• Fashion & Textile Research Journal
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• v.16 no.4
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• pp.511-519
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• 2014

The aim of this study is to develop fashion cultural product designs in order to promote the Iksan region by using motifs from the Mireuksaji, Iksan's most representative archeological site of Baekje culture. The fashion cultural products designs developed by applying cultural resources can be effective at enhancing our cultural identity. Adobe Illustrator CS4 and Adobe Photoshop CS4 were used to reconstruct motifs from the Sumakse tiles and the bronze horse figure in the Mireuksaji Museum. The Iksan brand slogan "Amazing Iksan" was combined with the bronze horse to emphasize the local cultural identity. The motifs from the Mireuksaji were modified and stylized to make different patterns and these patterns were repeated in various ways to be applied to necktie and scarf designs. The motifs for necktie designs were double-row chrysanthemum tiles and phoenix tiles, and the motifs for scarf designs were the double-row lotus tiles and the bronze horse artifacts. Different colorways were chosen and the value of each color was displayed in the CMYK percentages. As a result, eight necktie designs and twelve scarf designs were proposed. The motifs and patterns developed in this study can be used to introduce Iksan's distinct history as the birthplace of Baekje culture. It is also expected that the result of this study can advance the promotion of Korean traditional culture internationally.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.368-383
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• 2015

The purpose of this study is to find an expression method for Korean fashion design that can have competitiveness in the global fashion market. For this, fashion specialists at home and abroad were interviewed, focusing on their opinions on the Korean motifs outlined in existing literature studies. First, aesthetic sense and expression characteristics that have appeared in existing studies on Korean art, Korean traditional costume, and Korean fashion were explored. As a result, they were categorized into: Modesty/plainness, freewheelingness, religion/custom, and humor/joke. During this process, Korean design motifs were extracted based on the aesthetic characteristic and expression method of aesthetic sense. According to the opinions on Korean design motifs and Korean fashion design works drawn from the interviews with fashion specialists at home and abroad, Changhomun was the favorite design motif to be utilized in Korean fashion design. The Korean specialists thought that visual design motifs were important, while the overseas specialists had more interest in abstract design motifs, which embody the background and story behind the motif. Regarding the fashion design associated with the Korean design motif, all specialists at home and abroad favored the design using ceramics and wrapping cloth. Regarding the choice of fashion image, Korean specialists chose the design utilizing Hangeul as the most Korean, while the foreign specialists chose designs reflecting the design motifs of Hangeul and Hanbok for women. The Korean specialists chose relatively more Korean images, while the foreign specialists chose more eastern images or other images than Korean images.

• Proceedings of the Costume Culture Conference
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• 2001.10a
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• pp.82-83
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• 2001

• Journal of the Korean Society of Costume
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• v.50
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• pp.161-182
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• 2000

The results of this study were as follows: The quit has been used for warmth supporting materials protection religious uses decoration and giving stability of shapes. Quilt is developed from monk's robe of lags and the word 'nubi' is originated form 'nabeui' in both Korean and Japan. Korean quilt was used mainly for warmth: Japanese one was used for warmth and supporting materials. The techniques used for traditional Korean quit were parallel vertical hand stitches. On the other hand Japanese traditional quilt uses various motifs of sashiko which is similar to embroidery and named by region. Korean quilt can be divided into three types by the stitch intervals: Fin quit(Jan unbi) Medium quilt(Jung nubi) and Wide quilt(Demun nubi). Japanese quilt has been developed in east-north region and can be grouped into sashiko kogin and hishizashi by motifs of quit. Korean quilt costumes are stuffed with cotton between the outer fabrics and linings and stitched vertically on the fabrics Main fabrics used were silk and cotton. Japanese quilt costume uses cotton yarns for stitching on flax or cotton fabrics used were silk and cotton. fabrics and main uses of the quilot costumes were sorking clothes of working classes. Both Korean and Japanese quilt costumes contain of family's health happiness and longevity. In summary Korean quilts use two layers of fabrics and stuff them with cotton and stitch parallel vertical i\lines to provide warmth Japanese quilt are sashiko which is stitches of strand in various shapes using cotton yarns. differ by region and are made for warmth and supporting materials.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.283-295
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• 1994

A systematic classification of Korean traditional patterns has been made according to their objects and presenting methods. The classification is represented with 3 levels of categories. First, the superordinate category is composed of 7 groups of patterns, i.e. Naturals, Animals, Plants, Artifacts, Geometric, Composites, and Others. Second, the basic category is composed of motifs in each group. Third, the subordinate category is composed of 3 types, i.e. realistic, stylized, abstracted, according to the degree of simplification. As this classification is a method for organizing informations in Korean traditional patterns in a systematic way, it can offer a useful basis for computerization of the patterns.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.87-99
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• 2014

This study aims to suggest a bag design focusing on the symbol of Bo patterns by developing a pattern-based textile which forms a Korean design with a modern sense of beauty as well as following the conventions of traditional cultures, a design which is based on the previous study on formative characteristics of Bo patterns. That is, seven pieces of motifs are considered as proper patterns that have a symbol suitable for the materials of bags, showing their individual beauty well. This includes Horomum (longevity and prosperity of desendants), Banjangmum (eternity and samsara), Jeonbomum (treasure and luck), Seobomum (innate good fortune), Bangseungmum (it means that things don't break in harmony with one another), Bomum (embroidered patches for royal family representing justice), and Seogakmum (blessed life). With these seven motifs, we developed textile patterns and printed them through DTP. Then, we created a fashion bag design with a high quality using durable canvas fabrics. Therefore, a fashion bag with the Bo patterns symbol has a propitious symbol designed with a propitious shape, not to mention its formative beauty. It is expected to have value as a fashion art item by being redesigned for benevolent patterns with a modern image.

• Journal of Fashion Business
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• v.28 no.1
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• pp.36-50
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• 2024

This study aims to explore the potential of integrating traditional Indian motifs into modern textile design that appeals to the MZ generation. The objective is to create patterns that reflect the rich cultural tapestry of India while aligning with contemporary sensibilities. To achieve this, the design process includes a comprehensive literature review on the historical background, symbolism, and structure of Indian textiles and a survey to determine if the developed design suits the preferences of the MZ generation. Digital design tools such as TexPro, Photoshop, and Illustrator were used to create the designs based on the theme 'Cosmic Dream,' with sub-themes inspired by nature and Indian symbolism. 'Blooming Cosmos' focused on the structural beauty of the lotus, combined with paisley and rangoli patterns, for a vintage yet modern appeal. 'Cosmos in Blossom' is drawn from the rangoli technique of using varied materials, resulting in a romantic pastel-themed pattern that aligns with the 2023 Youth Trend. 'Cosmic Peacock' presented a lively ethnic pattern by merging simplified lotus motifs with India's national bird, peacock along with a paisley backdrop. A questionnaire was conducted to check the MZ consumer responses, and the most preferred design was the peacock and rangoli mixed design, ground colored in cream. These findings indicate the potential of the developed ethnic designs to be used for various purposes. By combining traditional motifs of India with modern elements, this study proposes ethnic textile designs that are suitable for MZ generation consumers.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.1
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• pp.45-53
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• 2004

This study was conducted to redesign hotel robes based on Korean images. Hotel robes are furnished at many Korean hotels to increase the level of their guests' satisfaction toward their hotel services. The current hotel robe has several flaws in utility and design. Also, the robes register a low level on guests' satisfaction while generating high cleaning cost. Consequently, improvements in the hotel robes' material, motifs, style, and color were needed. The current one-piece, cotton towel weave robes used in hotels are white and pale. Half of the hotel guests never wear the hotel robes during their stay, because they are unattractive and most Korean hotels provide a robe similar in design. Furthermore, these robes are undistinguishable from those found at other countries. Nevertheless, Korean hotel managers feel that the hotel robe is an important tool to express its hotel image and to increase guests' satisfaction of their services. Most hotel managers and consumers agreed that it is necessary to design hotel robes based on Korean images. They believe that redesigning the hotel robes based on Korean images would induce hotel guests to wear them and at the same time feel part of the Korean traditional culture. The Korean traditional motifs of Taegug, Un (cloud), JuJag (phoenix), and Kumkwan (gold crown) were used in the new design of the hotel robes. The style of new hotel robes is the Korean traditional Pho of the Three Kingdoms. The colors of new hotel robes are white and pink. Forty-three examiners evaluated the newly designed robes for their aesthetic, symbolic and distinctional values. They concurred that the new robes were much better than the current ones.

• The Research Journal of the Costume Culture
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• v.30 no.5
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• pp.689-702
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• 2022

Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people's satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.106-119
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• 2010

The purpose of this study is to examine American students' perceptions of contemporary fashion design that incorporates Korean traditional costume. The findings, which are based on a survey of American students' aesthetic response to the fashion designs, are as follows. First, the impressions of American students about the fashion designs were affected by two major factors, Tradition and Trend. The Tradition factor was related to the impressions traditional, formal, elegant, classic, romantic, gorgeous, and natural, but was correlated negatively to the impressions dynamic, modern, and casual. The Trend factor was related to the impressions chic, trendy, and clear but not dandy. Designs with elongated shape had a positive score for the Tradition factor and designs with curvy line had a positive score for the Trend factor. Second, American students gave visual priority to the aspects of shape such as garment type and silhouette when they evaluated the designs. Color was less important than the aspect of shape in their fashion image perception. Therefore, they categorized the designs by similarity of garment types, and then sub-categorized them by color. The meaning of Korean traditional motifs or details was not significant to American students. Third, American students showed the tendency that the more they evaluated the designs to be gorgeous or trendy, the more they liked the designs. Furthermore, they liked the designs which have a positive score for the Trend factor.