• Title/Summary/Keyword: Costume Design

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The effect of experiential marketing factors of fashion service applying 4th industrial revolution technology on customer acceptance and use : focusing on 3D printing, internet of things, and innovation (4차 산업 기술 패션 서비스 체험마케팅 요인이 소비자 수용과 이용에 미치는 영향 : 3D프린팅, 사물인터넷, 혁신성을 중심으로)

  • Jeong, So-Jeong;Rhee, Young-Ju
    • Journal of the Korea Fashion and Costume Design Association
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    • v.21 no.3
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    • pp.93-108
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    • 2019
  • This study analyzed the influence of experiential marketing factors of 3D printing and Internet services on technology acceptance factors and usage intention. Furthermore, we analyzed how the user's innovativeness shows the effect on the intention to use. Data acquired from a total of 518 college students was used for the final analysis, which was perfromed by SPSS 21.0 and AMOS 23.0 programs. The results of this study are as follows. We analyzed the influence of the experiential marketing factors of fashion service utilizing the 3D printing and the Internet of Things on the acceptance of technology and intention to use these technologies. As for 3D printing, first, sensory and behavioral factors are positively related to the acceptance of technology. Second, emotional and cognitive factors have negative effects on all technology acceptance. Third, relational factors did not show a significant influence on several conditions of technology acceptance. Fourth, the effects of technology acceptance on the willingness to use have a positive effect on several conditions factors, except the effort expectation. As for the result concerning the Internet of Things first, behavioral factors have a positive effect on all technology acceptance. Second, emotional factors have a negative effect on all technology acceptance. Third, cognitive factors did not have a significant effect on various conditions and showed negative effects on several factors. Fourth, sensory and relational factors did not affect the acceptance of technology. Fifth, the effects of technology acceptance on the intention to use are affected by several conditions, except for effort expectation. As a result of analyzing the moderating effects of user's innovativeness on the willingness to use, 3D printing did not show any significant effect on innovation. However, the Internet of Things has a significant influence on the user acceptance of technology acceptance.

Analysis of microplastics released from textiles according to filter pore size and fabric weight during washing (세탁 중 세탁물 중량과 여과 기공 크기에 따른 미세플라스틱 분석)

  • Choi, Sola;Kwon, MiYeon;Park, Myung-Ja;Kim, Juhea
    • Journal of the Korea Fashion and Costume Design Association
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    • v.23 no.1
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    • pp.37-45
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    • 2021
  • This study observed the release of microplastics according to washing weights and filtering conditions, measured microplastic generation rates, fiber lengths, and fiber diameters. This study attempted to present data for the development of filters that decrease microplastic generation. For test samples, polyester piled knit fabric (cut-pile) was selected, which currently has the highest amount of consumption in the clothing industry, but can easily cause marine pollution because of its low biodegradability. For test equipment, a drum washer was used and microplastics were collected using two filter pore sizes, 5 ㎛ and 20-25 ㎛. Microplastic fibers weights and lengths were measured. The results of the experiment showed the following: 1) The release of microplastics differed according to the fabric weights and washing process; 2) washing fabric weights showed a differences in the collection amount according to the filter pore size (5 ㎛, 20-25 ㎛); 3) observations of differences in the lengths of the microplastics that occur during the washing process by filter pore size were made. Fibers with shorter lengths appeared with filter pore sizes of 5㎛ in comparison to filter pore sizes of 20-25㎛. The results from this study on microplastic generation by fabric during washing, demonstrated the following conclusions that can be used to reduce the release of microplastics. First, the release of microplastics according to fabric weights and washing courses are affected by physical force. Therefore, it is necessary to reduce the amount of physical force due to water flow, increase the fabric weight, or wash the material in low temperatures. Second, in the manufacturing of washing machines, microplastic filtration can be promoted or legislatation supporting microplastic filtration can be introduced.

Design Development of Fashion Cultural Goods to which Korea Image is applied - mainly centering around the goods of scarf and necktie - (한국적 이미지를 응용한 패션문화상품디자인 개발연구 - 스카프, 넥타이 상품을 중심으로 -)

  • Nam Jae-Kyung
    • Journal of Science of Art and Design
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    • v.6
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    • pp.249-266
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    • 2004
  • Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

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Color Culture of Japanese Medieval Age: Focusing on Kamakura & Muromachi Periods (일본 중세의 색채 문화: 가마쿠라·무로마치 시대를 중심으로)

  • Lee, Kyunghee;Kim, Gumhwa
    • Journal of Fashion Business
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    • v.19 no.1
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    • pp.95-105
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    • 2015
  • This study investigated the color culture in the Japanese Medieval Age. The Japanese Medieval Age included the Kamakura period (1180-1333) and Muromachi period (1336-1573), and the leading group transitioned from the Kuge families to the Buke families. The taboos about colors from ancient times became nominal, and forbidden colors, such as purple, celadon, and red, became the colors of the samurai, leading to beautiful soldier gears that were unparalleled in history. In the Kamakura period, colors that conveyed a strong impression were created and preferred with the combination of a samurai's reasonable spirit and zen thoughts. The period was also called "the era of hari", and cross dyeing based on basic colors such as suou (red), ai (blue), and kuchinasi (yellow) was popular. In both the Kamakura and Muromachi periods, conspicuous and strong colors were sought for costumes, and embroidery was used with gold leaf, silver leaf, gold threads, silver threads, and background color. The colors of costume preferred by Buke men in the period included green, blue, and brown. In the characteristics of the kosode, the sugan and hitadare were used for men's formal dress, while kosode was used for the grooming of the working class. In these periods, additionally, the working class began to be socially engaged in actively wearing the one-layer kosode, which became popular, and the characteristics of the Japanese Medieval Age, during which functionality and practicality was valued, were also reflected in the dressing.

The Expression of the Human Body in Modern Arts and the Formative Nature of Costume (현대 예술에 나타난 신체의 표현과 복식의 조형성)

  • 권기영;조현주
    • Journal of the Korean Home Economics Association
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    • v.40 no.6
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    • pp.1-19
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    • 2002
  • This study is to observe the meaning, aesthetic formative nature of the human body which has been not only a main issue and discussion object but also socially, culturally connected with clothing by contemplating it in the respect of the trend of art. Additionally, a work of contemplation about human body introduced to fashion design was analyzed to renew the meaning and value of the formative art inside the human body. The way and scope of this study is to contemplate the concept and meaning of human body, based on the documentary records such as art history and clothing history in the West society as a main theme. The results of the analysis were as follows: In the first place, the formative characteristics shown in the modem arts expressing the human body since 1990 which are cubism, futurism, metaphysical painting, dadaism, surrealism, pop art, happening, feminism, body art, and technology art are distortion, exaggeration and dismantling. Second, the aesthetic formative nature and meaning in the human body appear to be different according to the standard of ideal beauty of human body when we examine the expression of it from the aspect of art-history and the meaning of human body implied in it. Besides, human body is being used as a messenger which delivers the message of modem artist to other people. So the changed meaning of human body has affected the clothing and made it possible to manufacture and form new styles of clothing that have never been before. In conclusion, the human body in the modem era plays an important role as a brand-new formative medium of communication in the human society and contributes to the development which applies the aesthetic formative nature of the human body to fashion design.

A Study on Uniform Design Applied Orientalism (오리엔탈리즘을 응용한 유니폼 디자인 연구 - 한국·일본·중국의 전통의상을 중심으로 -)

  • Jin, Kyung-Ok;Lee, Min-Jung
    • Fashion & Textile Research Journal
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    • v.5 no.5
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    • pp.443-452
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    • 2003
  • People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

Intertextuality of Materials in the Contemporary Fashion (현대패션에 나타난 소재 상호텍스트성)

  • Kim, Sun-Young;Shim, Joon-Young
    • Journal of the Korean Society of Clothing and Textiles
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    • v.32 no.5
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    • pp.741-752
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    • 2008
  • The purposes of this study are to review the status of dress material in the contemporary fashion design by examining the intertextuality of many materials other than textiles used in the contemporary fashion and to show that the development of new fashion materials is a factor for designing competitiveness. The results of this study are summarized as follows: First, foods and natural objects are used as fashion materials to reveal natural beauty, and at the same time new formative elements are expressed in combinations of life and fashion. Second, common paper and luxurious jewelry are presented as a formative element symbolic of an aspect of the contemporary society or embodied in elaborate handicraft techniques. Those materials boost the luxuriousness of costume and create a strong futuristic image according to how they are expressed. Third, plastics available for a variety of objects in different shapes and colors offer such formative features that could be shaped with textiles, as high-end technology is introduced to fashion. Fourth, metallic materials have added freedom to design formality due to their qualities of convergence and displacement and by the introduction of brand-new technology, suggesting a new future for the fashion industry. Fifth, using a variety of anti-fashion materials including semiconductor chips, mirrors, vinyl, wires, and rubber makes a change in the existing points of view regarding the formality of things and helps create a special aesthetic effect in a visual respect to develop a strong intertextuality of materials.

The Costume of Korean Envoys and Trading Goods in 1811 through Dong-sa-lok - Focused on Jeongsa, Busa - (「동사록」을 통해 본 1811년의 조선통신사 복식과 교환물품 - 정사 부사를 중심으로 -)

  • Lee, Ja-Yeon
    • Fashion & Textile Research Journal
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    • v.8 no.3
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    • pp.269-274
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    • 2006
  • The purpose of this study is to examine the costumes and trading goods of the Korean envoys in 1811. The findings of the study are as follows: The Korean envoys, as shown in literature, were dressed up three different types of costumes: Pyongbok, Gongbok, Jobok. They put on different kinds of clothes depending on the purpose of the events such as for ceremonial purpose or for traveling purpose. For traveling purpose, the envoys wore Pyongbok like Waryonggwan and Hakchangeui, which were commonly used as Pyeonbok in those times of Chosun era. For ceremonial purpose, they chose to wear Danryeong, Gongbok, Geumgwanjobok in this order following the order of the importance of the ceremony. The design of Jobok and Gongbok of Jeongsa and Busa were different from that of the early Chosun era. This difference in the Jobok and Gongbok demonstrates that Gwanbok has been transformed with the change in the general Po system in the late Chosun era. When the costumes of Korean envoys in 1811 were compared to those in 1711, there were similarities in terms of the design of Jobok and Gongbok, which indicated that little had changed for the period of 100 years. The most popular exchanged Byeolpok of Chosun was articles of clothing such as Daeyuja, Daedanja, Baekjeopo, Sangjeopo, and Baekmyeonju, while that of Japan was mostly objects of craftwork and a small amount of Po. The fact that cloth was one of the main items from the early Chosun era to the early 19C shows the highly developed clothing culture of Chosun era.

A study on the origination and Transmission of Yu in Northeast Asia. -from the 4th Century to the 8th Century- (동북(東北)아시아 유의 기원(起源)과 그 교류(交流)에 관(關)한 연구(硏究) -$4{\sim}8$세기(世紀)를 중심(中心)으로-)

  • Cho, Sun-Hee;Park, Kyung-Ja
    • Journal of the Korean Society of Costume
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    • v.17
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    • pp.29-43
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    • 1991
  • Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

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A Relationship between Pop Art and Fashion in the 60's (1960년대 팝 아트(Pop Art)의 사조와 패션)

  • Kim Minja
    • Journal of the Korean Society of Clothing and Textiles
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    • v.10 no.1
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    • pp.69-84
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    • 1986
  • The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

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