• Journal of Fashion Business
• /
• v.22 no.2
• /
• pp.51-60
• /
• 2018

This research focuses on the development of upcycled denim fashion designs, whichis a more specific category within general upcycled fashion design. Characteristics of upcycled fashion design, which has been identified previously by researchers, include the following traits: environmentality, uniqueness, aesthetic appeal, availability, convertibility, and deconstructivity. The expression principles include recycling, substitution, recombination, and reduction. The result of the analysis of the denim fashion design characteristics, which is based on the theoretical analysis, has found. The external expression pattern consists of the deconstruction and reconstitution of materials, the avant-garde style and convertibility, the ability to mix and match materials and techniques, the production of zero waste, and the use of layering. The expression techniques used included decomposition, depaysement, weaving, cut-off, collage, assemblage, overlapping, connecting, attaching, and stitching. The inner meanings were identified as economicality through recycling, convertibility through rearranging, and the rarity and value of hand-made products. The result of the research applying the identified characteristics are as follows. First, developing and creating designs using modified denim and sub-materials with various expression patterns and techniques could provide completely new images unlike existing denim products. Second, modifying the details while maintaining the basic format of denim clothing could provide unique and new possibilities for upcycled denim fashion design. Third, environment-friendly models with creative designs were developed by recycling used denim materials. This reduced waste and energy while maximizing the use of resources. This study expects contribute to upcycled fashion design research by recognizing the unique characteristics and value of denim material.

• Journal of Fashion Business
• /
• v.6 no.1
• /
• pp.31-42
• /
• 2002

The purpose of this study is research on the characteristics of post-modernism expressed on western hair styles in the late 20th century. Therefore this thesis analyzed the relationship of modernism & the hair styles of that mage and post-modernism & the hair styles of that mage. That will re-illuminate the same beauty worth of same age as to accurate the concept of post-modernism & the hair styles of that mage. And the last, criticizing the post-modernism design and that hair design, helping to find new trends. The method of this study was the literature research & analysis of visual materials focus on upper bust image that can know the relationship of modernism & the hair styles of that mage, and post-modernism & the hair styles of that mage. First, the literature research is composed of analysis of theses, magazines on art, clothing and cosmetology having the contents of 20th century western culture, art and hair styles. Second, the analysis of visual materials is composed of analysis of video films, slide films and photographs of books, magazines, and internet home-pages. Modern western hair styles, appeared after 1910's, is represented as a short cut & permanent wave. That express experimentalism, functionalism, and purism, that is same as the other art's trend of same age. Post-modern western hair styles, appeared after 1960's, also show the same trend with same age's. This summarized & characterized 8 categories; historical method, pluralism, negotiation, escape from the formality, recovery of humanity, ornament, connection with race, metaphor & symbolism. But post-modernism concentrating pluralism makes easy making low quality art and absence of criticism, so this thesis criticised it 5 categories; absence of ideas, absence of the social sense of responsibility, lost of one's characteristics, decline of skills, decline of worth of usages.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Journal of the Korean Society of Costume
• /
• v.65 no.2
• /
• pp.105-124
• /
• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• Journal of the Korean Society of Costume
• /
• v.61 no.8
• /
• pp.114-126
• /
• 2011

Many varieties in folk costumes have inspired fashion designs for a long time. Each country, with a unique style of its own reflects their own traditions, beliefs, customs and morals into their traditional costumes. The traditional methods of creating different ways of drapery methods by using only a rectangular piece of cloth have been passed down from generation to generation and it is still used today. This way of styling has been developed mainly in the Middle East, Asia and Africa and the modifiable ways of creating drapery wearing methods are as follows. The first modifiable styling method is changing the purpose of wearing costumes according to the needs and the wants of the person who wears it. The second method is exposing the knots on the surface of the garments and by doing this, there was no visible difference on the aesthetic formation and it did not alternate for a long time. This means that simple knot shapes have been used to tie edges of rectangular fabrics. The third method is a wrapping type of modifiable styling method, which has been used most commonly in folk costumes because there are lots of ways to wrap a rectangular cloth around the body. The fourth way is the fixed type of modifiable styling method and this method can only be noticed only in the Moroccan Izar using fibulas and belts to alter the shape of the Izar. The fifth method is the composite type of modifiable styling method. This method starts by cutting out cylindrical shapes of fabrics and then wraps or twists it to fit the body. The most significant character of modifiable styling methods in folk costumes is to use rectangular cloths, which varies only in ratio of length, width and sizes. Therefore, this study suggests that rectangular cloths can create enormous amounts of fashion styling which can be easily adapted and created in everyday fashion life.

• Journal of the Korean Society of Costume
• /
• v.63 no.6
• /
• pp.56-68
• /
• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• 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.

• The Research Journal of the Costume Culture
• /
• v.20 no.3
• /
• pp.347-362
• /
• 2012

Formatively and artistically aspect, a hybrid can be said to be a phenomenon in which two mutually different genres are combined. Make-up is thought to be very important to arrange the foundation available for predicting and pursuing a flow and direction of future hybrid make-up based on this, by analyzing a flow centering on hybrid trend, which was shown previously. In terms of objectives of this study, the first, aim is to suggest a model for researching make-up by grasping the developmental process and the characteristics of hybrid art through considering an art theory of hybridity, shown in make-up. The second, aim is to design make-up by analyzing trends in make-up style after deconstructing the hybrid genre. The modern make-up design through genre-deconstruction characteristics beyond diverse plurality and genre could be known to be highlighted as aesthetic characteristic by a slight attempt as communication of open space, which connects culture and genre, which had failed to be recognized and was neglected. Empirical research has, produced a work by systematically arranging make-up design. This study, identifies two kind of barrier demolition, such as the class deconstruction and the temporal, spatial disorder centering on genre deconstruction of hybrid. There are infinite possibilities in developing make-up design in line with modern sensation through aesthetic element and symbolic significance through genre deconstruction. It was the expression mode in future make-up, to providing basic data, and to strengthening competitive edge of culture and art.

• The Research Journal of the Costume Culture
• /
• v.20 no.3
• /
• pp.392-402
• /
• 2012

The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.

• Journal of Fashion Business
• /
• v.16 no.2
• /
• pp.88-107
• /
• 2012

Hybrid implies that elements in more than two are combined, and is what is merged and used complexly the technologies and materials in several fields according to the development in scientific technology and the progress in technology. In the formative and artistic aspect, the hybrid can be said to be phenomenon that two of mutually different genres are combined. The function and form in each genre, which were combined at this time, are remained wholly or partially, thereby revealing as well without hiding a fact of having been combined. In the digital communication era, the same time level was integrated into one culture, with destroying the temporal·spatial boundary. As for the objectives of this study, first, the aim is to suggest a model for researching into make-up by grasping the developmental process and the characteristics of hybrid art through considering an art theory of hybrid, which was shown in make-up. Second, the aim is to design make-up by analyzing trend by make-up style after applying the genre deconstruction in hybrid. The modern make-up design through genre-deconstruction characteristics beyond diverse plurality and genre could be known to be highlighted as aesthetic characteristic by a slight attempt as communication of open space, which connects culture and genre, which had failed to be recognized and was neglected. Through the results of this study, it could be known that there is infinite possibility in developing make-up design in line with modern sensation through aesthetic element and symbolic significance through genre deconstruction. Based on these findings, its significance can be said to be in substantially contributing to offering new sight to the design & formative characteristic and the expression mode in future make-up, to providing basic data, and to strengthening competitive edge of culture and art.