• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.4
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• pp.666-683
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• 2023

This research aims to develop based clothing design process tailored to the industry-university collaborative setting and apply it in a fashion design class. into three distinct phases: designing and organizing our fashion design class, conducting our class at a university, and gathering student feedback. First, we conducted a literature review on employing new technologies in traditional clothing design processes. We consulted with industry professionals from the Samsung C&T Fashion Group to develop an AI-based clothing design process. We then developed in-class learning activities that leveraged fashion brand product databases, a supervised learning AI model, and operating an AI-based Creativity Support Tool (CST). Next, we setup an industry-university fashion design class at a university in South Korea. Finally, we obtained feedback from undergraduate students who participated in the class. The survey results showed a satisfaction level of 4.7 out of 5. The evaluations confirmed that the instructional methods, communication, faculty, and student interactions within the class were both adequate and appropriate. These research findings highlighted that our AI-based clothing design process applied within the fashion design class led to valuable data-driven convergent thinking and technical experience beyond that of traditional clothing design processes.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.5
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• pp.984-1003
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• 2020

The global fashion industry produces significant carbon emission and micro-plastics in oceans. Studies on sustainable design methods as such environmental issues in fashion are becoming intensely problematic. This study conducted a case study on 100 upcycle fashion brands to propose strategical upcycle fashion designs to compete in a sustainable fashion market. A literature review indicated that 3 types of textile wastes are generated as upcycling materials: post-producer, pre-consumer and post-consumer. Wastes are categorized together with 3 types of techniques: redesigning, reconstruction and handcrafting. This research derived 7 types of upcycle fashion designs that have the following features: to make luxury upcycle fashion products, to make sustainable grunge looks, to re-evaluate deadstocks, to recover vintage clothes, to convert waste into craft-arts, to offer solutions for damaged products, and to make zero-waste small fabric waste. The study results show that key drivers in the upcycle fashion design are the redesignability of materials and technique-related costs. This study implies that adopting appropriate design features can be a useful strategy for designers. New technologies will solve current problems and encourage them to design products in a new circular value system.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.1
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• pp.1-16
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• 2023

The smart fashion industry is showing steady growth worldwide, which will create new value throughout the fashion industry and become an essential element for efficient lifestyles. This study attempted to examine the development trend of smart fashion products from a design perspective and present the direction of design as a fashion item incorporating smart technology from a functional perspective. For this purpose, the category of portable smart fashion and the characteristics of the research object were considered through current status survey and previous research review. Among smart fashion, accessories and clothing/fabric products that have been released thus far that apply portable fashion design principles are selected and its characteristics are analyzed. In addition, function keywords were extracted based on the product description provided by the manufacturer and the function-oriented types were classified to identify each type's design characteristics. Therefore, the area receiving the signal and the sensor size should be considered, as should the fashion accessory type that combines various materials and colors. The clothing/textile type requires a design that mainly focuses on functions related to bio-signal interactions.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.79-96
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• 2012

Creativity is a rising topic in the current society. The emphasis on creativity is valued as a key factor for success in all areas including but not limited to politics, economy, culture, arts and design. The field of Fashion design is probably one of the few areas that talk about creativity as a necessary quality to survive. The purpose of this study is to introduce TRIZ(Teoriya Reshniya Izobretatelsskikh Sadatch) as a theoretical tool to generate creativity in fashion design. TRIZ is a creative method of problem solving based on data analysis of outcomes invented by engineering. The fundamental concept of TRIZ has been researched through documentary studies, and practical case studies of product designs are used. Fashion design cases from Comme des Garcons by Rei Kawakubo are used to apply TRIZ in fashion design. Rei Kawakubo's design philosophy has been studied through fashion writings and visual sources in books, exhibition catalog, www. style. com and online shopping mall sites. This study has selected four principles among forty inventive theories of TRIZ: segmentation; asymmetry; consolidation; and preliminary action to apply to Rei Kawakubo's fashion design. As a result, TRIZ can be applicable to fashion design as a creative thinking methodology. By using the four principles of TRIZ, this study shows how Rei Kawakubo's design enhanced its efficiency and aesthetics of the products and was distinguished from existing items. It is meaningful to demonstrate a possibility of adopting engineering based creative methodology in fashion design to widen the perspective and to raise a question for the need of interdisciplinary creative methodology with traditional aesthetic approach in fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.306-325
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• 2017

This study analyzed how a time-honored fashion house has harmonized its design identity over a sustained period with its successor designers. Givenchy Fashion House was selected as the subject of this study. This study focused on literary research, analyzed design features and fashion images based on photos of Huber de Givenchy's collections (1952-1995) and collections by Riccardo Tisci (2006-2016), the creative director of the house. Photos were gathered from books and fashion websites; in addition design was analyzed based on a review by experts on collections. The results are as follows. Hubert de Givenchy won fame for simplified modern elegance that presented a new beauty for modern women and reached the peak of his career from the 1950s to the 1960s. Riccardo Tisci respected the couture tradition of the Givenchy Fashion House. He successfully revitalized the house by simultaneously emphasizing his personal design features and reinterpreting the design identity as well as tried to establish new house signatures. In conclusion, the original design identity of the Givenchy Fashion House is based on Hubert de Givenchy's timeless modern elegance that has been reformed by Riccardo Tisci as romantic goth and sensual elegance.

• Journal of Fashion Business
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• v.20 no.5
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• pp.87-101
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• 2016

In this study, a variety of influence in the field of design and analysis about the value of a Grunge Design and the creative design inspirations in the field of hair design to help the development of the quality of research. The research methods use the Internet publications such as local and foreign information, analysis and related research and book form, such as the network search, library goes for consideration by a literature search. The contents of this study used review of the case and by Grunge design, expressive characteristics by color, texture and form of Grunge hair design, from 2014 to 2016 trend collections in the last three years through the analysis of design by date of the case. The result of this study is, Grunge design appearing in the areas of hair design, that are grunge anti fashion like the beauty of the disorder, the disharmony, the incomplete, the kitsch, the poverty. Although Grunge means dirt, filth, rubbish as a slang but it is valuable which was raised from the anti fashion to high fashion and alternative of main stream fashion and the hair design in modern fashion also brought. In this study, we can understand the grunge hair design in modern fashion was started from lower place as alternative and forecast the potentialities, the formativeness of the grunge design and value of the beauty and grunge anti fashion the identity and the spirit appearing steadily a modern fashion influence are reflected in our next fashion and design characteristics.

• Korean Institute of Interior Design Journal
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• v.15 no.4 s.57
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• pp.29-36
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• 2006

Fashion and interior architecture are two areas of design that may share common issues, trends and philosophies, making fashion design human's second skin and interior architecture the third. The concept of 'skin' has become one of the most interesting phenomena in design during the past decade and not surprisingly similar issues can be seen also in fashion and architectural design. The current trend in fashion design is that the skin (clothing) has become detached from the human body and extended into the environment, resulting fashion as art objects. Skin in architecture and interior design has also become detached from the structure so designers have more freedom to experiment by using advanced technologies. The present study attempts to analyze common features of 'skin phenomenon' in fashion and interior architecture that are; detachment, emphasis on space, extension, territorial blending, and digital applications. The researcher has used constant comparative method to categorize the five features among many examples. The limitation of this study is that it is focused on the formative phenomena of projects excluding the philosophies and personal background of each designer. However, it is hoped that the study may assist designers and other researchers to understand relationships between fashion and interior design, hold broader spectrum in art and design.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.50-69
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• 2014

Sustainability has been a big issue over the whole global industry lately and is an important fashion trend that reflects the modern phase of the time. The concept of sustainable fashion includes physical fashion products made from eco-friendly or recycle materials as well as ethical value such as corporate social responsibility for environment, labor or working condition. Fashion companies of advanced countries who are aware of the geo-environmental and ethical issues found that generating profits by setting trends and pursuing external beauty can no longer be the ultimate goal of fashion companies, and started to recognize the importance of sustainable fashion as a future-oriented trend. Not only fashion industry but also governments of advanced countries have been playing a leading role to educate the people regarding the importance of sustainable fashion and making large investments to foster industry specialists in educational institution. The aim of this study is to propose sustainable fashion design education program that fits the domestic university curriculum and government-leading education program in order to set the foundation for sustainable fashion industry. Thus, this study investigates successful cases of foreign government-led sustainable fashion education that can be introduced to improve domestic sustainable fashion education. The empirical study of the research is developing 12-15 week university level education program to foster specialists in sustainable fashion. The survey carried out by the students who participated in the program shows the change of perception on sustainable fashion. Developed university level program can be spread to municipal corporation, school of continuing education, and etc. in order to derive participation and problem perception of the citizens on sustainability. Developing systemized sustainable fashion design education program would be the first step of sustainable fashion by educating students who will take the leading role in the future fashion industry. Moreover, it can strongly influence future customer education as well as a special education inducing interest on sustainability in everyday life. A follow-up study is expected to serve as a foundation for sustainable fashion to take root successfully in the fashion industry.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.41-54
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• 2004

This study purposed to apply function form content, the three concepts that have been discussed by many philosophers since ancient times, to fashion design. Specific research goals are : first, to define fashion design based on the three concepts : and second, to examine how each of the three concepts function-oriented, form-oriented and content-oriented design have been expressed in women's fashion in the $20^{th} century. For these purposes. the author considered Morris' semiotics, which is the theoretical background of the three concepts, reviewed previous researches in design area, and applied the findings to fashion design. According to the result of applying the threefold structure of semiotics. which is the theoretical background of the three concepts, the pragmatic dimension of fashion design comprehends all functional rules related to the use of dress such as body motion and protection, health and safety. air flow and durability, and its syntactic dimension comprehend all the formal elements of visual design such as the structure, shape, line, color and material of dress. The semantic dimension of fashion design includes the symbolic meanings of dress expressed by emotion, sentiment and images. The three dimensions exist interdependently with one another. According to the result of considering the characteristics of the three concepts in the scope of women's fashion in the $20^{th} century. function-oriented design is characterized by practicality and simplicity, and has been expressed as the fashion of functionalism in the 1920s, that of minimalism in the 1960s, and the basic style from 1970s to 1980s, 1990s and the present. Form-oriented design has pursued aestheticism, putting stress upon form, and has been expressed with organic shapes imitating patterns found in nature in the 1950s and with optical art fashion in the 1960s. Content-oriented design attaches importance to transmission of delicate meanings related to the mental world of human beings, and is represented with symbolic forms. Such a characteristic has been expressed in fashion in the early 20th century influenced by surrealism and, with various types of design breaking established forms as well as metaphors and humors that characterize design in the late 20th century.