• Journal of Fashion Business
• /
• v.25 no.1
• /
• pp.108-132
• /
• 2021

The objective of this study is to develop and present the modern men's hip-hop fashion designs using the design elements of Hanfu which is a traditional culture of China as a motif by applying the SCAMPER technique. In the research methods, this study conducted the literature review and work production. In the process of work development, first, after setting up the concept, a design map was produced. Second, the characteristics of hip-hop fashion style and the design elements of Hanfu were organized. Third, this study developed the hip-hop fashion designs reinterpreting the design elements of Hanfu into modern hip-hop styles by applying the SCAMPER conception list. Fourth, Fourth, of the developed designs, the finally decided upon designs were produced into real six articles, which included a T-shirt, shirt, zippered sweater, jumper, denim jacket, long jumper, denim pants, baggy pants, and short pants. This study offers the possibility of developing Chinese hip-hop fashion design targeting the emerging Chinese hip-hop fashion market by suggesting hip-hop fashion designs with the characteristics of Chinese traditional culture.

• Journal of the Korean Society of Costume
• /
• v.57 no.6 s.115
• /
• pp.62-70
• /
• 2007

The purpose of this study was to examine a unique characteristic of the colors of the costumes in Korean basic culture in the aim of seeking Five-elements color found in Korean civilian's costume culture. The scope of Korean basic culture was 32 items specified as an import intangible cultural asset in the side of religion and art for the majority of the Korean people. Within these limits, the colors of the dress, accessories, instruments were extracted by comparing with the naked eye in NCS Color System. The result of this investigation was that Red was yellowish red and high chromatic and deep tone within 4area. Blue was purplish blue and high chromatic and deep tone within 4area, similarly Red. Yellow was pure yellow and high chromatic and bright tone within 3area. Red and Blue in Korean basic culture were more primary color and more high brightness than Korean traditional colors. Religion and art fer Korean civilian revealing the Korean basic culture reflected impending real-life of Korean civilian who intend to overcome their desperate reality at using Five-elements color in their costume.

• The Research Journal of the Costume Culture
• /
• v.32 no.2
• /
• pp.299-320
• /
• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

• Journal of Fashion Business
• /
• v.24 no.5
• /
• pp.21-34
• /
• 2020

The purpose of this study was to develop a new Korean fashion design using forced-relationship techniques and the traditional hanbok Korean dress and Korean traditional images as the source of the ideas. The research methods consisted of literature research and design production. In the literature research for the hanbok composition and design elements, the concept and type of forced-relationship techniques were studied. The design development process was as follows. First, 'Developing a Korean fashion design' was set as the design theme. Second, the composition and design elements of hanbok and Korean motifs, which consist of Korean images were set as fixed elements of the forced-relationship technique. Third, among the various trends in keywords, 'punk' belonging to a subculture, was set as an arbitrary element of the forced-relationship technique. Fourth, the punk fashion design elements and items were listed. Fifth, a rough sketch was performed by selectively combining fixed and arbitrary elements. Sixth, a design evaluation process was conducted to select the designs out of 52 design sketches that fit the purpose of the study. Seventh, a total of six designs were selected after making design modifications. Through this, a total of six works of women's clothing was designed, made, and presented. This study offers the possibility of developing new Korean fashion design images, and a chance to share designs based on different cultural elements in the global market.

• Journal of the Korea Furniture Society
• /
• v.24 no.2
• /
• pp.148-155
• /
• 2013

Appear on the furniture design concept of the Joseon Dynasty Pung-hyel design was developed that is imaged by implication. Was enough of our culture, tradition and the wisdom of our ancestors to the development of a design that reflects the traits to fit the purpose of each form to proceed. Based building materials, technology, and how to identify and develop products as competitive PE fence, and at the same time to develop an international product design is based. Was designed with functionality and mass production to be faithful as a function fence productivity. Formative elements where you can rub shoulders with the modern urban environment alive excavated features leads in the traditional culture, aesthetics, design emphasized a new sense of harmony. Improvements were becoming increasingly aware that traditional culture of Korea's own traditional forms of social concern of modern design. Other products and take advantage of the traditional pattern, with figurative motifs and differentiation, and faithful to its original function as a fence brings out the basic elements of the visual motif has a distinctive beauty.

• Journal of the Korean Society of Costume
• /
• v.56 no.9 s.109
• /
• pp.127-142
• /
• 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 Fashion Business
• /
• v.8 no.3
• /
• pp.20-33
• /
• 2004

The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art.

• Fashion & Textile Research Journal
• /
• v.11 no.1
• /
• pp.24-32
• /
• 2009

The purpose of this study is to understand characteristic of expression in Korean style fashion design and investigated Korean style fashion design's deployment and design idea method as well as its esthetic value. The photographs for the research were selected from fashion collections during S/S 2003-F/W 2007 by four specialists in the department of textile and then analyzed with 288 final data. The results were as followings. First, the characteristics of design expression in Korean style fashion design were formation by separating partial shape from the whole, formation by shape's separation and repetition, and connecting formation by combination and transformation of parts. In the case of color, they were direct expression, contrasting formative expression, and gradual changing expression. In the case of pattern, they were the methods of filling, filling & emptying, and partial filling. Second, the deployments of Korean style fashion design were adding modern elements to traditional things, combining traditional elements and modern things, and adding traditional elements to modern things. The third, Korean style fashion design's idea methods were weaving, snatching, adding, and changing. Fourth, it was shown that esthetic values of Korean style fashion design were the interactive organism by building organic relationship, the optimum expressing beauty with minimum elements, the palpitation having dynamics and rhythmical beauty.

• Journal of the HCI Society of Korea
• /
• v.3 no.1
• /
• pp.39-47
• /
• 2008

A mobile phone became the practical necessities of Chinese life that can not be explained without a mobile phone as it is rapidly popularized in China in recent years. As income increases due to economic growth, so did desire to buy better products. And This desire has made consumers in China more concerned about design and consequently leads to artistic design of a mobile phone. And also this trend is getting linked to people's personalisation in that people prefer rather to choose products they like than standardized ones in the middle of a variety of cultural inflows. This study mainly focuses on the development of the characterized mobile phone with a high class brand by use of traditional elements and of design identity of a mobile phone with Chines style that is well harmonized with cultural and personalized identity as consumers' preferences are quite different from each other depending on each country's culture. For this, this study investigates traditional elements such as patterns, colors and characters as well as development and features of the mobile phone design. This will also lead to the development of a mobile phone with traditional elements of China by studying utilization of design with traditional patterns. To do this, the study analyzes to research traditional patterns(Dragon, Phoenix, Peony, Lotus Flower), colors(Red, Yellow, Blue, Black, White) and historical origin and concept of characters. The study also looks into instances and personalisation of mobile phone design by analyzing literatures.

• Journal of Fashion Business
• /
• v.28 no.3
• /
• pp.122-139
• /
• 2024

Image-generated AI is rapidly emerging as a powerful tool to augment human creativity and transform the art and design process through deep learning capabilities. The purpose of this study was to propose and demonstrate the feasibility of a new design development method that combined traditional design methods and technology by constructing image-generated AI prompts based on artists' formative elements. The study methodology consisted of analyzing Kazmir Malevich's theoretical considerations and applying them to AI prompts for design, print pattern development, and 3D digital design. This study found that the suprematist works of Kazmir Malevich were suitable as design and print pattern prompts due to their clear geometric shapes, colors, and spatial arrangement. The AI-prompted designs and print patterns produced diverse results quickly and enabled an efficient design process compared to traditional methods, although additional refinement was required to perfect the details. The AI-generated designs were successfully produced as 3D garments, thereby demonstrating that AI technology could significantly contribute to fashion design through its integration with artistic principles. This study has academic significance in that it proposes a prompt composition method applicable to fashion design by combining AI and artistic elements. It also has industrial significance in that it contributes to design innovation and the implementation of creative ideas by presenting an AI-based design process that can be practically applied.