• 패션비즈니스
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• 제28권1호
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• pp.1-19
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• 2024

This study explores application of upcycling design methods in structural transformation of second-hand denim clothing, aiming to achieve sustainable design objectives. By drawing inspiration from Liu Qing's research methods in the field of circular utilization of denim clothing, this study collected and analyzed cases of structural transformation of used denim clothing from 2020 to 2023. It summarized structural transformation design methods for used denim clothing. Through the development of design works, this study aims to find out the best upgrading and renovation design strategy by applying the method of structural renovation design. This study aims to support the development of a sustainable fashion industry and promote recycling and upcycling of discarded clothing fabrics, thereby reducing resource waste and environmental impact.

• 디자인학연구
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• 제16권4호
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• pp.365-374
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• 2003

The purpose of the present study was to improve the artistic qualities in the future fashion design by investigating how the art to wear was applied to the inspiration in the modern fashion design in the late 1990s. For this purpose the present paper examined characteristics in art to wear and their impact on modern fashion design in the late 1990s. Distinguished from the traditional costume, art to wear disregarded a fixed concept on design elements such as the socio-cultural images, materials, and forms. The artists in art to wear freely expressed their "selves" and their individuality to their works in a variety of ways. In fashion design in the late 1990s the creative characteristics of art to wear were reflected in four ways: (1) eco-look, (2) humor, (3) deformation, (4) materials. The present study suggests that the creativity of the art to wear can establish the potentials and possibility in modern fashion design, and art to wear can be a crucial mediator in opening art into the real world.

• 패션비즈니스
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• 제11권3호
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• pp.133-151
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• 2007

The role of fabric now directly related with the expression of the beauty of clothing and it provides new and creative ideas. This study was aimed at reviewing basic data that can be used in systematic design development through fabric expression for today's fashion designers who must study unique, original fashion design development. For systematic development of design technique through fabric expression, fabric expression methods and characteristics, aesthetic characteristics and fabric design of 'art to wear' were reviewed and the results are as follows. First, the highly wrought fabric expression of art to wear was confirmed to be comprehending a message within itself. Second, aesthetic characteristics of fabric expression used in art to wear can be classified as decorativeness, extensity, 2-D pictorialness, handicraft, compounding and rearrangement, and 3-D characteristics. Third, the 6 aesthetic characteristics have unique design features and aesthetic categories. The understanding the fabric expression techniques through study on the classification of the fabric expression in 'art to wear' is expected to be extended to proposition of creative direction and inspiration of modern fashion.

• International Journal of Precision Engineering and Manufacturing
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• 제3권2호
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• pp.52-60
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• 2002

Axiomatic Design is the one of many useful methods for making a good design. In this method, the independency of Functional Requirements (FRs) is an important property to determine whether the design is good or not. Until now so many designers have decided the independency between FRs by their own decisions. The way depending on inspiration is simple and fast, but it can not be considered as a precise conclusion. Also there are not exact rule that evaluate the quantitative independence between FRs. This paper will show the way to evaluate the quantitative independence of FRs from the comparison between FRs of lower levels, and develop more efficient and objective tool in Axiomatic Design.

• 한국의류산업학회지
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• 제13권4호
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• pp.560-571
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• 2011

Copying of designs has been condoned in the fashion industry. However, the industry argues that whether fashion design should be protected by law and what constitute design copying in fashion. This study has been performed by in-dept interviews with employees in the fashion industry. The study finds that respondents perceived copying of design to be some extent beneficial to the industry. While, they also observed that it has a negative effect on the industry due to indiscriminate copying. In regards to standard of drawing the line between copying and inspiration or modification, designers have subjective and discrepant standards. Fashion industry itself, consumer's biased preference, inefficient education and lack of legislation are significantly engaged in design copying.

• 한국의류산업학회지
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• 제8권4호
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• pp.391-399
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• 2006

Modern Japan has been known as the country manufacturing Shin-gosen that denotes Japanese synthetic fiber. Japan has long traditon of weaving and dyeing of local traditional Textiles. Japanese traditional weaving and dyeing methods have been handed down through hundred years and various type of textiles have been fabricated in different regions. Japanese modern worldly famous fashion designers are recognized by using the Japanese traditional textiles. Traditional textiles of Japan are inherited in the present age and become the source of inspiration for modern Japanese fashion designers. This research investigated the originality and modernity of 10 kinds of main Japanese traditional textiles by design servey, 5kinds of weaving methods and 5kinds of dyeing methods. The 5kinds weaving methods include Kasuri, Shima, Cizimi, Zohu, Chumugi and 5kinds dyeing methods include Izome, Katazome, Tuzukaki, Uzen, Shibori dyeing.

• 한국가구학회지
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• 제15권2호
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.

• 한국실내디자인학회논문집
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• 제30호
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• pp.42-50
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• 2002

This research deals with a new concept regarding creative enlargement in order for useful space composition. Architecture, through interior design case analysis has given birth to a new concept and inspiration altering interior designer's perspectives on the future environment. Focusing exclusively on those offices that express in design terms a commitment to such concepts as team-Working, just-in-time Working, virtual and mobile working and those using the newest technological tools and the latest space-planning concepts available. Emphasis is placed on how an office environment can be designed to encourage group working, the sharing of knowledge, a spirit of community within larger organizations, and non-territorial working-employees that work where and how they want supported by cordless technologies.

• 한국실내디자인학회:학술대회논문집
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• 한국실내디자인학회 2005년도 춘계학술발표대회 논문집
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• pp.263-266
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• 2005

This work aims at the design of the artwork for the atrium of a furniture department store. In complying with the request of the building owner I have established the basic concept, 'silence in movement - movement in silence', to design a artwork, which not only can make the various atmospheres in the store to the unique one, but also arrange an emotional stability for the visitors. Most exhibited furnitures are those that demand particular interests from the visitors, and the exhibition scale is enormous. So it is difficult to sustain the continuous inspiration and the emotional stability, and also it is hard to make the store have the consequent image. This problem can be resolved through the installation of the artwork that can evoke the visitor to the abundant sensitive receivability. The materials, which are used tp express the basic concept, are water, concrete, light and aluminium that represent a unified harmony in a contrast each other.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.64-64
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• 2003

In these days western costume became everyday clothing in most of countries and is expected to be remained in that way. Therefore, it is needed to analyze how the past western costume has expressed human body stereoscopically up to the present time in order to predict future style of costume and develope various costume designs. Additionally, the pattern making and needlework techniques that were achieved through investigating history of costume in aspect of Clothing Construction, will provide significant information and inspiration to not only amateur designers but also costume researchers.