• 복식
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• 제44권
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• 패션비즈니스
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• 제13권1호
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• pp.17-33
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• 2009

The purpose of this study is to find the character of Cleopatra (69 B.C-30 B.C) by analyzing materials about Cleopatra, and to figure out symbolism and costume presented in movie . Costume of the main character, Cleopatra, compound the type of Egyptian traditional clothes, the change of it, and the trend in the 1960's. And, the symbolic meaning of it is also reinforced by adding ancient Egyptian myth to it. This kind of symbol is usually represented in Cleopatra clothing, especially in weaving pattern, embroidery, and ornament. And color of the clothes not only have their on predominance, but also can have their meaning fade away by mixed with each other, and also the shape has relation with the meaning of color. To sum up, the color and pattern of ancint Egyptian Cleopatra as alive formalize the power that come from coherence with the sun god in the center, which a used to maintain the power of the king. Costume in movie also contained color and pattern as a symbol of religion to symbolize the absolute power of king. These kinds of symbols are reemerging through historical recurrences and exotic interests.

• 복식문화연구
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• 제13권6호통권59호
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• pp.999-1010
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• 2005

The purposes of this study were to investigate used patterns in Hanbok and to find out a classification and a characteristic of motifs. The data made use of 111 pictures constituted Gegory(a Korean jacket) and Chima(a skirt) in photographs collected in wedding magazine(Wedding 21'). The data was analyzed by frequency, contents analysis. Pattern's use or not in Hanbok and a sort, a arrangement, a way of expression of patterns using frequency Classified and characteristics of motifs were analyzed contents analysis. The results of this study were as follows. First, a sort of patterns was lots of flower motifs of the plant pattern. An arrangement of and expression of patterns used mainly a partial arrangement and embroidery expression. Second, the subjects classified using criterion of classification of a external feature, forms of expression, and simplicity/complexity of line. Third, the motifs classified into plants, an animal, geometry, abstraction, and a natural object. The plant motifs were perceived the focus of flower, a combination of a flower and a stem in the plant motifs. The subjects perceived as a simplicity/complexity of flower and a drawing line of a flower and a stem.

• 복식
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• 제37권
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• pp.149-162
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• 1998

This study is thed Embroidery, Cross-stitchery, Weaving, Wax-Printing of technique and design appeared in textile of Miaos dwells in south-west among the minority people of china. The study is as follows. First, the technique of textile1) satin stitch, couching stitch, french-knot stitch, etc. using anther silk thread or cotton thread color 2) cross-stitchery 3) hand-weaving technique which is shaped other warp or weft using simple loom 4) the technique of dyeing of pattern using effect with wax. These methods are singly used mixing together, therefore doubled beauty. Second, these technuque of ornament have other independence, specially ornament apron, sling, sleeve borders, slack borderss, edge of upper garment, take off and put on easily, heighten effect of various ornament, can preserve many years. Third, Maker, female born in this country fashion by need of herself, used liberal method shown in unique creativity of life. This texture make standards capable female proud of intelligent and skill of herself. Fourth, Design appeared in textile like as pattern flying bird in the sky, strolling beast in the field, lion rolling gem, laughing dragon winding snake at gem, birks, flowers, fish, butterfly is used as the wish of long life, a lucky sign. They expressed creativity and unique conception using formation : the technique transform other shape using by omitting or adding or overestimating. Geometric pattern of tartan, revealing, Fifth, composition structure having balance and symmetry or contradiction towards center and circumstance of the center harmonized repeatedly method, expressed unique artful attraction by full composition.

• 복식
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• 제56권7호
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• 복식
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• 제60권3호
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• 한국안광학회지
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• 제13권4호
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• pp.13-17
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• 2008

목적: 안경의 기능이 점차 문화적, 심리적, 사회학적 측면으로 확대 되는 점에 주목하고, 그러한 요구에 맞는 디자인을 위해 전통문양을 접목하는 방법 연구. 방법: 전통문양의 상징성을 이해하고, 그 중에서 세계적인 보편성을 지닌 팔메트 문양 넝쿨장식문양 등의 문양연구와 전통재료기법의 하나인 자수기법, 조각보 기법 등을 안경의 템플과 안경 클리너 등에 현대적으로 재구성하여 응용하는 방법을 제시하였다. 결과: 세계화는 문화의 교차적 소비현상을 빠르게 촉진시키고 있다. 그러므로 세계적인 보편성위에 그 민족의 미적 특질이 잘 드러난 전통문양을 활용한 안경디자인은 오히려 세계 시장의 이러한 속성에 적응하여 성장할 수 있는 새로운 자원이 된다. 이 논문에서는 전통문양 및 전통기법을 활용하여 현대화함으로써 안경 디자인의 문화적 가치를 발견하고, 현대 소비자의 문화적 욕구와 접목할 수 있는 새로운 시각을 제안하였다. 결론: 안경은 소비자의 사회적 지위를 표상하고, 현재의 심리적 언어로써 하나의 스타일을 표현해내는 도구가 되었다. 그러므로 전통문양을 활용한 안경디자인은 소비자의 문화적 소비욕구를 충족시켜주는 계기를 마련해주며, 기존의 안경디자인이 지니고 있는 서구 문화중심의 디자인 개념을 동양적인 미감으로 전환시키는 계기를 마련한다.

• 한국의류학회지
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• 제31권8호
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• pp.1252-1261
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• 2007

The purpose of this study was to grasp the utilization of traditional Korean Patterns used for fashion cultural products. To achieve this purpose, this study examined the range of fashion cultural products through literature review, previous researches, and market surveys and analyzed the situation of fashion cultural products and the kinds, expression methods, expression techniques, and repeat styles of utilized patterns. The analysis results are as follows. First, in the use of traditional pattern, the most frequently-used fashion cultural products were small and inexpensive accessories, followed by fashion apparel, miscellaneous goods, and living cultural goods. Second, the most frequently-used traditional patterns were plant patterns, especially flower patterns. The next frequently-used ones were mixed patterns, especially in the mixture of flower and letter patterns, and $cloisonn\'{e}$ and flower patterns. The next frequently-used traditional patterns were animal patterns(especially butterfly patterns), followed by geometric patterns, lucky omen patterns, and letter patterns. In the expression methods of used patterns, most products except handicrafts preferred simplified patterns to real patterns. Finally, in the expression techniques of traditional patterns, the most frequently used technique was traditional embroidery, followed by the use of weaving fabrics such as fine gauze and brocade which are used for Hanbok. Also, transfer dyeing which is one of printing techniques, DTP(digital textiles printing), a mixed technique which adds embroidery to weaving fabrics, hand-painting, and a gilt technique were used. The results of this study suggest that most fashion cultural products except few designers' works attached weight to some specified patterns and expression techniques regardless of the characteristics of products since there is little understanding of a variety of patterns and are few researches and development on expression techniques.

• 한국의상디자인학회지
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• 제21권3호
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• pp.109-119
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• 2019

The purpose of this study is to examine fashion trends and the direction of the four fashion collections by analyzing the design key-words of the four major international fashion collections in 2018. The data of this study was collected by extracting the key-words from Marie Claire Korea in 2018, with the total of the collected data numbering 2,144. The data was analyzed by text mining using the R program and word-cloud, and a co-occurrence network analysis was conducted. The results of this study are as follows: First, the key-words of fashion collection designs in 2018 were fringe and ruffle detail, silk and denim fabric, vivid color, stripe and check pattern, pants suit item, and oversized silhouette, focusing on romanticism and sport. Second, seasonal characteristics of the fashion collections were pastel colors in S/S, primary and vivid colors in F/W. Details were embroidery and cutouts in S/S, patchwork and fringe in F/W. Third, the design trends of the four major fashion collections were presented in the Paris collection: stripes, check patterns, embroidery, lace, tailoring, draping, romanticism, and glamor. In the Milan collection, checks, prints, denim, and minidresses reflected sport and romanticism. The London collection included fringe, ruffles, floral patterns, flower patterns, and romanticism. The New York collections included vivid colors, neon colors, pastel colors, oversize silhouettes, bodysuits, and long dresses.

• 한국패션뷰티학회지
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• 제6권2호
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.