• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Journal of the Korean Home Economics Association
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• v.45 no.4
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• pp.43-51
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• 2007

This study analyzed the knit wear trend, which has gained attention as a sensuous and luxury item, through collection magazines, and used the technique of hand-knit to produce and present the knit wear that was designed based on the study results. Accordingly, the purpose of this study is to raise awareness of the expansion of hand knit's new expression techniques and expression areas and to verify its possibility as a higher value-added product. The trends of hand-knit wear resulted from the analysis of collections divided into the following four groups, and the knit designs were also grouped accordingly: First was "The design using object." The trend survey showed the results that the form of drops or flowers was often used as a factor of object. Accordingly, as for the study design, the drop-knitting technique, which is one of the pattern knitting techniques, was used to present a design that employed drops as the object. Second was "The design matched with woven material." It is a way to emphasize aesthetic formativeness and at the same time to activate the area of knit design by matching woven material, which is different from knit in texture, with knit. This study presented a design that tried to combine knit texture and woven material by connecting denim material with various textures and colors. Third was "The design to express see-through." A sense of showing through knit wear was expressed through changes in the type of thread or knitting technique. In this study, the sense of see-through was expressed using piano wires and wool threads and through changes in the thickness of needle. Fourth was "The design to emphasize coloring." It was analyzed that regarding the production of hand knit, the method of coloring expression was to express points, lines and sides or to create harmony by changing the material's color or texture to show particular objects or shapes. In this study, a jacket was designed using the method to express points, lines and sides by changing the material's color.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.11-23
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• 2008

니트웨어가 가지고 있는 신축성은 우븐 페브릭으로 제작한 옷과 비교했을 때, 옷을 입었을 때의 편안함과 관리의 수월함을 제공하며, 이러한 니트웨어의 특성은 현대의 라이프 스타일에 맞는 경쟁력을 가지고 있다. 현대인의 생활은 단지 일에만 치중하며 사는 것이 아니라 여행, 사회적 참여 그리고 운동 등을 하며 개개인의 삶을 더욱 중요시 여기는 형태로 변해가고 있다. 따라서 손이 많이 가고 관리하기 힘든 옷을 위해 쓰는 시간은 점점 줄어들고, 캐주얼이나 정장에 관계없이 편안하고 관리하기 쉬운 옷을 선호하며 살아가고 있다. 이러한 경향은 패션산업시장에 직접 반영되어 관리하기 쉽고 입기에 편안한 니트웨어는 패션 시장 안에서 점점 더 많은 부분을 차지하고 개발되어지고 있는 실정이다. 하지만 현재 니트웨어 시장은 니트조직을 개발하고 표현하는 데에 있어 공장의 기술자 중심으로 이루어지고 있어 제한된 스타일의 니트조직이 대부분의 시장을 차지하고 있는 실정이다. 이에 창의력을 가진 니트 디자이너와 현대인의 감수성을 만족시킬 수 있는 니트 조직의 개발은 현대 패션시장에서 매우 중요한 과제로 남아있다고 할 수 있다. 또한 CAD를 사용하는 산업용 니팅머신은 독특한 텍스추어를 가진 니트웨어의 대량 생산을 위해 꼭 필요한 아이템이라고 할 수 있다. 이러한 시대의 요구에 맞추어 연구자는 이번 연구를 통해 현재 니트웨어 시장에 나와 있는 조직과는 차별화 된 4가지 니트조직을 CAD로 디자인하고 산업용 니팅머신을 사용해 현실화하였으며, 니트웨어 디자인에 적용하여 실제의상으로 제작해 보았다. 이 연구를 통해 얻어진 결과물이 현대인의 감수성을 만족시킬 수 있는 새로운 제안으로 현재 패션시장에 받아들여졌으면 하는 바람이다.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.3
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• pp.25-36
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• 2003

The purpose of this study is to analyze the expressive technique of grunge look in knitwear fashion. For this study, I have investigated theories of retro and decontructionism trends, and have examined pictures from professional fashion magazines. The results of study on the expressive technique of grunge look reflected on the knitwear fashion were as follows; (1) patchwork technique, which is an outstanding method of recycling, (2) handknitting technique, which came from retro trend of hippism, (3) unfinished edge, which emphasized the image of poverty and incompleteness, (4) irregular lace knitting and slash technique, which is the typical details of grunge look and denies the traditional fashion order, (5) hand stitch technique using various materials, which gives second-hand mood of hippie look, and (6) fringe details, which originated from the unfinished edge technique.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.108-121
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• 2016

The objective of the study is to propose diverse knitwear designs by expanding the scope of the use and application of knit fabric. The study looked into diversifying the knitwear designs by using different types of zippers and with the combination of the diversity given by the zipper used in attachable and detachable method and the traditional North European knit patterns. One way of contributing to the diversity of fashion design is to use the zipper, as it can be implemented as an attachable and detachable fastening system. Also, the combination of North European traditional knit patterns with knit fabric can create a new and unique knit styling. The content of the research focuses on the history and definition of North European traditional knitwear based on the analysis of theoretical background, types, and characteristics of the knit patterns. Case studies were observed to show the application of knit patterns. The methods of the study used are preceding research along with research, collection, analysis of data, information from Korean and foreign literature, and Internet websites. During knitwear production, the two types of zippers were used in combination with four traditional Northern European knitwear Aran, Fair Isle, Nordic, and Ropy. The knitting techniques applied in the process were cable fisherman (5GG, SES 124CS) and Tubular Jacquard (3GG, 7GG, SES 122CS) for knitting machinery, and the technique of whole garment for hand knitting.

• Journal of Fashion Business
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• v.5 no.1
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• pp.131-144
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• 2001

The purpose of this study is to examine the type of stitch and designs of knitwears using handcraft ornament techniques. This paper will also go on to develop and merchandize high value generated by design development. Knit is largely divided into weft knit stitch and warp knit stitch which are respectively woven by weft knitting machine and warp knitting machine. For clothing, circular knit and flat knit are frequently used while plain stitch, rib stitch and purl stitch are perceived as the basic stitches. Denbigh stitch, cord stitch, atlas stitch, which belong to tricot stitch, are the basic of warp knit stitch. There are also numerous fancy fabrics adapting the previously mentioned stitches and these are made into solid pattern and yarn dyed pattern. The handcraft ornament techniques in knitwears design are embroidery, beads, sequin, stone, printing, applique and fringe, etc. By applying these techniques thus creative expression, which cannot be expressed in other fashion items, is feasible. The women's knitwears are tries by mixed and various techniques, develope to high value knitwears, escaping from simple and practical items.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.23-34
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• 2013

The purpose of this study is to better understand the development and characteristics of knitwear fashion design by examining the transformation process of the modern knits. The subjects of the study are Missoni, Sonia Rykiel, and Azzedine Alaia, designers who are world-renowned knit designers, and the expressive techniques in their designs will be evaluated. The study also intends to analyze the aesthetic value of each designer's style through their product's silhouette, colors, and knitting techniques. On the basis of the analysis, we hope to research the factors in the designing process that will allow knits, which were made for practical purposes, to be valued as a luxury fashion item, and with the results, show the potential for knits in expanding its domain in fashion to become a more luxurious, creative fashion item. The characteristic comparison of the designers is as follows: First, in the case of colors, Missoni shows its distinct identity through a balance of splashy colors as well as nature-inspired color composition and balance. And, only with color use, is also able to express perspective, form composition, and rhythm. Sonia Rykiel designs are composed of black backgrounds with strong primary colors that are contrasted with one-point or stripes to express a light, urban image. Alaia emphasizes femininity by the use of black and white colors, which show modernity, in combination with neutral skin-toned colors, such as beige and gray. So, in other words, Missoni and Sonia Rykiel mixed colors for visual interconnectivity, while Alaia expressed femininity through the use of an achromatic color. Second, in the case of knitting techniques, Missoni uses the jacquard technique to make complex patterns that show balance of colors and patterns such as zigzag, stripe, geometries, and titan check, which are geometric, abstract, and symmetric. Sonia Rykiel who uses stripes as her trademark, most often utilizes the intarsia technique, which is expressed through one-point. Alaia combines diverse techniques, such as the Skashi weaving, by using computerized knitting. Third, as for silhouettes, Missoni eliminated exaggerated details in order to emphasize the flashy colors and delicate patterns and weavings of its designs, and this resulted in simplistic and relaxed silhouettes. Sonia Rykiel took advantage of the elasticity that the knit offers to get a tight silhouette, and in turn, emphasized the female sensuality. Alaia used curvilinear cuts that emphasized the womanly curves and gained an image considered soft and feminine.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.504-518
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• 2023

The objective of this study was to explore the symbolism associated with phoenix patterns in China and the temporal aesthetic characteristics of these patterns found in Dunhuang Mogao Grottoes. The study involved collecting examples of clothing designs featuring phoenix patterns from China Fashion Week and the Vogue website, spanning from spring and summer of 2016 to fall and winter of 2022. After collecting and organizing these examples, representative cases were selected for analysis. The objective was to identify effective techniques for incorporating phoenix patterns within the context of Dunhuang Mogao Grottoes and provided insights for future clothing design and textile pattern design research. Phoenix patterns boasted a lengthy history and were laden with symbolic meaning. Early renditions of phoenix patterns found at Mogao Grottoes in Dunhuang were relatively simplistic in design, mainly employing elements like rhythm, coordination, balance and symmetry to convey a sense of nature and gravity. Over time, these patterns evolved under the influence of the prevailing cultural backdrop, employing repeated emphasis to portray notions of abundance and tenacity. Furthermore, regarding the use of phoenix patterns in clothing, there were four prevalent expression techniques: embroidery, beading, printing, and knitting. Traditional techniques like embroidery and beadwork often prioritized aesthetic features like coordination, emphasis, and symmetry, thereby showcasing the opulent characteristics of phoenix patterns. On the other hand, printing and knitting techniques used a single phoenix pattern or a modified version to simplify designs by emphasizing or repeating aesthetic characteristics while adhering to a modern artistic approach.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.9_10
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• pp.1475-1486
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• 2007

This study aims to develop knitted ware design to meet desire to express diversity in the modern fashion design so that we designed knitted ware by applying african geometric pattern and color to suggest new knitted ware design. We collect data about african texture pattern through technical books, publications, internet, and preceding research and visit and investigate the African museum. We investigate knitted Jacquard texture through preceding research and collect sample and data which is insufficient in the data source. The conclusions in this study are summarized as follows: First, African textile pattern is formulated with animism based on their religious view of art for a basis and African regards nature like animal and plant as a motive and interprets nature in the so that they can create symbolized geometric features that constitute African texture pattern. Those patterns is composed of extremely geometric figures so that they we fit to apply for color jacquad knit design. Second, color knitted jacquad can be distinguished by knitting method and status of knitting as 7 kinds of techniques such as Nomal, Bird'eye, Floating, Tubular, Ladder's back, Blister, Transfer Jacquard, and as a result of preceding research and knitting texture directly, jacquard technique makes different texture under same condition like consistent spinning rate and same crochet hook. Third, Bird'eye Jacquard used generally to make knitted ware and Ladder's back Jacquard, Tubular Jacquard used to make knitted ware light are fit to apply them to 7GG and 12GG machines. We design a cloak as a outer garment, a coat shaped like one-piece dress and a coat with hood by using Tubular Jacquard which can make thick texture and design a jacket, a skirt and a one-piece dress by using Bird'eye Jacquard. we make a light and flimsy one-piece dress by using Ladder's back Jacquard. Fourth, we apply the contrast of $4{\sim}6$ color and line and the contrast of texture and raw material to jacquard in order to emphasize texture property and visual property.

• Journal of Fashion Business
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• v.4 no.3
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• pp.115-129
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• 2000

The purpose of this study is to discover the techniques and the trends of expression of modern knitwears focusing on the 1990's after. The resorts of this study is as follows: The techniques of expression of knitwears are classified by the sections on the techniques and the styles of expression. The divisions into the techniques are knitting, crochet, macrame, netting, knotting. And the divisions into upon the styles of expressions are color, pattern, texture, relief and seeing through The techniques of expression on the modern knitwears are expressed characteristic of variety and composition, are expended to the art wear by translated into art. According to a wide sense, ecology, ethnic, modern are the themes of knitwears of 1990's after. The characteristic technique of expression according to the themes are expressed by the harmony of image, yarn, color, silhouette, techniques of expression. The modern knitwears are tried by mixed and various techniques, developed to the area of art wear, escaping from simple and practical item.