• Journal of Fashion Business
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• v.26 no.1
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• pp.41-52
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• 2022

Since the dissolution of the Soviet Union in 1991, the Russian public has been rapidly adapting to belated globalization, consistent with the ever-changing market economy. The purpose of this study was to investigate the social background and modern fashion of Russia after the collapse of the Soviet system and consider the characteristics of modern Russian fashion that have emerged in various ways amid the social changes. This study has significance in expanding the breadth of understanding the rapidly growing modern Russian fashion by considering modern Russian fashion and preparing the foundation while filling the need for research on the Russian fashion market, which has great potential. In the scope of the study, we investigated fashion from the post-2000s, when consumption began in earnest after Russia suffered a period of social and economic turmoil and switched to a liberalistic economy in 1991, to the present. In addition, we conducted an analysis focusing on the works of fashion designers who came from Russia and actively participated in work activities in Russia or abroad. Russian fashion designers reflect the unique cultural characteristics of Russia in their designs and incorporate Russian art into their designs to represent new fashion. Through continuous attempts for creative fashion design, modern Russian fashion will be developed in more diverse ways in the future. Thus, a follow-up study using various approaches to Russian fashion is needed.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.131-142
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• 2009

In response to the need of developing children's wear design using traditional elements, this study purposed to develop fashion designs emphasizing contemporary images based on the symbolism and formativeness of traditional dresses. For this study, we reviewed the definitions and symbolism of traditional colors and traditional patterns using previous research, and classified them according to formative shape. In addition, this study made three pieces of dress and developed unique designs by applying the traditional patterns and elements of Korean traditional dress styles. The research methods were as follows. First, we examined the images of Korean traditional colors and classified the symbols and meanings of the colors. Second, we identified the types of patterns, and classified them into shapes and symbols. Third, we designed and made actual works by applying traditional patterns. Based on the theoretical studies as presented above, we developed contemporary casual hanbok designs for children by applying symbolic and formative traditional patterns and using DTP (digital textile printing).

• Journal of the Korean Home Economics Association
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• v.32 no.5
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• pp.201-216
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• 1994

The materialism prevalent in the modern industrial society and concern for the destruction of nature have led people to long for the returning to nature and excite their nostalgia for old. These phenomena induced in modern fashion naturalism retrospectivism ethnicism and primitivism. In the following we present our findings in regard the roles and relationships of the tie dying with the modern fashion design. in regard the roles and relationships of the tie dying with the modern fashion design. The common basic themes are founded as follows; 1. Naturalism: The tie dying is from very old times and has evolved in many parts of the world producing their own natural designs and color. They bear the characteristic of nature; the pleasantness smoothness and complexity. 2. Individualism and hand made: No two items produced by the tie dying technique are identical even though they are similar by design and their individuality is to some extent determined by chance. The retrospetivism and individualism are themes relating to the modern fashion. 3. Ethnicism and primitivism: The tie dying brings up the 'ethnic and traditional' to us and their designs and colors present the new images of the ethnic and primitive influences to the modern designs. 4. Ecology recyle and grunge look: The tie dying represent the recycle of the used natural resources such as making the old cloths useful again in new forms by tie dying them. The old clothes thus restored show wrinkled untidy and somewhat loosely fit form. This image of 'grunge look' is one of the central theme of the modern fashion.

• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.363-372
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• 2007

T-shirt has changed into advanced and stylish outwear by new paradigm, taste of consumer, awareness of recycling, spread of subculture, DIY culture, refusal of standardization and pursuit of high quality goods, etc. The purpose of this study was to analyze aesthetic characteristics of t-shirt designs that changed into diverse designs in world fashion college since 2000. The method of this study was to analyze documentaries, fashion magazines and internet fashion site. Aesthetic characteristics of t-shirt designs were expressed in deconstruction, mixture, integration and imitation. And each of external expressions and internal meanings was as follows: First, deconstruction was expressed in partial cutwork and three dimensional texture by sewing and construction drape. It means breaking the conventional structure and break-ing the boundary of t-shirt and another item and possibility of multi-vocal analysis. Second, mixture was expressed in collage of diverse ornaments, diverse fabrics and diverse patterns. It means exceeding the limit of material, elaboratenes and high quality of handwork, reflection of self-identity, brand image, fashion trend, consumer's psychology and mind of experimentation and couture. Third, integration was expressed in extension of length, width, use and style. It means unification of functions, deconstruction of items and extension of meanings and images. Forth, imitation was expressed in stain of dye, irregular and ripped sign, cut out, rough warp, drawing and washing, etc. It means subculture, rarity value, monopolization, diversity, familiarity, yearning and uniqueness.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.65-79
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• 2010

Each season, many clothing companies dump small pieces of fabrics left over from making samples. Since fabrics do not decompose easily, this results in environmental pollution. This research was done to discover effective ways to reuse these fabric remnants. As most of these remnants were not large enough for making clothes, fashion accessories was chosen as the design object. Four steps of design development process followed: information research & analysis, prototype design & sample making, market testing, final design decision. After market research and trend analysis, four neck decoration wear -- scarf & muffler(SM). collar & cape(CC), vest & top(VT), and necklace(NE) -- were selected as final product types. 45 designs arose, and 120 items with variations in fabric materials and colors were produced as samples. The three main themes (multiple. reversible, cross) were applied throughout all of the design items. Samples were evaluated from the reactions of the consumers through a 10-day sale at a retail store. Based on the sales record and customers' opinions, five designs from each of the product types SM, CC, and VT were picked out as final designs. In conclusion, fashion accessories turned out to be a more appropriate item to reuse fabric remnants from clothing companies than clothes were, because they necessitate small fabric size and the limitation in fabrics could be compensated with creative design ideas.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.165-175
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• 2011

In this study, document research on Jogakbo and Tosi were carried out and textile designs were developed by applying Jogakbo and Tosi together for motives. The purposes of this study were to develop a unique textile design, and then to enhance the competitiveness of Korean textile industry in the world market and pass down a Korean traditional fiber art cultural legacy. The results are as follows; First, the title of textile design was decided to "innocence of childhood" and the concepts are "sim ple heart ed, pure heart, sweet", in order to develop textile design for the young generation Second, Motives were chosen Jogakbo and Tosi to reflect Korean traditionality and identity and textile designs were expressed on ground fashion trends for modernity. Third, developed textile designs were printed with digital printing method for eco-friendly and productivity, and various articles clothing, nectie, shoes, bag, bedings were producted with developed fabrics for multipurpose. Forth, the developed textile designs were evaluated highly in point of Korean traditionality and identity, felling of simplehearted, pure hear and sweet, modernity and fashion trend, and preference by a sensory test of developed test design.

• Journal of Fashion Business
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• v.14 no.1
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• pp.116-131
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• 2010

As our world is becoming more and more globalized, nations tend to turn their interests towards their unique legacy and traditional culture. This research is intended to re-illuminate the Korean beauty through the Lotus Pattern, a traditional factor, from the Chosun Dynasty, and at the same time, analyze how its peculiar representation and figural elements can be reflected in modern fashion designs. The results will be an essential factor in creating exclusive and original designs. Research method was theoretical research from documents and to refer to positive data on preserved relics, and research contents consists of analysis on the use of lotus patterns in artworks that were exhibited during 2000 to 2008 by Korean and foreign artists. Results showed that lotus patterns that were used during the Chosun Dynasty are categorized by shape, composition form, and structural form. Applying these results, a total of 8 works were designed and created.

• Journal of the Korean Society of Costume
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• v.25
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• pp.215-231
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• 1995

Semiotics is an external expression for show-ing internal meaning, and the signs express the internal meaning. The architects and the designers are very similar each other in using semiotics for expressing their desires. Histori-cally, the design similarity exists between the architecture and the fashion. In this study, the fashion designs are interpreted by using semiotics of architectural design, especially emphasizing external expression methods for representing internal desires. To express the human body's character-istics, the volume, weight support, structural simplicity, controllability and beauty of fashion were used for the fashion designs, and those characters could be found at the architec-tural patterns. Balenciaga's fashion emphasized the volume, the weigh support, the structural simplicity and the controllability, while Roberto Capucci rejected the approach of using women's body curves, but used the volume and simplicity of natures in addition to Balenciaga's heavy weight design patterns. The control and the modern dedication were used to make the simple patterns by Courreges, and then brought the Modernism to the fashion. Courreges used the cutting characters to func-tional design for expressing the structural sim-plicity.

• Fashion & Textile Research Journal
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• v.23 no.2
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• pp.159-173
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• 2021

This study attempted to investigate the perspective of the skirts of male and female students by analyzing the differences in image evaluation according to the constituent elements (type, length, and wearing method) of men's skirt designs in modern fashion. The study included 109 male and female college students from Generation Z residing or whose life center was in Gwangju Metropolitan City, to evaluate 12 images depicting types of men's skirts. First, the constituent image evaluation factors according to the constituent design elements of men's skirts were analyzed. Second, the differences in each constituent image evaluation factor based on the constituent design elements of men's skirt designs were analyzed. Third, the gender-based differences in image evaluation by men and women concerning the constituent design elements of men's skirt designs were analyzed. The analysis included relatively more women than men. The results of the image recognition dimension included the following categories: "attractive image," "evaluable image," "gender image," and "personality image." In modern fashion, skirts are used to express the diverse personalities of men's fashion. Thus, they are used beyond the stereotype of women's clothing, toward expanding and diversifying the image of men's clothing through mixing and creating a dichotomous image of men and women. It can be used as a design that suggests a gender-fluid image.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.33-47
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• 2015

The purpose of this study is to understand the ideas of characteristic of convergence design related to slow fashion design. Convergence design in digital stage can be defined as a social phenomenon which different function of product move toward one direction for greater efficiency. Slow fashion is based on the Slow Movement. (This is a movement with similar principles to the Slow Food Movement, as it promotes an alternative mass production, such as fast fashion.) The aims of this research are to study slow fashion that has appeared in the fashion industry through various approaches for convergence designs, and to find the possibility of use for slow fashion. The research method consisted of carrying out case studies and analyzing literatures and proceeding cases. The characteristics of convergence designs are classified into technical convergence, emotion-oriented convergence and complex convergence. Technical convergence has an effect on slow fashion as a multi-functional design. Second, emotion-oriented convergence affects social-cultural design. Slow fashion related to a complex convergence design reveals emotion-oriented deign. Slow fashion is related to convergence design is to expect contribute to provide a good source for the future fashion industry and fashion market.