• The International Journal of Costume Culture
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• 제5권1호
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• pp.58-66
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• 2002

The objectives of this study are to develope sensibility image scales for Korean traditional motifs by quantitatively measuring their images and preference and to classify them into clusters. Data were collected via a questionnaire from seven hundred twenty five Korean undergraduate students. Re experimental materials were forty eight stimuli of Korean traditional motifs with different categories, interpretation types, composition types, and application objects. The instruments consisted of 7-point polar semantic differential scales of twenty three bipolar adjectives including preference. Data were analyzed by correspondence analysis, cluster analysis, ANOVA and Duncan's multiple range test. Re major results are as follows; image scales for textile patterns and dress designs using Korean traditional motifs were constructed. The axes of sensibility image scales for both textile patterns and dress designs were defined by quality level and degree of simplicity. Second, four clusters on the scale of textile patterns and two clusters on the scale dress designs were identified. Third, in the case of textile Patterns, the preferred cluster had high-quality and classical images, while the cluster that was not preferred had a complex image. In the case of dress designs, the preferred cluster had simple and high-quality images, while the cluster that was not preferred had complex and low-quality images.

• 한국의상디자인학회지
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• 제7권3호
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• pp.53-61
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• 2005

With the acceptance of western culture, our traditional culture is in the crisis of disappearing. This is especially evident in the clothing and textile field. Therefore it seems essential to apply the traditional Korean aesthetics to our clothing. The purpose of this study is to reconstruct the types of design and analyse the characteristics of patterns expressed in traditional roof-tile. This study attempted to use the roof-tile patterns as motive for all tapestry and fashion design work to realize a creative expression of formative world through on-screen restructuring. The traditional roof-tile patterns were selected for this study because they must be the products created with our ordinary aesthetic values and techniques, and thus may represent our people's unique culture. After all, the expression for a work should be based not on simple representations of a given object but on restructuring of diverse unique forms according to worker's subjective senses. A piece of clothing with the expression of traditional and formative must combine traditional aesthetics of tradition and form. The application of traditional and formative value of Korean pattern in clothing made to be adaptable for wear in our everyday lives. Today there various attempts to combine traditional aesthetics with modem design. Also, the development of unique Korean design aesthetics within the clothing will allow for a distinct elegance that can be recognized by the world know about the Korean culture through the high standards of our clothing.

• 복식문화연구
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• 제17권6호
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• pp.1047-1058
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• 2009

Japanism represents a Japanese sense presented in Collections by many world-class western designers who are inspired by Japanese Kimonos. This study analyzes how the traditional Japanese costumes were applied to the modern clothing and the mix and match style appeared at the Japanism fashion based on the Fashion Collections during the three years from the spring of 2006 to the winter of 2008. The analysis was performed based on preceding studies, literature, fashion magazines such as Vogue, Elle, Marie Claire, and the Collections during the three years. The results of this study on Japanism covers: the application of Kimono design, Kimono sleeves, Kimono neck line to coats, jackets, one-pieces, and blouses; the application of traditional geometrical patterns, flower patterns, and natural patterns. These patterns were presented by print, dyeing, and embroidery; lastly, the employment, utilization, function, and adjustment of Obi(belt) to Japanese style clothing and also to modern clothing. Japanism fashion presented sportism, feminism, and eroticism by using mix and match. This analysis can contribute to the application of the ethnic clothing to modern clothing.

• 복식문화연구
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• 제18권4호
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• pp.599-611
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• 2010

The purpose of this study is to develop the most appropriate garment patterns for dog. This study is analyzed the body structures and bodily movements of different types of dogs and constructed garment patterns that are appropriate for each category: the basic pattern for dogs with oval-shaped chests; and the modified pattern for the ones with barrel-shaped chests. Analyzing some of the existing patterns in the market as well as studying the size chart of one of the dog apparel manufacturers, who participated in the Fashion Week for the very first time, were undertaken in order to understand the bodily figures and movements of dogs. Furthermore, based the previous studies and relevant information available regarding some of the most popular dogs in four selected countries: (names of the selected countries), dogs were broadly categorized into three groups according to the shape of their chests: Oval, Barrel, and Flat-sided. Later, two types of pattern were created and then constructed for fitting: the basic pattern for oval-shaped chest; and the modified pattern for barrel-shaped chest. As a result, the two patterns turned out to be most suitable for pet dogs.

• 복식문화연구
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• 제30권2호
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• pp.226-242
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• 2022

For clothing items that combine the top with the bottom, such as a jumper suit, it is necessary to design original forms to develop clothes in various styles that can satisfy aesthetic and functional needs. Therefore, to determine the original forms of women's jumper suits, this study aimed to analyze the patterns of women's jumper suits being sold in the market comparatively and evaluate their fitness. For the study method, this researcher obtained five types of women's jumper suits from local brands and compared the patterns' measured sizes, then conducted exterior evaluation on the surplus according to five different movements and analyzed the values of distortion of clothing pressure comparatively. According to the results, in the basic posture, brands A and C received favorable results, while in the other movements, brand B, which had the biggest surplus on the bottom, was evaluated favorably. In conclusion, in the patterns of women's jumper suits, a bigger surplus is added to either the crotch length or crotch girth rather than the top length, and the top and the bottom tend to have a different surplus according to the design. In addition, based on the values of body surface lengths according to the range of movements, this study suggests that an additional surplus be added to the length.

• 한국의상디자인학회지
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• 제12권1호
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• pp.1-10
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• 2010

The purposes of this study are to review the Chinese traditional patterns and to apply one of them, the Peony Blossom pattern into modern textile designs for fashion For this purpose, first, the categories and symbolic meanings of the patterns existing in the Chinese traditional clothing from literature were reviewed. Second, the Peony Blossom patterns of Chinese traditional patterns from literature were reviewed and selected one of them, Third, authors applied the Peony Blossom pattern to creative textile design which would fit to appetite of people lived in modern society. The results were as follows: The patterns of Chinese traditional clothing could be classified as animal pattern, plant pattern, nature pattern, character pattern, lucky token pattern, geometric pattern and so on. All these patterns contained individual symbolic meaning, which varied according the different wearers. Moreover, it endows a peony blossom pattern of Chinese traditional patterns with modern style and purposes the textile design. The theme of the design is "Luxuriant Outing" with the concept of "Dream in Fantasy". The design target is the female born in the 1980's, that is, the target population between 20 and 30 years old. In addition, it is designed for the romantic one-piece. This paper perceives the national spirit revealed in the Chinese traditional patterns and designs with the combination of traditional culture and modernized technique of expression.

• 한국의상디자인학회지
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• 제6권1호
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• pp.13-24
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• 2004

This study was analyzed three basic patterns of the Islamic arts. These are natural flora, geometrical and calligraphy pattern. Islamic belief in Aniconism, doctrine of unity and worship of arabic language demanded delicate, decorative, and abstract patterns instead of patterns of real image. Natural flora pattern was classified into arabesque and various flower patterns. Muhammad commands that "The artist who fashions a representation of living things is competitor of God and therefore destined to eternal damnation, so if you want to represent living things, you should only depict flowers and trees". Then the natural flora patterns developed into main Islamic pattern. Geometric pattern was composed of geometrical elements like, circle, trigon, square, rectangle, pentagon, hexagon, octagon or other polygons, stars or motifs with straight or curved lines. Circle symbolized ′celestial′ sphere and crystal of the lower octagon symbolized ′earthly existence′. Therefore if the circle join with the octagons, it means fusion of celestial and earthly existence. Another important influence on the Islamic art was the calligraphy pattern, the writing of Arabic language. The major language of calligraphy pattern was Arabic script and often Persian script. Calligraphy pattern was composed of Kufic and Cursive script. The cursive script was developed various forms. The Islamic tenet prohibit depiction of sacred images, the sacred Arabic calligraphy such as ′Alla′ or ′Mohammad′ was substituted of them. And the content of calligraphy pattern was used with Quranic phrases. The aesthetics of Islamic patterns analyzed aesthetic of ′rhythmic lines′, aesthetic of ′unity in multiplicity′, aesthetic of tessellation and aesthetic of harmony. On the textiles of the Islamic culture, the arabesque, floral, geometric and calligraphy patterns were frequently used.

• 복식문화연구
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• 제18권3호
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• pp.569-587
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• 2010

In the field of fashion in this modern era, the tendency of diversification has created a variety of hybrid patterns and this tendency is being accelerated simultaneously by the hybrid trend. This research aims to analyze the aesthetic features of hybrid fashion in the modern "Sports Inspired Fashion(SIF)." We analyze fashion in the past 10 years from 2001 S/S to 2010 S/S. We focus on the four largest worldwide collections from New York, Paris, Milano, and London and concentrate on analyzing the contents from 38 volumes of Gap Press magazine. To accomplish our goal of study, we first define the concept of sports-inspired fashion and propose a framework of analysis to study hybrid patterns by reviewing the previous studies on hybrid patterns. Second, we analyze a wide range of sports-inspired fashion examples that have appeared in Gap Press magazines for the past 10 years(those which have been inspired by sports uniforms and training wears). Third, we analyze and classify the hybrid patterns of sports-inspired fashion. The results of our research are as follows. We have collected a total of 534 SIF works from the whole set of 61359 pictures and examined 23 sports fields. In terms of seasonal changes, the SIF works were found the most in the spring collections. Then, we have identified 25 hybrid patterns. The time hybrid pattern comprises more than half of the data(58.2%). The class-culture hybrid patterns comprise 18.8%, while the gender hybrid patterns comprise 18.2%. However, the intercultural hybrid patterns were rarely found, comprising merely 5% of the data. Our analysis confirms that sports and sports wear fashion are changing and developing in truly diverse ways in this modern era. This trend has continued to influence the high fashion in the modern age and is expected to exert a continuous impact on the change of fashion in the future.

• 복식문화연구
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• 제21권4호
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• pp.494-510
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• 2013

The purpose of this study was to develop unique men's pullovers using the patterns of Baekje tile, brick, and gilt-bronze shoes. As the method of the study, it was reviewed of the literature about Baekje traditional patterns and the knitting techniques. The development of pullover design was used TexPro design CAD program. The manufacture of pullover were knitted by Shima Seiki computerized knitting machines and Brother manual knitting machines. The results of study were as follows. First, the patterns of Baekje tile, brick and gilt-bronze shoes were suited to develop as motif for men's pullover. Second, men's pullover using Baekje traditional patterns were able to maintain the identity of Korean traditional culture and express the originality of design. Third, pullover was chosen three styles and was developed four design. Each pullover design was applied four colorway. Forth, pullover products were made by wool 100% yarn or cotton 47%/acrylic 53% mixed yarn. The patterns were expressed by knitting techniques of floating jacquard and birds-eye jacquard. Luxurious knit fashions were produced. Consequently, through the men's pullover development utilizing Baekje traditional patterns was showed the superiority of the local traditional culture, which is further emphasized by the current globalization. It also confirmed the possibility of the development of high value-added knitted fashion products to meet the needs of modern people to pursue individuality.

• 복식
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• 제51권6호
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• pp.101-115
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• 2001

This study is to examine the characteristics of fabrics in Koryo dynasty by reviewing the fabrics for enshrining oblations inside a buddhist statue in MoonSoo temple, which are currently possessed in SooDuk temple. The research results follows : The fabrics are 33 pieces in total : 28 Pieces of normal fabrics, 5 pieces of fabrics that is used for covering the five grains, and others like variegated silk threads. Out of 33 pieces of fabrics are there 31 pieces of silk and 2 pieces of ramie. The tabby fabrics, which have the most pieces among the fabrics, are 11 pieces in total. There are 1 piece of designed tabby fabri. whose patterns are expressed by dyeing. as well as non-designed tabby fabric. The twill fabrics are 8 pieces in total. Its patterns are mainly the type that small patterns are consecutively reiterated. And they have various patterns including plant patterns, such as lotus pattern, flower pattern. etc., animal patterns such as dragon pattern. etc., geometric patterns. such as turtoise-shell pattern. swastika, etc. The leno and gauze fabrics are 1 piece of 4-end complex designed-gauze and 1 piece of gill gauze. The compound woven fabrics are 2 pieces of brocaded gauze and 3 pieces of brocaded twill. Brocaded gauze is a kind of brocaded fabrics and is made by adding a gold thread between wefts of already weaved gauze. The figured fabrics are 1 piece of tabby fabric, 6 pieces of twill fabrics, 4 pieces of leno and gauze fabrics, and 5 pieces of compound woven fabrics. All of them are 16 pieces out of all 33 pieces and amount to almost 50%. Single-patterned fabrics, that is one pattern is expressed individually, are much more than any others. Plant patterns are the ones that are used the most.