• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.91-101
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• 2014

String, as clothing material, has played a functional, symbolic and decorative role in garment traditionally. The string has a shape of continuous line, which is one of the basic elements for the design: points, lines and sides. It can effectively represent the silhouette by making our vision flow to a certain direction. This study reinterprets the traditional form of string in a new modern way by developing "Tube-Shaped String" which has an empty hole in the middle. As a creative attempt, the new tube-shaped string can be used for fashion design by applying it to unique shapes, colors, textures, and draping expressions. In a role dimension, this string can become the main fabric material. The methods of the study are as follows. First, it examines the traditional shape and role of string in the history of garment. Second, it studies modern designers, such as Christian Dior, Ann Demeulemeester, Dolce & Gabbana, and 3.1 Phillip Lim, who have applied the string to their design, and have explored the various potentials of the string in the past four years. Finally, based on the theoretical research and practical analysis, this study creates a new tube-shaped string, applying its own technique to fabricating three garments: jacket, dress, and body suit. As a result, each garment shows unique silhouettes, rich texture and color, and rhythmical movement. The unique silhouettes reflect the shape and movement of different bodies. The texture and color are created through the shades of the string which come from the overlapping strips. The garments come with an unbeatable aesthetic design compared to conventional uniform design. As a new material in clothing, this tube-shaped string can be developed to satisfy the public, which has widely varying tastes in fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.6
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• pp.715-724
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• 2003

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation from Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics, "Dan (단: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful and precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936. when the Jacquard machine began to be imported from Japan into Korea. From that time on, new fabric materials, such as yangdan (양단), and popdan (법단), hobakdan (호박단), silk and rayon mixed Dan(교직양단) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(단색단) was more common than that of the multi colored dan(다색단). But with the spread of 4$\times$4 shuttle box loom (양사정직기), various kinds of the multi colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.

• Journal of Fashion Business
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• v.20 no.3
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• pp.1-16
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• 2016

The purpose of this study is to analyze the differences in color, pattern, and texture of functional materials of outdoor clothing according to new senior women's psychological comfort. The data were collected from 163 female respondents aged 55-64 living in Busan. The results of the study are as follows. First, both the high and low psychological comfort groups preferred soft material the most. The high psychological comfort group particularly preferred soft textures and highly evaluated textured material in general. Second, both groups mostly preferred plain patterns while the high psychological comfort group preferred the dot pattern more. Third, in terms of colors, the high psychological comfort group preferred navy and purple, while the low psychological comfort group preferred brown. As to achromatic colors, both groups preferred black the most with the high psychological comfort group preferred gray and white more than the other group. Fourth, the high psychological comfort group preferred colors and patterns of clothing that made one look the most slimming, while the low psychological comfort group strongly preferred colors and patterns of clothes. Therefore, our results suggest that new senior women have a strong interest in outdoor clothing, not only in terms of textile functions, but also having interest in textile designs. In particular, the new silver women value psychological comfort in colors more than patterns of textile design.

• Fashion & Textile Research Journal
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• v.6 no.4
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• pp.433-439
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• 2004

Hanji costumes has four aspects that allow the creator or artist to create many variations. The pictorial effects of Hanji costumes are produced through variations in the dyes and brushes used for its application. The amount of water and texture of the Hanji mixture also influences the Hanji clothing. This effect was expressed using a dry brush technique, a dripping technique, India inks, and fragments from other Hanji works. A second aspect of Hanji clothing is the coloring effect in the Hanji costumes. The coloring is due to the fibers in the preparation mixture and the uniqueness of the dyes. The Hanji clothing was dyed various colors and patterns by dip dyeing, block dyeing, silk screens, digital printing. The third aspect of Hanji imagination in clothing is the decorative details. The details in Hanji clothing can be seen using frills, pleats, tucks and ribbons. The last variation of Hanji clothing can be expressed through crafting techniques. These techniques are the quality of paper string, cuts in the paper and paste ingredients. With Hanji cloth, it is possible to plait, roll, and crample into other flexible & useful materials.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1522-1534
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• 2008

The subjects of ttis study were middle-aged women in their 40s$\sim$50s and older women aged 60 and over who were living in Seoul and Kyonggi-do, Korea. Through studying the participants' responses to the questions regarding the attributes of image preference in terms of the levels of satisfaction and importance, the target consumers' demand has been studied. And, they are applied to a QFD Matrix, to find out the relationship between the attributes of product quality and the guidelines of clothing design. For this study, clothing image preference is categorized as three types: fashionable and urbane image, elegant and formal image, comfortable and active image. It has also been found that middle-aged and older women think the clothing that projects fashionable and urbane image needs more improvement that those for other images. To review demands for the clothing image preference attribute of formal suits for middle-aged and older women, the priority of these attributes through QFD Matrix that shows the relationship between the attributes and dress elements emphasized by designers has been examined. In reflecting clothing image preference by consumers for their formal two-piece suits, the most important design elements related to material in order of importance were material type, style, thickness and texture, and those related to color were the number of colors used and coloring type.

• Journal of the Korean Society of Costume
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• v.50
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• The International Journal of Costume Culture
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• v.12 no.2
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• pp.121-128
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• 2009

The goal of this study is to investigate the current conditions of apparels for the handicapped, identify the problems and recommend what are appropriate and functional apparels for the handicapped. The research method was to statistically process a survey on 200 handicapped by frequency analysis and cross tabulations. The study results are as follows. First, the degree of discomfort in daily activities was shown during toilet use and eating. Among clothes categories owned by the handicapped, most discomfort was felt in the order of everyday clothes, workout clothes, underwear, athletic shoes and working clothes. Second, children's clothing was most commonly preferred clothing style by handicap for the dwarfism. Comfortable clothes was preferred and relaxed, decent, and unique styles were preferred in the order. Soft feeling texture and absorbency was considered important as preferred clothing material. Third, sizes and designs were improvements wanted by the handicapped in apparel in the order. In addition, they wanted to wear apparel sensitive to the fashion just like the non-handicapped without showing the handicapped parts. There is a necessity for the government or municipalitiesto establish and run protected workplaces or independent workplaces for those who have studied apparel. The field is thought to require continuous and numerous follow-up studies such as researches on different physiques, standardization of apparel, segmentation of sizes and methods of producing custom apparel by function and handicap.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2009.01a
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• pp.396-399
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• 2009

In this paper, we present a method to define a color similarity between color images using Octree-based quantization and similar color integration. The proposed method defines major colors from each image using Octree-based quantization. Two color palettes to consist of major colors are compared based on Euclidean distance and similar color bins between palettes are matched. Multiple matched color bins are integrated and major colors are adjusted. Color histogram based on the color palette is constructed for each image and the difference between two histograms is computed by the weighted Euclidean distance between the matched color bins in consideration of the frequency of each bin. As an experiment to validate the usefulness, we discriminated the same clothing from CCD camera images based on the proposed color similarity analysis. We retrieved the same clothing images with the success rate of 88 % using only color analysis without texture analysis.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.34-43
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• 2001

This study is to analyze the dress symbolism described in the traditional Korean narrative focusing on the psychological side. As a result of the analysis, human nature and personality were characterized as following : integrity and feminine modesty among others. These characteristics prove that human nature and personality are symbolized by dress. Through protagonists'dress in the traditional Korean narrative, the quality and price of texture, attire, clothing selection according to the situation, appearance in dress, grade of interest towards costume, and behavior that accompany the costume, it was symbolically expressed the personality of the person who wear the dress. Feeling and psychological state were represented by joy, anger, affection, and hatred. Also, it was observed that the feeling and the psychological state are symbolized through the costume ; however, these two characteristics are symbolized not only with costume itself but also with the behavior that accompanies the situation and costume. The latter were considered more important factor than the former.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.12-27
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• 2004

The Tuck, an important component of modem clothing design, was analyzed through various sources of literature comprised chiefly of domestic and imported fashion magazines from 2000 to 2003. The results were as follows: 1) The Tuck was organized in horizontal, perpendicular, oblique and radial directions. Application methods included repetition, gradation, radial arrangement, sequence and alternation of individual lines. 2) The Tuck was found in a variety of forms and uses. But due to structural characteristics, its function is more psychological and aesthetic than functional. The aesthetic properties of the Tuck included rhythm, optical illusion, abstraction, and material. The structural property of the Tuck occasionally substituted bust or waist darts. 3) The individuality and originality of the Tuck was used in unpredictable ways to give spatial ornamentality and emphasis on material. This enabled aesthetically unique designs to arise. To summarize, the Tuck, a component of clothing design as a formative art, was used in a variety of methods towards developing creative clothing design.