• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.1
• /
• pp.104-114
• /
• 2011

There is rising interest in green energy, energy efficient equipment, and products as countries show increased interest in 'Low Carbon and Green Growth'. The cellphone has become one of the essential influences on modem people beyond the meaning itself by the release and the commercialization of the Smartphone. Thus, it considers that the introduction of fashion for cellphones and digital devices to be always on should be a quite natural design attempt for humans to wear clothes at all times. In addition, outdoor activities increase as the population enjoys more sports and leisure time that requires the development of specialized outwear such as the development of a functional jacket. This specialized field is associated with higher value-added businesses. This study made a prototype of a functional jacket equipped with solar cells that established a system of a fashion design that is harmonious with green growth as a plan to measure of fashion design for green growth. The objects of this study are as follow: First, the study seeks a design method for green growth. Second, it makes a prototype to present the improved design method. Third, it presents the establishment of a design system that considers green growth and the concrete measures practical for the system. It established the design system and made the prototype of functional jacket equipped with solar cells, LED, and digital devices as a measure of design for green growth based on the improvement plan of the design that the problems had been supplemented for. Previous studies were mainly about prototypes that attempted to equip mobile digital devices as a study of smart wear; however, this study leaves the issue of power supply for a follow-up study that is different from preceding studies.

• The Journal of Art Theory & Practice
• /
• no.4
• /
• pp.105-121
• /
• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.4
• /
• pp.145-160
• /
• 2015

The purpose of this study is to develop cultural tourism products of Jeju Free International City, utilizing the images of its blessed natural environment listed on the UNESCO World (Natural) Heritage Site. To do this, the concept of cultural tourism products is defined, and the current situation and features of Jeju cultural tourism products are closely researched and examined, and then through survey study, responded by Jeju residents and tourists, purchasing behaviors, consumer preferences of Jeju tourists, and improvement plans for tourism products are examined in detail. According to the survey, the important elements for cultural tourism products of Jeju are extracted and employed in the development of tourism T-shirts, and the developing process of souvenir shirt designs using the unique images of Jeju are presented. Five textile pattern designs, based on the nature images of Jeju 'gotjawal' forests, are created and employed in 5 souvenir shirt designs, and this led to the development of 10 styles of tourism souvenir shirts. With their trendy design embodying unique images of Jeju, practicality, and functionality, these shirts are not just for tourists visiting Jeju but also for everybody, any age, and anywhere. The suitability and validity of the designs as the cultural tourism products representing Jeju are evaluated by consumer preference survey. Through this study, the infinite possibility of developing cultural tourism products utilizing unique natural environments of Jeju are confirmed. Development of tourism souvenir shirts reflecting the current fashion trends and tourists' tastes can be led to the construction of positive images of Jeju, the success in attracting tourists, and, eventually, market extension for cultural tourism products.

• Journal of Fashion Business
• /
• v.17 no.2
• /
• pp.17-32
• /
• 2013

Throughout history, tennis-wear designers have attempted reforms to the designs, which were swayed a lot by game rules, and more efforts than ever are put forth recently. The efforts to introduce fashion designers into tennis brands and to break down the barriers between sports brands and common fashions have contributed to the advancement of tennis-wear. Howver, designers are not the only contributors to the development and innovation of tennis-wear. Tennis players who are well aware of the design make-up may affect some aspects of tennis-wear. Even some tennis players launched certain tennis-wear brands. They are not just players in games, but also innovators of this certain type of clothing. In this sense, they design, select, and put on tennis-wear as designers and players, which has contributed a lot to variation and advancement of tennis-wear. Such diversified of attempts in terms of design have led to the variety of tennis-wear, and adopting certain features of other sportswear has enhanced the functionality as well. As for materials, functional materials as well as lingerie look and laceworks as in dance looks were used, and even nude-color short pants were introduced to represent such images of fantasy and illusion. As for color as well, a revolution of color, which has been a taboo, was led. The popularity of tennis-wear fashions even leads to combination with features of other areas, which has been more diversified by the collaboration with designs inspired by toga of Greece and various other areas such as films and arts.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.2 s.161
• /
• pp.280-291
• /
• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• Fashion & Textile Research Journal
• /
• v.20 no.5
• /
• pp.520-532
• /
• 2018

This study examines whether any correlation exists amongst participative motivation in an educational fashion training program, participants' program satisfaction and performance. In addition, this study investigates the moderating effect of participants' self-efficacy and job engagement in the influence of participative motivation on program satisfaction. Questionnaire data from 212 employed learners who participated in one or more educational fashion training programs were analyzed. For the data analysis, SPSS 24.0 statistical package was used. The study results were as follows. First, the participative motives of the educational fashion training program were grouped into the following three factors: goal-oriented, learning-oriented, and organizational support. Second, learning-oriented participative motivation positively affected their program satisfaction. Third, higher program satisfaction led better program performance. Fourth, there was a significant difference in the magnitude of the effect of learning-oriented participative motivation on satisfaction according to self-efficacy. Fifth, there was a significant difference in the magnitude of the effect of goal-oriented participative motivation on satisfaction according to vigor. Even if the participative motivation in an educational fashion training program predicts the program satisfaction, the strength is changed by interacting with the self-efficacy and vigor. The results of the study provide various implications for educators or policy makers who are interested in educational fashion training program development.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.4
• /
• pp.15-28
• /
• 2011

This study will focus on research and analysis covering the period of time since the creation of the People's Republic of China to current day China, with an emphasis on 20-something year-old women living in Shanghai. In conducting this research, historical evidence of fashion was derived from books, photographs, and Internet resources pertaining to the specific periods of interest. Furthermore, each set of data has been organized in approximately decade-long segments that best reflect the transformation of Chinese fashion from 1949 to 2000. As a result of the countrywide emphasis placed on revitalization of the newly created Chinese state during the period of 1949 to 1965, detail to fashion was largely ignored, in preference to the successful upstart of a working economic foundation. This neglect of fashion is evident by the scarcity of new and daring styles during this period. The following the period of 1966 to 1977 ushered in a cultural revolution that was aptly demonstrated in the changing fashion tastes. When compared with the previous period, the blandness of clothing, authorized by the Chinese government clearly reflected the rules and regulations strictly enforced by a government mandate of conformity and obedience. These orthodox changes were so drastic, that women wearing these clothes could hardly be differentiated from men in the same style wear. After Mao Ze Dong's death in 1976 and the end of the sternest period of the Chinese Revolution, a new era of Chinese culture and fashion was made possible by a more lax and tolerant government. During the later palt of the seventies through the eighties, this new governmental policy fostered more openness and self-expression, both of which led to a newfound interest in expressing one's desires and personality through the clothes he or she chose to wear.

• The Research Journal of the Costume Culture
• /
• v.18 no.6
• /
• pp.1318-1330
• /
• 2010

The 21st century is the age when a sensational image has more explanatory power and can deliver a more powerful message than a message consisting of logical thinking. Powerful visual images create a big impact on many people throughout the world, overcoming linguistic barriers and even replacing language as a means of communication. In the fashion field, the concept and power of visual images within the new multimedia of the 21st century are becoming increasingly important. In recent years, other than the above methods, videos, movies and animation features have been produced directly to enhance visual effects and attempts are increasing to use these new tools as communication methods. This study focuses on animation contents that have been used in the fashion industry to overcome prejudice of luxury international brands that feature images that emphasize value, quality and heritage. The purpose of this study is to focus on the specific character of fashion animation in order to overview the concept of 21st video fashion communication and to show how the collection concept that includes color and detail places an emphasis on visual images. Analysis of previous research, theoretical research through literature and case study on Prada fashion animation led to the following conclusion. The common features of two different Prada fashion animation show that both animation have the following features in common : realism, dramatic impact and convergence for expression methods, and creativeness, hybrid and a happy ending for contents. Beginning with this study, I believe that various angles of interest and concern about communication in the fashion world, which is a social and cultural phenomenon that changes rapidly, can be will be looked at and learned from.

• Journal of the Korean Society of Costume
• /
• v.60 no.9
• /
• pp.162-175
• /
• 2010

An important change started in knitwear fashion in the 1980s. Advanced designers in Japan began to provide a new interpretation on knitwear, and seamless knitwear based on computerized machinery appeared. Knitwear fashion showed differences starting the 1980s due to this change. In this regard, the study aimed to analyze knitwear fashion after the 1980s where the contemporary knitwear experienced changes to define characteristics of modern knitwear fashion and examine its inherent formative nature. Designs for 30 years from 1980s up to date have been analyzed by 10 years in order to identify the characteristics of knitwear fashion over time. In particular, formative characteristics of modern knitwear fashion have been analyzed in more depth with a focus on the period from 2001 through 2010 by narrowing the whole period. Insufficient domestic literatures and visual materials led the study to mostly use foreign books and internet sites. Insights of 7 professionals who have engaged themselves in knitwear industry over 10 years have been incorporated into this study, which will enhance the reliability of the formative analysis. As a result, the data have been organized into three tools of analysis, including exposed bodies, transformed bodies and natural bodies from the perspectives of expression and silhouette of body, and the features of flexibility, industrial artistry, innovation and sensuality have been highlighted in terms of formativeness. In this regard, it has been confirmed that the formative nature found in the knitwear fashion exists in the scope of the formative nature in the embryonic period of the knitwear fashion. It means that the formative nature of knitwear fashion contains perpetuity that transcends an age.

• Fashion & Textile Research Journal
• /
• v.8 no.1
• /
• pp.7-16
• /
• 2006

What enabled Armany to grow into a world fashion designer is based on two factors : postmodernism of the new spirit of the times and the fashion industry of Italy, his mother country. That is, his capability to connect the spirit of the times with his works and use local advantage for his works led him to be a maestro of fashion circles. Founding on his outstanding ability, he established his own world of unique design, where his philosophy of design remained. This philosophy was a distinctive character from other designers. Since he was founded on this philosophy, his own features that other designers can't imitate are dissolved in his designs. Armany is very suggestive to our design circles which look for globalization of fashion. A fashion designer should look straight at the fact that the final aim of fashion is to satisfy customers who buy it. In addition, he should recognize that understanding customers' demands and developing products with his fashion style in accordance with them are the way to success and study new things continually by setting up the direction of the future based on the recognition. It is essential to cultivate sensitivity to create a new beauty from a basis just like Armany expresses modern women's image by harmonizing rationality and functionality, the existing male features, with female pliability adequately. As well, the analyses of design made by Armany are thought to be helpful in reestablishing fashion design education so that unique design styles may be maintained and future-oriented international fashion products may be produced.