• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• The Research Journal of the Costume Culture
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• v.24 no.2
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• pp.180-197
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• 2016

The purpose of this study is to create knit ruffles that represent the aesthetic and artistic values of painted works of art that rhythmically express flower petals and add an artistic impression on the knit ruffle designs. This study is based on the artistic life of Georgia O'Keeffe and changes in her artistic background, and the world of paintings. The relevant data was gathered from domestic and foreign references, academic journals, and the internet. The characteristics of Georgia O'Keeffe paintings were examined. Her paintings typically include a series of various motifs, symmetry, balance, and harmony of detailed realistic expressions and abstract elements, repetition, and the principles of contrast and emphasis in shaping. The decoration techniques used on fabrics were applied using the knitting machine which controls the tension to develop a variety of textures, apart from the previous standardized knit textures, through various knitting techniques. A gradation effect was then applied by piece-dyeing the knitted materials in various colors to express asimilarity to the original colors in O'Keeffe's works with delicate color expressions. After the piece-dyeing, the decorative knitted materials were trimmed on a model to re-create the natural curves of flower petals. This study aims to converge works of art with fashion designs to develop various creative knitted fashion and to impart an artistic sense in the fashion design industry.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.58-67
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• 2006

This study of popular culture is in based on an academic point of view and based thereon an investigation of popular culture from a fashion standpoint follows. This study is to suggest that the popular culture theory can be a basic framework to examine the characteristics of fashion Icon and to verify that the characteristics of Fashion Icon is similar to the codes of the popular culture of today, This study considers the characteristics of popular culture as commercialism, mass-media relationship and a symbolic interaction. The images of movie stars projected through diverse entertainment media are the very fashion icons and strong role models that are copied by consumers. Now, the public take the lead in cultural industry, and they create new images as positive receivers of the images of fashion icons, not as mere imitators or followers. Fashion irons have contributed to diversifying the styles of ideal feminine beauty, and their lift pattern and image are one of the major sources to stir up the imagination and inspiration of people. Thus, the times, fashion and entertainment media have continued to evolve, closely affecting one another, and fashion icons play a role of fashion leader, through entertainment media, who takes the initiative in mass fashion without just being confined to the field of entertainment. This study meaningful from the aspect that discussion of popular culture has been placed in a position that recognizes the entity of and interest in popular culture. through this study, I hope that the scope of interest in Fashion design will expand and that approaches to popular culture will become more diversified.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.75-88
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• 2006

The conception of uniform is changing from function and economical efficiency of the past to symbolism and aesthetic sense So, in such a management strategical point of view as enterprises' PR, scouting talent, organization revitalization etc, this is required to settle uniform culture which is proper to each enterprise and design development. The purpose of this thesis is, first, to study to help distribution enterprises' CI or PR by examining the present condition of uniform design in domestic fashion distribution enterprise and planning uniform design on the base of real case and finally making a real thing in person. Second is to suggest to fashion enterprise security of competitive ability of uniform-producing enterprise by developing article design of worth. Third is to present academic area with how to do design education in a wide range not based on trend article development. Following is how and what to study to carry out these purposes. Details about necessity and how and what to study are in an introduction, the conception of uniform in theory through precedential records examination in chapter 2, the present condition of uniform design based on Changwon city in chapter 3, planning uniform design and making a real thing suitable for F enterprise in chapter 4, and the conclusion is in chapter 5. Through this study, I became to know that uniform in distribution enterprise who treats visitors face to face is very important. I supply material and information concluded from this study to uniform industry and hope this will be helpful in developing uniform. It is significant in that this study as being related with enlarged uniform and enterprise, beyond such a uniform area as school uniform and hospital one, expanded the study range of clothing. I already tell you that this study is based on visual expression of uniform and wearer's feeling in clothes is not included.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.62-75
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• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.76-95
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• 2020

Consumers want to express their original unique personality, and even are willing to endure high expenses in order to do this. One noticeable strategy in the market, used by companies to suit for this consumer sentiment, is that of employing limited edition marketing and limited free gifts. This study investigated the effects of limited free gifts on consumer response. Specifically, the present study examined how the need for uniqueness moderated the effects of limited free gifts on brand commitment and attitudes. The online survey method was used to gather the data and a total of 224 data were used to analyze data. The results of the research were as follows. The findings revealed four dimensions of limited free gifts: scarcity/specialty, not for sale, complementarity, and risk. Complementarity positively affected brand commitment, while all four dimensions of limited free gifts positively influenced brand attitude. In addition, the need for uniqueness was proven to be the strongest variable which positively influenced brand commitment and attitudes. Also, when the need for uniqueness was applied as a moderating variable, depending on the levels of the need for uniqueness, the effects of riskiness on the consumer's response were shown to be different. The findings of this study infer various academic and practical applications.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.97-107
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• 2003

This study was conducted to provide the basic data to activate the consigned education of fashion retailing company in the department of fashion design in a junior college. 36 consigned education students from fashion retailing company in Daegu were surveyed and interviewed. The result can be summarized as follows: 1. Their motives of study lie in ‘I wanted to study in a junior college’ (55.6%), ‘It would be some help for my job’. ‘My company recommended’ (16.7%), and ‘I wanted to get a higher degree’ (11.1%). 2. Their preferences in terms of major and subjects lie in ‘fashion marketing’ (30.6%), ‘fashion coordination’ (25.0%), and ‘fashion information’ (19.4%). 3. The occupations they wanted to get are ‘a displayer’ (38.9%), and ‘a shop master’ (30.6%), and ‘a merchandiser’ (8.3%). 4. The ratio of theories to practices they want is ‘40:60ㆍ30:70’ (27.8%), ‘50:50’ (22.2%), ‘20:80’ (11.1%) 5. With regard to their adaptability in school, they answered that ‘I'm doing quite well’ (44.4%), ‘I'm doing OK’. ‘It's a little hard to follow’ (22.2%) 6. About teaching methods and contents, they responded that they want ‘more emphasis on practices’ (41.7%), and they commented that ‘teachers are focused on the syllabus procedure rather than students’ practical improvement’ (19.4%), and ‘I feel loaded with too much assignment’ (13.9%) 7. They wanted to be taught by ‘professors’ (77.8%) and ‘professionals in the field’ (19.4%) In conclusion, it is required that both the college and the company need to develop a customized education program focusing on the field training specialized by their cooperation and constant researches. On the part of junior colleges, adjusting their educational directions to the trend of the 21st century, they need to focus on nurturing the consigned students to be highly qualified professionals required by the industry, using hi-tee equipment and facilities through academic and industrial cooperation.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.209-221
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• 2013

This study has attempted to investigate the effect of cubism on fashion and figure out how its formative characteristics have been expressed in contemporary fashion in the 21st century, focusing on the period since 2010. The propose of the study is to broaden research scope in fashion design through analysis and inspection on formative aspects among the cases which have proposed brand - new fashion designs by adapting cubism in fashion. To find out the characteristics of cubism in painting and formative characteristics of contemporary fashion in which the characteristics of cubism are reflected, a literature review has been conducted by referring to domestic and foreign books, previous papers, academic journals and Internet resources on cubism. For an empirical study, in addition, photos of cubism-applied modern fashion have been collected and analyzed through http://www. samsungdesign.net. The following results have been obtained: First, the formative characteristics of cubism were obtained in following categories; character of figure, simultaneity, reiteration and facticity. Second, according to analysis on cases after applying the formative characteristics on contemporary fashion design, the character of figure by the geometric shape of cubism was observed in fashion as well. After dismantling and reconfiguring garments, simultaneity has been expressed in an exaggerated and distorted manner through regular and repetitive overlapping or overlapping of irregular shapes. In terms of facticity, novelty has been delivered with the use of heterogeneous materials, using collage and patchwork techniques. Third, simplicity and functionality in cubism - style garments in the early 20th century have disappeared in contemporary design in the 21st century. Now, a dynamic aspect is only found. Fourth, unlike common paintings, 2D textiles are added to a 3D body in fashion design. In addition, it can be observed from multiple angles depending on the movement so that it can display more diverse shapes. Therefore, it could be the origin of inspiration to many designers.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.29-43
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• 2020

This study investigated the luxury supply chain management called 'See now, Buy now'. This has been a new way of controlling the supply and demand for luxury brands in the fashion industry since 2016. In this study, we explored the backgrounds and impacts of 'See now, Buy now' in the digital era. 'See now, Buy now' was launched by the fashion brand, Burberry in February 2016. It was the first luxury brand to showcase its entire collection using 'See now, Buy now' among the brands which showcase in Paris, Milan, New York, and London fashion weeks. That has not only caused many controversies in the fashion world but also generated followers. In this study, we analyzed 'See now, Buy now' in three aspects, economics, efficiency, and management strategy, and this was done through a literature survey on articles pertaining to 'See now, Buy now' and empirical surveys on Burberry's collections. Based on 'See now, Buy now', Burberry tried a new process of supply and sale. In the era of SNS, the spread of information is getting faster. The speed of SNS and changes in the fashion market combining IT and mobile technology are major changes faced by the fashion industry. 'See now, Buy now', a model of the new supply and demand in luxury fashion brands, should be noted as a new directional aspect for the future of the fashion industry. Since it was a relatively recent trend that started from the September show of Burberry in 2016, there was still a lack of academic discussion or prior research on this phenomenon. Therefore this study aimed to predict future directions by recognizing the importance of 'See now, Buy now' in the fashion industry. Also, based on this research, the significance of this study was to present a management strategy that applies 'See now, Buy now' to the future of the fashion industry in the digital era.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.11-21
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• 2012

The purpose of this study is to understand of future image in fashion for 20C, to suggest a guideline's role in the development on fashion designs study. The methods of this study are used academic literatures as well as practical study. Futuristic image in fashion is to introduce about the future period, as fashion goes ahead times. Trends and formative characteristics of future image in 20C fashion are summarized as follows. First, futuristic images in fashion for 20C had emerged strongly futurism, space look, kinetic look, glitter look, techno look, cyber look. Second, perspectives on response for future society's changes are summarized as follows. Attitude of futuristic images of fashion, futurism, space look, kinetic look and glitter look, had been favorable about future society's changes until 1980. In 1990, techno look had been defensive and cyber look had been aggressive about future society's changes. Third, formative characteristics of future image in 20C fashion are studied shape, material, color, pattern. Shape was preferred linear and geometric form in the first half of the 20C, but body conscious type had appeared often in the second half of 20C. Material maintained the luster or the metal touch. Color was based image of colorless and preferred the gold, silver or color feels like metal. Pattern was preferred clarity with geometric type in the first half of the 20C. On the other hand in the second half of 20C pattern of future image was dominated by vague and abstract chaotic type.