• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.3
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• pp.49-61
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• 2003

This study is a process of developing experimental Korean image fashion items that can appeal to the younger generation. The sample models are focused on jeans and T-shirts. This project had two goals. First, giving chance to the students of Konkuk-University of producing fashion items adopting Korean image in university venture company. Second, contributing to Korean image fashion market if the items have been proved to have competitive power through the market of Konkuk-University and it's cooperated company. The research is restricted within ornament techniques of Korean traditional dress and its ornament's element, they are patchwork wrapping-cloth(Chokakbo), embroidery, gold and silver foil on cloths, and transcription. Such Korean image elements are graphic patterned as 30 jeans and 50 T-shirts and eventually evaluated by 100 university students majoring in garments. The evaluation scale contains repletion of Korean image, possibility of market, and preference. Through this process, 6 jeans and 7 T-shirts were produced.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.38-52
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• 2012

The purpose of this study is to confirm the international unique color sensibility according to the ethnic color preferences. The existing studies about color sensibility were investigated to analyze the international color sensibility. The countries were chosen according to its, strong regional and racial color. Also, the documents and websites about environment color such as structure color, natural feature color, traditional folk costume color and customary color names were investigated, and then, the international color sensibility was analyzed by using the color image scale. As a result of the analysis about the differences of color sensibility, internationally distinguished color sensibility was discovered. There were differences not only for the preference trend of hue but also for the tone or contrast of color among the selected countries. Especially, Great Britain had a strong preference for G categories that they preferred the warm-grayish color image. Russia has a preference for R, G, and B categories with the preference for the warm-clear image. Netherlands had a preference for R, Y, and PB categories and it preferred the cool-hard-grayish, warm-soft-clear image. Italy had a preference for R and Y categories and it preferred the warm-clear image. Morocco had a preference for R and B categories and it preferred the warm and cool, clear image. Japan had a preference for R, G categories and it preferred the warm-grayish image. Korea had a preference for R and B categories and it preferred the warm-soft-clear, and cool-clear image. With these results, the researcher concludes that the integrated analysis of the environment color and the traditional racial color factors are very persuasive methods to comprehend the international color sensibility.

• International Journal of Costume and Fashion
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• v.3
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• pp.107-120
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• 2003

The purpose of this study was to examine the differences in the clothing image perception of elderly women according to the clothing types, the clothing colors, the perceiver's sex-role attitude, and gender. Result of factor analysis revealed that the dimensions of clothing image perception was classified into four categories: evaluation, youth, warmth, and activity. Perceiver's sex-role attitude and gender gave a significant influence on the perception of evaluation factor. Youth factor had an interaction effect on the clothing types, clothing colors, and sex-role attitudes. The persons with a conservative sex-role attitude perceived the clothing image of warm color suits as younger than the one of cold colors. The clothing image of a warm colored Hanbok (Korean traditional dress) was perceived milder than a cold one, but there were no difference in suits. Bright color suits make the wearer look younger, and cold color suits make the wearer look active. The clothing color had greater influences on the warmth and the evaluation factor than clothing types. Persons who have a conservative sex-role attitude perceived the differences according to clothing types and colors in a traditional way. It could be certified that perceiver's sex-role attitude was one of the variables influencing his/her perception in social interaction.

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.49-69
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• 2003

The purpose of the study is to develop the competitive swimming suit design with Korean traditional images. which excels in dimension of functionality, aesthetics, and symbolism. To accomplish this study, first. a theoretical examination about Korean image was added, on the basis of the practical research about professional swimmers' preferences as well as the theoretical research about the history of swimming suits and the qualifications of competitive swimming suits in the prior study. Next, practical designing was performed to achieve the creative designs according to Lamb & Kallal's design process. and the superiority of the newly designed swimming suits was evaluated by using Grant's alpha-beta model. The results of this study can be summarized as follows : First. in the problem apprehension stage. the need for swimming suit designs with Korean traditional images for professional swimmers was acknowledged, and three major criteria. which are functionality, aesthetics. and symbolism has been verified. Second. in the preliminary brainstorming stage, considerable amounts of data for the design concept considering the criteria above have been gathered. The athletic one-piece for women and the brief for men in style and nylon/lycra in fabric were used in the aspect of functionality. And the S Korean traditional colors in color and Tae-guk motive and others in pattern were selected to apply Korean traditional images in the aspects of aesthetics and symbolism. Finally, the 13 series of creative designs with 4 themes( l17pieces in total) have been suggested. Third, in the design improvement stage. after the preference to each design was surveyed, reformation of the designs was arranged on the basis of the results. Fourth, in the prototyping stage. the 17 actual prototypes, including 13 pieces for women and 4 pieces for men were produced. Fifth. in the evaluation stage. the evaluation procedure using Grant's alpha-beta model was performed. As a result, the newly designed swimming suits were rated above other existing ones in all three aspects of functionality, aesthetics, and symbolism.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.128-138
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• 2010

This study�s purpose is to contrive the national brand image, developing sportswear design and related-culture by using tiger which represents Korea used to design sportswear�s logo and design. For the method of study, illustrator CS3 was used to design three vests and three sports shirts for both men and women by characterizing tiger image from Korean folk painting tiger. Tiger appears commonly in paintings, folk tales and literature of Korea since ancient times. It was even used as a mascot of Seoul Olympic on 1988. Many global sports companies choose an animal that represents their brand to advertise such as Lacoste, le coq sportif and musingwear, wolsey. This study could provide example design adapting korean traditional patterns, also expects for culture advertising Korean traditional culture and developing designs of Korean fashion companies.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.127-142
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• 2006

In this study, I have analyzed Indian traditional clothing in fashion design of 21st century by comparing 1,286 fashion items designed by Indian designers and 722 Western fashion items, which were presented from 2000 S/S to 2005 F/W Formal analysis were made for change in how to wear clothes, and change in items and ornaments. Change of traditional clothing was found in two ways; Western elements added to Indian tradition and Indian traditional image adopted in Western clothing. First, Indian traditional elements added to Western clothing in the formal aspect was found in 83% of Western collections and 27.2% of the Indian designers' collections. In Indian designers' collections, traditional clothing form takes 72.8%, which shows the regional characteristics of India where the traditional clothing is still adhered to in daily life especially by women. Second, from the fashion design of the Indian designers, we can find modernization of sari, change of traditional items into more active and modern way by adding Western clothing; change of form, color and material of traditional items in various ways; and decorative aspects highlighted by adding Indian traditional color, pattern or decoration into Western clothing. In most cases, Western collections are seasoned with Indian traditional image, rather than utilizing the form of Indian clothing. Although adopting the farm of Indian traditional clothing, it can be considered as a translation from the viewpoint of the West. Third, Indian look is expressed in various ways by reproducing Indian traditional ornaments such as earings, bracelets and henna, or by adopting Indian traditional fabric design and decoration in mufflers, bags and etc.

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.134-147
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• 2016

The mainstay of modern fashion design has always been Western costumes. Though Asian costumes do get featured in collections at times, most instances are just instances of the western culture showing curiosity toward non-mainstream costumes. Until recently, Japan, which has been the most active in cultural exchanges, has been the main recipient of these curiosities, and has been used as the representative style and culture of East Asia. What needs to be let known is that Korea has its own costume style and culture, which have been developed according to its tradition and beliefs. Hanbok, which is the representative traditional costume in Korea, has existed since the beginning of the Kochosun dynasties. I started this study to figure out the design source of Hanbok's shape and develop it into a modern costume. In the fashion industry, "Mandarin Collar" and "Kimono Sleeve" are common terms, And I hope that words like 'Korean Collar' and 'Hanbok Sleeve' will one day become a household term. Hanbok contains Korea image. And its shape is formed depending on how Koreans have been treating all sorts of objects or things for many years. If my study can identify and express the unique Korean way of pattern and considering clothes, which is clearly different from those of China and Japan, I will be able to establish a concept of 'Korean style', that people of the world could come to recognize.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.1-13
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• 2009

The purpose of this study is to discuss the modern fashion design that incorporates national flags, by each country, methods of their expressions and distinct characteristics. Moreover, it intends to contribute in creating the image of Korea and our own unique fashion identity through creative designs that coincides with the modern trend by adopting Taegeukgi. The results of this study can be summarized as follows: The American flag and the British Union Jack were molt widely used and even though it was less frequent, flags of the France, Korea, Israel, Germany as well as Argentina have been featured in modern fashion. The expression methods also varied and it demonstrated the unlimited options as to how a flag can be presented. Some used the traditional flag as is. Some only used a portion of a flag or its colors as a motive or sometimes the flags were completely redesigned. There are distinctive characteristics when flags are incorporated into fashion. First, the shapes or colors of the flags were used to emphasize the image of a country in rather simple silhouette without many details. Second, through altered shapes, shades, colors or rearrangement, the country's image is presented in more subtle, indirect manner. Third, a flag is a mere element of a formation with various changes to its shape or color, and it no longer holds the traditional significance of a flag. It may also represent the playful or ironic image by combining with other items or execution techniques.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.971-983
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• 2004

The purpose of this study was to investigate the effect of perceiver's social value, hair style, and hair color of object person on image perceptions. For social value variable, materialism and traditionalism were investigated. Subjects were 343 women in Seoul. Perceiver's materialism gave a significant influence on perception of elegance. The less materialistic group evaluated the hair style of object person more elegant than the more materialistic group. The more traditional group evaluated bright brown hairs less pretty than the less traditional group. This means that traditional people have less preferable image on bright brown hairs compared to the black and dark brown hair as it is different from Korean traditional hair color. Medium straight hair styles were evaluated lowest in preference and individuality. Short straight hairs were evaluated as the most elegant style and medium permanent hairs as the least elegant one. Long wavy hairs were evaluated highest in femininity, and straight hairs were evaluated lower in prettiness and activity than wavy hairs. The bright brown hairs were evaluated as the most individual color, and black was the least one. The bright brown was perceived lowest in elegance. Black and dark brown of the short straight hair style were perceived much more elegant than the bright brown of the same style, and black long wavy hairs were evaluated highest in femininity. The present findings provide that social value, hair style, and hair color are significant characteristics when perceiving women's image.

• Journal of the Korean Society of Costume
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• v.50
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• pp.51-68
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• 2000

This study is intended to examine the common features of costume images in science-fiction (SF) movies that deal with current socio-cultural situations by examining their themes and tones about the future it can be generally concluded that costume images of SF movies are divided into two patterns : one inheriting traditional styles constructed on linear progress and the other based on dismantiling the tradition. this analysis is made through the research of actual cinematic contexts on the common features of multiple styles shaping the two patterns of costume images. The results can be summarized as the following: The former is related with the future built up on the basis of belief in reasonal progress rooted in the Enlightenment reasonable plan for ideal social order and strong faith in uniformity. So It shows functional uniformity disregarding wasteful competitiveness in consumption and luxuriousness and clothing that has the aesthetic value of purity without emphasizing human body or sensuality are presented. On the other hand SF movies which show the uncertain costume image as the meaning of dismantling of tradition take up a rather critical view of assumption that society can move toward utopian future as it searches future images in the notion of hetero-topia by emphasizing pluralism consequently as for clothing diversity and uncertainty in post-modern style are presented destroying modernistic dichotomy and the assumption of Utopian clothing made in the notion of modern progressivism.