• 한국의상디자인학회지
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• 제17권4호
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• pp.191-200
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• 2015

The purpose of this study is to analyze the difference of educational institutions and majors on Learning Participatory Motivation of Lifelong Education Organizations of Universities and Job Technical Colleges that are operating academic degrees on bachelor of fashion and associate of industrial arts in Academic Credit Bank System. The significance of this study is to provide basic information for educational institutions to promote efficient operation and devise a strategy for reinforcing educational competitiveness according to individual Learning Participatory Motivation and purpose of learners. In this study, educational institutions were classified into Lifelong Education Organizations of Universities and Job Technical Colleges operating academic degrees in Academic Credit Bank System. Degrees were divided into bachelor of fashion and associate of industrial arts, and majors were divided into fashion design and fashion business for bachelor of fashion and fashion design and fashion business for associate of industrial arts. Looking at Learning Participatory Motivation of learners, factors selected by learners as considerations for registration and selection of currently affiliated educational institution were found to be 'acquisition of degree at a university' and 'acquisition of degree' for Lifelong Education Organizations of Universities and fashion design major, and 'for employment' and 'acquisition of new knowledge and skill' for Job Technical Colleges and fashion business major.

• 한국의류학회지
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• 제46권6호
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• pp.1039-1057
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• 2022

The fashion system has been criticized for relying on a linear economy to reduce short-term costs and increase profits. Meanwhile, the circular economy strives to expand the value chain through a closed loop for companies, society, and the environment by separating consumption from resources. This study aims to elucidate the strategic characteristics of the technological measures that fashion companies and brands are trying to innovate into a sustainable fashion system on the basis of the circular economy concept. Thus, we conducted case studies by dividing the value chain of the fashion system into design, production, and consumption to identify the technological development of the circular fashion system from a technologization perspective that incorporates technological values. First, design appeared to strengthen emotional durability, design and process with circulation in mind, and fashion product digitalization. Second, production manifested itself as material development for the new fiber economy, improvement of non-environmental processes, and customization of demand-driven, responsive production. Third, consumption was the spread of the environmental consumption culture through the sharing economy platform, the realization of a virtual wearing experience to prevent rapid disposal, and the provision of information on sustainable consumption.

• 한국의류산업학회지
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• 제14권1호
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• pp.13-23
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• 2012

"Sustainability" and buzzword as in many areas of products produced and studies in progress, in situations of domestic "green fashion" of the Progress and identify problems and advanced in value sustained growth that can be done fashion design, the future of the gauge view there is need. For the purpose of environmental protection and resource conservation of the eco-fashion trend, "recycling" of the low-growth, emphasizing the ethical responsibility to pursue by the aesthetics may be limited in terms of avoided. Environment, most notably an "issue" fashion emerged as a growing, destroying a temporary fashion trend as a "recycling" of the limitations and pro-technology and design of the added value of recombinant and advanced recycling design trends, attracting attention "upcycle" Case of the aesthetic value and spiritual value of the designer by giving understanding and a new aesthetic values to the area you want to raise the possibility of extension.

• 복식
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• 제65권4호
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• 한국의상디자인학회지
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• 제9권2호
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• pp.139-154
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• 2007

Wellbeing means the new life style leading a rich and nice life in which body and spirit is combined organically, and influence of wellbeing culture extends throughout the society. The purpose of this study is to analyze the aesthetic characteristics of Korean wellbeing fashion. Fashion photographs from leading monthly fashion magazines from 2001 to 2005 were analyzed. The styles and materials and colors were examined from 1,151 wellbeing fashion designs that is based on wellbeing culture. The major conclusions of the study are as follows : 1. The styles of wellbeing fashion in Korea include sportive, ecology, ethnic, retro styles in order. 2. Wellbeing fashion in Korea increased double in 2005 compared to 2001. Not least, sportive style and ethnic style rapidly increased. 3. Materials of wellbeing fashion in Korea include cottons, wools, chemical fibers, silks, jutes, functional fibers in order. Particularly the use of cottons in 2005 increased three times compared to 2001. 4. Of wellbeing fashion colors, yellow in bright tone were present the most, followed by white, red, black, green, blue, grey in order. Natural colors, vivid colors, pastel tone colors were used.

• 한국의상디자인학회지
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• 제23권1호
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• pp.1-18
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• 2021

The purpose of this study is to analyze and understand the approach of critical fashion by comprehending the appropriation of art as a sociocultural phenomenon that influences contemporary fashion. This study inquired into the relevant literature to explain the theoretical background behind critical fashion, and conducted a case study using exhibition catalogues, exhibition works, articles, fashion magazines, and fashion-related websites in order to examine cases of appropriation strategies. As a subversion of meaning by using an existing transposable object image to deliver an experience unlike the actual image, subversive appropriation in critical fashion takes existing things as they are and rearranges them with the purpose of subverting social values while having its subversive style of appropriation. Referring to a style that focuses on labelling the distance between the subject, that refers and that which is referred to, referential appropriation has been reprogramming existing things with an internal and introspective attitudes. In other words, from an exploitative style of appropriation aimed at expanding the meaning with found in objects by avant-garde fashion designers, to a subversive style of appropriation aimed at subverting meanings with transposable objects by conceptual fashion designers, there has been a change toward the referential style of appropriation aimed at expanding artistic forms with created objects critical fashion designers.

• 한국의상디자인학회지
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• 제15권4호
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• pp.209-221
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• 2013

This study has attempted to investigate the effect of cubism on fashion and figure out how its formative characteristics have been expressed in contemporary fashion in the 21st century, focusing on the period since 2010. The propose of the study is to broaden research scope in fashion design through analysis and inspection on formative aspects among the cases which have proposed brand - new fashion designs by adapting cubism in fashion. To find out the characteristics of cubism in painting and formative characteristics of contemporary fashion in which the characteristics of cubism are reflected, a literature review has been conducted by referring to domestic and foreign books, previous papers, academic journals and Internet resources on cubism. For an empirical study, in addition, photos of cubism-applied modern fashion have been collected and analyzed through http://www. samsungdesign.net. The following results have been obtained: First, the formative characteristics of cubism were obtained in following categories; character of figure, simultaneity, reiteration and facticity. Second, according to analysis on cases after applying the formative characteristics on contemporary fashion design, the character of figure by the geometric shape of cubism was observed in fashion as well. After dismantling and reconfiguring garments, simultaneity has been expressed in an exaggerated and distorted manner through regular and repetitive overlapping or overlapping of irregular shapes. In terms of facticity, novelty has been delivered with the use of heterogeneous materials, using collage and patchwork techniques. Third, simplicity and functionality in cubism - style garments in the early 20th century have disappeared in contemporary design in the 21st century. Now, a dynamic aspect is only found. Fourth, unlike common paintings, 2D textiles are added to a 3D body in fashion design. In addition, it can be observed from multiple angles depending on the movement so that it can display more diverse shapes. Therefore, it could be the origin of inspiration to many designers.

• 한국의상디자인학회지
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• 제16권3호
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• pp.191-200
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• 2014

Employees overseas have a need to prepare according to the different environments and industrial structures between countries. Therefore, to investigate qualities for fashion designers to possess when they work abroad, especially in the United States, this study compared the level of knowledge required to fulfill the work of fashion design in both South Korea and the United States. Responses from workers who are engaged to fashion design from the representative online career information systems of two countries, 'Worknet' in South Korea and '$O^*Net$' in the United States, were used as data. Looking at the result derived from the analysis of this study, first by comparing various statistical indicators, results showed the difference between knowledge level required to fashion designer in South Korea and in the United States. Even with the same type of job, because environments and industrial structures of each country are dissimilar, a different level of knowledge will be required in order to perform their tasks. Second, fashion designers in both South Korea and the United States required a high level of knowledge in the 'fine arts', 'administration and management', 'production and processing', and 'design' to perform their duties as a fashion designer. As a result, both countries have similarities that fashion designers need to possess a high level of the knowledge in areas such as 'production of products' as well as 'sales of products'. Furthermore, human relationship field of knowledge such as 'counseling', 'psychology', and 'communication' appeared to be more necessary to fashion designers in South Korea than those in the United States. On the other hand, higher degree of knowledge of 'machines and tools', ' fine arts', and 'transportation' appeared to be more necessary to fashion designers in the United States than those in South Korea.

• 복식문화연구
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• 제19권6호
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• pp.1302-1319
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• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.

• 한국의상디자인학회지
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• 제10권1호
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• pp.55-68
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• 2008

This study is aiming to set a characteristic design and a fashion trend by analyzing hat style trends and fashion images shown in fashion collections in recent seven years. Also, based on the result of the analysis on the five world's major collections, the influence and the interrelation of hat and fashion image were analyzed. The study was performed by the context analysis method and the image evaluation method. In the context analysis method, the 1,391 pictures for hat-styles which were believed to be the standard of fashion style from the S/S season of 1998 to the F/W season of 2004 were analyzed. The research is summarized as follows. Based on the result of the fashion collections, the kinds of hats came Bowler, Beret, Cloche, Capeline, Cap and Hood in order, and Casual, Feminine, Natural, Formal, Romantic, and Mannish came in order for the case of the fashion images for putting on a hat. The result of the analysis on the characteristic of fashion design according to the kinds of hats, the casual image, with highest frequency, was found from all of the kinds except Capeline. Bowler and Cloche were conspicuous in jackets/slacks, Capeline was conspicuous in one-piece shape, and cloth silhouette showed the highest frequency in H type. As for Bowler, the color of cloth and hat was mostly black, and as for Beret and Cloche, achromatic color showed the highest frequency. But as for Capeline, the cloth color, including chromatic color, was various. As for Beret, pattern and material image were various comparatively, but as for other kinds of hats, there were the materials with no pattern and with hard material image.