• 한국의류산업학회지
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• 제13권6호
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• pp.838-847
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• 2011

The object of this study is as follows. First, according to the silhouette of clothes, I will search the relationship with the embroidery design. Second, I will investigate the relation of coloration about the clothes color and embroidery color. Third, I will search the relation with the image in clothes and embroidery design characteristic. The data acquisition is selected to the total 447 pictures of embroidery clothing design from the www.style.com, www.samsungdesign.net which are the related information site. The data are limited from S/S season in 2004 till F/W season in 2008 in the Paris, Milano, and New York collection. The analytical method was made through the analyze method and statistical method. First, on the relation with the clothes silhouette and embroidery design, if the satin stitch technique is utilized as the X-shaped or A-line silhouette in the one-piece and dress, the image which is elegant and feminine can be expressed. if the satin stitch technique is utilized as the H-line silhouette in jacket and court, the mannish image can be expressed. Second, the embroidery color showed up as the contrast combination of the monotone when the clothes color was the monochrome. And the embroidery color showed up as the tone in which is bright and sober when clothes color had 2 or 3 or 4. So, if the embroidery color is utilized as the similar color scheme, it will be effective. Third, if the embroidery technique of the one-piece and dress is utilized as the the satin stitch technique and the bloom and leaf motive being stylized pattern is used in the all-over and border pattern, It will be effective to express the romantic/feminine, ethnic/folklore, active, and classic image.

• 한국의상디자인학회지
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• 제24권3호
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• pp.1-15
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• 2022

The purpose of this study is to compare and analyze the perception of men's fashion before and after the COVID-19 pandemic. TEXTOM allowed the collection of Big Data based on the term 'men's fashion'. As for the data collection periods, Jan. 1, 2018 to Dec. 31, 2019 was set as the pre-COVID-19 era, while Jan. 1, 2020 to Dec. 31, 2021 was set as the post-COVID-19 era. The top 50 words in terms of appearance frequency were extracted from the data. The extracted words were processed using network centrality analysis and CONCOR analysis using Ucinet 6. Research findings were as follows. 1) In the pre-COVID-19 era, the appearance frequency of 'men' was the highest, followed by 'fashion', 'men's fashion', 'brand', 'daily look', 'suit', and 'department store'. These words came up with a high TF-IDF values. Network centrality analysis discovered that 'men', 'fashion', 'men's fashion', 'brand', and 'suit' had a high level of connectivity with other words. CONCOR analysis showed four significant groups: 'fashion item and styles', 'fashion show', 'purchase', and 'collection'. 2) In the post-COVID-19 era, the appearance frequency of 'men' was the highest, followed by 'fashion', 'brand', 'men's fashion', 'discount', 'women', and 'luxury'. These words also displayed high TF-IDF values. Network centrality analysis found that 'fashion', 'men', 'brand', 'men's fashion', and 'discount' had a high level of connectivity with other words. CONCOR analysis showed four significant groups: 'fashion item and style', 'fashion show', 'purchase', and 'situation'. 3) Before the outbreak of the pandemic, men were interested in suits to wear to the office, daily look, and fashion shows in Milan and Paris. They often purchased menswear in multi-brand and open stores. However, they were more interested in sneakers, casual styles, and online fashion shows as social distancing and working from home became common. Most purchased menswear through online platforms.

• 한국의상디자인학회지
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• 제12권1호
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• 한국의류산업학회지
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• 제17권4호
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• pp.501-512
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• 2015

This study was to consider and analyze of fashion window display design at Printemps department store in Paris, France which has tried continuously space presentations through the sensibility and differentiated strategy. The framework for analysis of this study was established by related precedent studies. Data collection was done by searching related specialty publications and website of Printemps department store, and the results of this study were drawn through qualitative analysis of experts' group. The results are as follows. Printemps department store set up presentation types of fashion window display design's themes that have been developed by the method of display presentation such as symbolic, ambience, surrealistic, realistic, and information. The most frequently used presentation development techniques applied in windows' VP of Printemps were the 'transferal of daily space', 'transferal of unexpected space', 'exaggeration of animal & plant', and 'descriptive narrative scene.' In addition, the display theme components such as the materials that can be easily accessible in everyday life, unique directing props, the memory or childhood, the image of animal or plant, and lighting etc. We found that the major colors of window display design at Printemps department store were purple, blue and black during the period from 2009 to 2014.

• 패션비즈니스
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• 제12권5호
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• pp.94-110
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• 2008

The main objective of this research was to understand the characteristics of separation color coordination of contemporary female fashion through the analysis of 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2004 S/S to 2008/9 A/W. The data collection of 265 was done by reviewing 'pre-a-porter Collections' magazine and total 265 observations were made. Statistical analysis of frequency and also qualitative interpretation of separation color coordination characteristics were completed. The main findings were; (1) In separation color coordination of contemporary women's fashion collections, there were three main types of color scheme which were classified into seven detailed categories of color combination. First was the achromatic color & one chromatic separation color scheme which was classified into four categories of - black & white, black & grey, white & grey, and grey & grey - color combination. Second was the chromatic colors & one achromatic separation color scheme which classified into two categories of achromatic & chromatic color & one achromatic separation color combination, and chromatic colors & one achromatic separation color combination. Third was chromatic colors and one chromatic separation color combination. (2) The achromatic colors and one chromatic separation color scheme showed two phases of reinforcing the strong and modern image, or softening the hard and dull image of achromatic color combination. In color schemes which used more than two chromatic colors, the separation color frequently converted the tedious and monotonous fashion image, which caused by identical or similarity in color or tone harmony, into more attractive and interesting. (3) In conclusion, through the various use and coordination of various color schemes, color harmony and separation colors, the separation color coordination in contemporary female fashion has been suggested the effective way of color combination which can lead the visual pleasure and the vitality along with the unity and the harmony. This characteristics can create various images and visual diversity for fashion. The types and the use of color scheme and separation color showed different trends in four collections.

• 패션비즈니스
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• 제13권6호
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• pp.125-136
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• 2009

The main objective of this research was to understand the characteristics of complementary color scheme through the analysis of contemporary women's fashion color coordination as they appear in the 'Collections'. Data collection of 115 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and also qualitative interpretation of characteristics of complementary color harmony characteristics which appeared in four collections were completed. The main findings were as followed; (1) Only 115 complementary color schemes out of 4968 two color combinations appeared. Compared the comparative ratios of appearance frequency between the two color combination and the complementary color harmony, London showed the highest, and followed by New York, and Milan and Paris. (2)The combined color type of 'red+green' was the most frequently appeared, and followed by 'violet+yellow' and 'orange+blue'. For the type of tone harmony, the contrast tone showed the most, and followed by the similarity and identity. According to the type of complementary color combination, the type of tone harmony used differently. Some differences showed in the types of color harmony and tone harmony between collections. (3) The complementary color scheme which shown in four collections harmonized two opposite colors mainly through the strong tone contrast and this could cause tension along with interest in the image. The complementary colors intensified and brought out the attributes each other. More details, high contrast of two complementary colors of yellow and violet created a vibrant look especially when used at higher saturation. Sometimes, however, some tone variations of two hues neutralized the strong effect and sometimes enhanced each other. When they used in similarity tones or identity tones in light colors, the tension was reduced and became softened but still presented nice harmony. In the type of 'red+green' color harmony, the various color combinations were demonstrated, mostly through tone manipulation of green color. The similarity tone harmony, which used the most, could effect a better sense of harmony and present more sophisticated looks. When used in contrast tone harmony, some changes in its own color which have only one color of two the excessive intensity led a good harmony. The 'orange+blue' color harmony was shown the least and used three tone harmony almost the same ratio. In this color harmony, blue amplified its energy and brilliance of orange and seemed to work better when one color was at a lower intensity than the other. In harmony with a similarity and an identity tone, this color harmony produces a stable and calm image. (4) The complementary scheme appeared more frequently in the S/S collections than in A/W collections and showed some differences in the types of color harmony and tone harmony between seasons, however, no big differences between collections.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 한국의상디자인학회지
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• 제20권2호
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• 한국의류산업학회지
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• 제19권5호
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• pp.608-619
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• 2017

In this research, we analyze jackets from the Paris Haute Couture Collection from 2000 S/S~2015 F/W to investigate how shape, tailoring component, and design of jackets have changed. Our analysis of 2,493 jackets from the collection shows that the hour-glass silhouette was the most popular among silhouettes and that standard-length was the most popular jacket length. Such jacket shape expresses the natural beauty of human body. Regarding Tailoring Components, our analysis shows that tight sleeve and natural shoulder line, which is neither too wide, padded, nor low, were prevalent. The analysis also shows that tailored collar and button closure were the most common. Tight sleeve and natural shoulder line, which fit the body outline, allow the silhouette to show natural curves of the human body. As for jacket design, popular colors differed by season, but single-colored jackets prevailed, and woven was the most used material. Since 2000, the most favored form of jacket in women's fashion was a standard-length jacket with an hour-glass silhouette, tight sleeve, natural shoulder line, and tailored collar. This suggests that jackets emphasizing natural curves of the body were favored. Overall, silhouette, length, sleeve, and shoulder line remained consistent while collar and closure varied. This indicates that collar and closure method play a significant role in changes in fashion. Seasonally, elements of shape, tailoring component, and design coexist, but once the shape is determined, the tailoring component and design change in relation to each other.

• 한국의상디자인학회지
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• 제13권3호
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• pp.89-103
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• 2011

The purpose of this study is to analyze the formative characteristics of accordion pleats shown in 10/11 S/S London, Paris, New York collection and evaluate the differences of visual image by variations in the width of pleats and the length of the accordion pleats skirt. The stimuli are 21 samples: 7 variations of the width of pleats and 3 variations of the length of skirt. The data has been obtained from 43 fashion design majors. The data has been analyzed by Factor Analysis, Anova, Scheffe's Test. The results of the study are as follows: Accordion pleats was first introduced by Marriano Fortuny. He published delphos dress by creating silk pleats manufacturing technique and it was recognized as the best pleats work. Since then, pleats with synthetic fiber characteristics were used by many fashion designers. Accordion pleats were used in various items including one-peice, skirt and pants in collection of 2010 and 2011. The design of accordion pleats skirt used different width of pleats, length of the skirt and materials. The visual image by the width of pleats and the length of skirt are composed of 3 factors : dearness, attractiveness and elegance. In these factors, dearness factor is estimated by the most important factor. The accordion p1eats skirt is most attractive and dear when the width of pleats is the shortest, 1/8", and the width of 4/8" and 5/8" follows. The accordion pleats skirt is most attractive and dear when the length of skirt is similar to that of mini-skirt, and the skirt was estimated to be elegant as the skirt gets longer. When the length of skirt is in between, the skirts were estimated to be ambiguous in all visual images. The interaction effect of visual image according to the changes in width of pleats and skirt length of accordion pleats skirt was seemed to have significant differences by factors, and the main effect had great differences in all factors.