural and historical accuracy. In order to develop new Hanbok Chima archetypal drawings we drew a skirt by connecting height with a design structure adopted from Jeogori, a Korean jacket. As a result, an archetypal drawing was developed from which circumference of lower width of Chima, size of pleats in waist circumference, and length of Chima as well as a scheme of layering Chima and Jeogori can be obtained. In this drawing, width of Chima can increase or decrease naturally according to height. However, in case of same heights and different chest circumferences if 2.5cm of additional value is provided for every 5cm increase in chest circumference, Chima of any size can be made based on this drawing. In conclusion, given the demonstrated practicality of designing a Hanbok Chima with large-volume based on archetypal drawings, it is expected that the results of this study will provide useful scientific data for Korean costume designs.

• Fashion, Industry and Education
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• v.16 no.1
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• pp.46-55
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• 2018

The purpose of this exploratory study was to enhance the understanding of how brands tilize emojis in their marketing practices. A content analysis was conducted utilizing Google News as a search tool to access articles containing information pertaining to the use of emojis by brands. The combination of keywords used for the search were "emoji", "business", and "marketing". The search was narrowed down to the period of January $1^{st}$, 2014 - November $29^{th}$, 2017. This method generated a total of 604 trade publications with 55 of them providing information pertaining to specific brands and their use of emojis in their marketing strategies. A content analysis of trade publications has revealed that a variety of marketers have utilized emojis in their brand marketing practices. The entertainment, service, and food/drink industries have predominantly utilized emojis in their marketing practices, and their primary purpose for using emojis was to increase consumer engagement. Brands applied most of these emoji marketing strategies to an online or digital setting, whether it was social media pages, mobile applications, or any other form of computer-based marketing. Although there are limitations to this exploratory research in terms of its methodology, the findings of this study provide interesting insights into the potential of emojis as a marketing tool.