• 복식
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• 제39권
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• pp.239-255
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• 1998

Art deco means decorative form on the base of cubism which has widely spread from 1910's to 1930's. Also it pursued the rational & functional design even than deecoration of art nouvear, and colorful combination of fauvism. The analytical study on design included occurrence, developing process and formative features expressed in the art deco fashion. The changes of the art deco style, it referred to the fashion illustration which was the Graphic-s of Ert in 19 century. Besides analysised activity designer in the art deco style, at the same time considered fashion design as comparable analysis. Paul Poiret, a representative french designer, contributed to the clothing culture which accepted oriental influence and it was all the fashion enough to call the originator of present fashion. He did away with the corset, relaxed the waistline, and freed the body from clothing constrictions of almost a hundred years. Since 1914, because of industry of woman clothing that art deco represent concern of one's Chanel's perennial rival in the firmanent of parisian high fashion was the Italian designers, Elsa Schiaparelli, Schiaparelli's originalily was profoundly influenced by the avant-garde art of the time ; Da da and Surealism were principal soures of new ideas. It apply the style to geometrical or abstract form impressed straight and smooth line on suitable technic. Such inflection of art deco heralded a close collaboration between the artist-jeweller and the fashion industry. Especially, jewelry designers were fond of juxtaposing transparent faceted stoned which reflected the light, with matt stones, which offered rare or unconventional contrasts through their opacity. Consequently, art deco will exert value of utility for the progressive fashion & jewel CAD through continuous research.

• 패션비즈니스
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• 제27권4호
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• pp.67-87
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• 2023

This study analyzed the fashion design features of Iris van Herpen and createdsixdigital fashion designsusing the SCAMPER technique with 3D clothing design software, incorporating a futuristic theme. The research methodology involvedcase analysis and a literature survey. First, the study summarizedthe design style and characteristics of Iris van Herpen. Second, a design concept wasestablished, and a design mood board wascreated. Third, the resulting design features were combined with the SCAMPER technique to incorporate Iris van Herpen's design elements intonew digital fashion designs. Fourth, after discussion with the professor and expert group, six designs were selected for production. They includededgy suit coats, overcoats, asymmetrical hoodies and asymmetrical skirts, irregularly shaped tops, dresses, leggings, jackets,and fishtail skirts. This study provides a reference for the future development of digital fashion designs and showcases the integration of science and technology in fashion design.

• 한국컴퓨터정보학회:학술대회논문집
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• 한국컴퓨터정보학회 2020년도 제61차 동계학술대회논문집 28권1호
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• pp.269-270
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• 2020

본 논문에서는 한류의 영향으로 그 관심이 증가되고 있는 신한복 커스터마이징 시스템 개발을 위해 신한복 치마 패턴개발에 필요한 기초자료를 얻고자 시판 6개 신한복 브랜드의 치마 패턴을 비교분석하였다. 같은 디자인의 free사이즈 치마임에도 불구하고 각기 다른 치수로 제작되는 것으로 나타났다. 치마길이는 17cm, 허리벨트길이는 29cm, 허리벨트폭은 4.5cm, 끈길이는 72.7cm, 치마길이는 17.0cm, 치마폭은 90.5cm의 차이를 나타냈다. 같은 신한복 치마임에도 브랜드에 따라 치수 차이가 큰 것으로 분석되어 치수규격의 정리가 필요할 것으로 사료된다. 한국 성인여성의 신체치수를 분석하여 그에 적합한 신한복 치마 패턴 개발이 이루어져야 함을 알 수 있다.

• 패션비즈니스
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• 제27권6호
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• pp.124-146
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• 2023

This study analyzes the characteristics of each element of neo-deconstructivist fashion design and examines fashion expression methods and techniques. This study combines theoretical research and case analysis to analyze the aesthetic characteristics of neo-deconstructivist fashion and the expressive characteristics of neo-deconstructivist fashion. Through analysis of previous research, the aesthetic characteristics of neo-deconstructivism were derived as inclusiveness, playfulness, communication, and intertextuality. Inclusivity in fashion refers to including various people, body types, aesthetics, and cultural backgrounds in the scope of design, and does not limit the scope of clothing design based on individual differences such as body type or gender. Playfulness is a neo-deconstructive fashion brand that combines exaggerated makeup, vibrant colors, intriguing designs, and imaginative fashion shows to spread upbeat and playful ideas. Communication in neo-deconstructivist fashion demonstrates communication through the use of creative themes and items that reflect consumers' needs through design and the consumer's fashion presentation method. Through the mutual quotation of aspects like traits, status, T.P.O., and materials that can reveal opposing texts, intertextuality emerged as a tendency to break up binary oppositions or break away from genres. The expressive qualities of neo-deconstructivist fashion design were examined and applied to the creation of innovative fashion design through examination of the case's silhouette, color, and material. Six sets of women's clothing were designed and produced. The results of this study can be used as basic data for the development of neo-deconstructivist fashion design, and are expected to provide a wide range of inspiration for fashion design ideas.

• 패션비즈니스
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• 제21권5호
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• pp.1-14
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• 2017

As the design of the day focuses more on human-centered design, this shift creates value for society and also fulfills on a sense of social responsibility. In the area of fashion, the design activity is used as a type of fashion design to realize the social value of design in a changed society; this concept was defined as Fashion Design Activism. The objective of this study is to empirically research design activity as a practical value of the day when the social contributions of fashion design are rising in the overall society through the research on the practice of Fashion Design Activity which is adapting to changes in the fashion design paradigm. Regarding the study method, the literature research and case study were combined. We examined the meaning of social design by reviewing the literature related to this social paradigm, and we analyzed cases in which the effects of fashion design on society were realized through practical activities. Also, we defined the role of fashion design based on an analysis of design types based on previous research. This study divided the roles of fashion design in a pattern based on the social roles that design inhabited, in terms of how 'fashion design fulfilled on social responsibility', 'anthropocentric fashion design putting emphasis on users', and 'fashion design aiming for eco-efficient changes'. This study aimed to seek measures to develop fashion design that could promote changes focusing on society, humans, and the environment.

• 디지털융복합연구
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• 제17권8호
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• pp.423-428
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• 2019

4차 산업의 발달로 ICT 디바이스의 영역이 확대되면서 스마트 주얼리들이 출시되고 있다. 주얼리는 스마트 기기의 기능적 측면과 융합되면서 인체를 치장하는 패션 도구일 뿐만 아니라, 사용자가 생활환경과 안전개선에 필요한 정보들을 전달하는 기능 및 필요한 정보의 상호작용이 확장 가능성을 가져오고 있다. 현재 웨어러블 주얼리는 스마트폰 보조기라는 인식과 기술적 제약으로 소비자에게 큰 호응을 얻지 못해 널리 확산되지 못하고 있으나 디바이스의 초소형화, 디자인의 개선이 필요하다. 현재 출시된 웨어러블 주얼리 제품을 중심으로 디자인, 재료, 색채에 따른 감성적 유형을 분석하여 스마트 주얼리가 주얼리로서 사람들의 감성을 어떻게 자극을 할 것인가를 고려하며 더 많은 연구를 통해 미흡한 부분들을 보완 수정하여 창의적인 스마트 주얼리의 가치를 높이는데 기여하고자 한다.

• 패션비즈니스
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• 제28권3호
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• pp.48-68
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• 2024

In recent years, with the international spread of traditional Chinese culture, traditional auspicious patterns have been used idely in modern textile design. In particular, a bat pattern has the same pronunciation as 'fu' in Chinese. It symbolizes good luck and longevity. It has auspicious meanings such as happiness, prosperity, wealth, longevity, and good luck. This study aimed to explore how cultural elements could be utilized in modern textile design by incorporating the traditional Chinese bat pattern into scarf design. Through literature research and case analysis, we aimed to understand the historical background and design characteristics of the bat pattern and develop it into a textile design suitable for modern scarf design to promote modern reinterpretation of traditional culture and cultural integration. From a design perspective, the shape of the bat pattern was analyzed to derive five main shapes and characteristics (symmetry, verticality, repetition, totality, and relativity). Based on this, 10 patterns were created by combining them with popular styles of modern scarf patterns. In addition, five product designs were completed considering 23/24 Pantone trend colors, 24spring/summer fashion trend colors, and silk scarf pattern characteristics.

• 패션비즈니스
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• 제24권1호
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• pp.88-101
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• 2020

The music videos of BTS go beyond the limit of media promoting music and shows their meaning in various ways and complete the visual message of music through fashion style. BTS' fashion style in the music videos shows a change in symbolic representation of the genre of each album and song, of which gender images are changing aligned with the music messages of BTS. The purpose of this study was to derive gender images of fashion style in BTS music videos and to interpret their meaning based on Judith Butler's theory that performativity creates discourse through iterative process. It is conducted as a research method, an analytical study was conducted in parallel with literature studies and empirical case analysis. The scope of the study was limited to 301 costumes that appeared in 21 official music videos from debut single album '2Cool 4 Skool' released in 2013 to the mini album 'Map of the Soul: Persona' released in 2019. As a result of the analysis, the controversial fashion style, challenging fashion style, boyish fashion style, hybrid fashion style, the playful fashion style were revealed. The conclusion of studying the gender image of BTS, interpreted by this analysis using Judith Butler's theory, is as follows. The gender image of BTS is the traditional image that identifies with the dominant gender discourse, the resistive gender image that intentionally distances mainstream culture, the eclectic image parodying the gender of the opposing term, and the deconstructive image that transcends the dominant gender discourse.

• 패션비즈니스
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• 제15권6호
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• pp.163-175
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• 2011

This study tried to improve the design of the symbol mark for the fashion industry and effectively publicize the brand image of a small fashion accessory company through a powerful visual communication strategy. For this purpose, this study performed research and an analysis of the features of existing fashion accessory companies as well as the current status and features of their utilization of symbol marks for the enhancement of the brand's image. Total 48 fashion accessory brands focued on jewerly were selected from the Dictionary of Fashion Brand and the types of symbol analyzed the concepts and formative aesthetics of the symbol mark design in each brand. Based on the data, this study designed the fashion accessory company's logo and a new symbol mark design. It makes full use of the characteristics of the logos and the symbol mark that reflect the most critical issues of fashion accessory design so as to promote the consumers' level of product recognition as well as the product symbol characteristics. In the case of combining characters with concrete objects, they were found generally to use objects that give elegance, cute and feminine images, such as rings, hearts and small pets. Moreover, colors in the series of black/grey seemed to be used to convey the concept of accessory brands that pursue modern, sophisticate, and practical images. As these design plans, enhancement of the consumers' level of recognition of the brand is attempted as well as the execution of an effective publicity of the feature of the product through the use of the logo and symbol marks reflecting the features of the fashion accessory, instead of simply introducing the brand or product. The result of this study indicates that methods to design brand symbol marks for clothing should be incessantly sought in a way to build brand power as an important component to represent concepts and reinforce brand image.

• 한국의류학회지
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• 제32권5호
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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.