• 한국생활과학회지
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• 제6권1호
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• pp.65-77
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• 1997

The purpose of this study was to suggest effective teaching method of fashion illustration based on the results of examing the use of fashion illustration required by fashion designers and the ways of teaching used by professors teaching fashion illustration. The methods of this research were based on questionnaires. Questionnaire I was responded by 73 fashion designers working for fashion industry. Questionnaire II was answered by 52 professors teaching fashion illustration in colleges and universities. The results were as follows 1. In the examination of fashion illustration used by fashion designers in fashion industry, the flat was found to be most frequently used for market research, design sketch, presentation and specification. The illustration of wearers' form for making trend maps. So the flat was found to be the method that is most used by fashion designers. As for the coloring materials, markers were most frequently used that are of easy use, and the texture was mostly expressed by attaching fabric swatches. Two or three body poses are used for each style of clothing. 2. The effective teaching methods of fashion illustration that fashion designers and professors teaching fashion illustration consider are first, to teach the flat more precisely, second, to increase use of markers as coloring material, third, to teach various types of model poses. And fourth, the texture needs to be a little bit less expressed by focusing only on the effects because fabric swatch is used.

• 복식문화연구
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• 제21권1호
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• pp.93-116
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• 2013

This paper explored and compared the textile pattern and motive design of fashion designers' brands and H&M collaboration collections. In particular, this study put it focus on textile pattern design of seven fashion design brands such as Roverto Cavalli and Versace, etc., which were collaborated with H&M. The color, motive type, motive layout, motive expression, and pattern drawing technique were collected from fashion internet sites over the five year period, and then were cross-sectionally examined and compared based on their color, motive type, motive layout, motive expression, and pattern drawing technique of products between fashion designers' brands and H&M collaboration collections. The analyses showed the following results: First, the similar color, motive type, motive layout, motive expression, and pattern were found between fashion designers' brands and H&M collaboration collections, in order to show the perspective texture of products to consumers. Second, H&M collaboration brands demonstrated unique textile design of H&M rather than the trendy design patterns. Finally, the textile design pattern used in H&M collection was more restricted in terms of motive expression technique and chromaticity than that used in fashion designers' brands.

• 복식
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• 제63권2호
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• pp.125-143
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• 2013

This study aims to clarify the identity of contemporary Chinese fashion design by examining how the characteristics of Chinese tradition are accepted and presented in fashion under the influences of western cultures. This study performed a literature survey on related works. Also this study performed demonstrative analysis of Chinese daily newspapers (People's Daily and Xinmin Evening News, 2007-2010) and fashion collections by Chinese and Chinese descent designers(2007-2011). The results are as follows: First, China is trying to express Chinese traditional ideas and factors in the design areas, and also trying to achieve an universal generalization. Second, the Chinese designers emphasized traditional ideas and culture in their designs. The Chinese descent designers were affected more by western culture. The common aesthetic consciousness were the beauties of sophisticated and splendorous decoration, vastness and elegance. Also the compromised images, neutral images and antique images were common in both groups. Third, the Chinese designers presented fashion designs on formalized and imitation stage. Also they tried to make a metaphorical stage. The Chinese descent designers showed designs on a metaphorical stage. In conclusion, the contemporary Chinese fashion design should find the way to globalize and identity of the traditional culture code simultaneously.

• 한국조경학회지
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• 제24권3호
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• 대한가정학회지
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• 제43권3호
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• pp.75-89
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• 2005

The purpose of this study was to examine the effects of the mentoring function and its levels as perceived by the fashion merchandisers and designers in the fashion industry who are playing major roles in providing organizational socialization for mentees. A survey questionnaire was developed and conducted among 200 fashion merchandisers and designers in Seoul. For data analysis, the SPSS 10.0 program was employed and frequency analysis, factor analysis, reliability analysis, correlation analysis, recurrence analysis, T-test, and ANOVA were used to test the research questions. The results were as follows: (1) Although the overall level of the mentoring function recognized by the fashion merchandisers and designers in the study appeared to be high, there were no significant differences by their demographic attributes. (2) The level of the mentoring function acknowledged by the respondents demonstrated substantial differences according to their perception by the personal attributes and the degree of openness. (3) The level of the mentoring function and organizational socialization perceived by the respondents had a significant correlation. As the level of perceived mentoring function of the respondents increased, it appeared that the degree of their job satisfaction and organizational commitment increased. On the other hand, their role ambiguity and turnover intention decreased.

• International Journal of Costume and Fashion
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• 제18권2호
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• pp.65-83
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• 2018

The purpose of this study was to explore the dynamics of the newly emerging designer fashion market and examine how startup designers reacted to the tension between creativity and business, and how they grew within such dynamics. In-depth interviews were conducted with 22 DFE entrepreneurs and 7 fashion industry experts. The grounded theory was used to analyze data and yield results. Korean new generation of DFEs, attracted by the growing online market opportunities are directly distributing through online channels, targeting the millennial consumers who are pursuing new values at new distribution channels. They show new growth pattern, start with a few key items in the middle and lower price segments, then upscale their design, quality, and price. This study further investigated designers' enterprise orientation shift, which was explored by Mills. Some creativity-oriented designers encountered difficulties in the orientation shift, while designers who demonstrated business characteristics from the startup stage restored the balance by trying to improve both creativity and business. This study discovered a new way for the designer to enter the growth stage. This growth approach is one of the success strategies applicable to designers launching a brand on online platforms in the global market.

• International Journal of Contents
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• 제15권2호
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• pp.53-58
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• 2019

The aim of this paper is to discuss how designers lead and direct 'technology-driven society' using their creative communication skill. To this end, it is required for communication designers to take conscious steps to recognize the future direction of their profession. Despite the advancement in technology, there is a human being at the center of all design activities. From a certain point of view, contemporary communication design takes an open-ended exploration of the subject matter, rather than a finished output. The notion of creative leadership may potentially expand more in terms of improving the methodology of today's visual culture. The paper will examine creative leadership that could be proposed by the challenge of discourse upon the upcoming industrial revolution. Today, communication designers are confronted by new leadership opportunities and challenges. Some leading designers seem to focus on brand new media technologies to prepare the 4th industrial revolutions. However, communication design cannot be discussed in the medium but can be understood as a process. Top-down and bottom-up process is always a concerned about the relationship since the focus of leadership has changed. In the top-down process, the leadership has existed between 'designer and client' because designers have played their role as a problem solver. On the other hand, there is a different model of leadership between 'design and technology' based on bottom-up process, which stem from the design authorship. In this regard, the new definition of creative leadership in the $4^{th}$ industrial revolution proposes a designer as a problem-finder based on the relationship between the 'designer and the public'.

• 대한건축학회논문집:구조계
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• 제34권6호
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• pp.45-53
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• 2018

The construction work to establish a safety management plan should be carried out Design for Safety(DFS) task by the designers from May 2016 according to the amendment of the Construction Technology Promotion Act. However, designers lack experience in construction work and lack of information on safety accidents, so it is not easy to predict a disaster that may occur during the construction phase. Therefore, the purpose of this study is to provide information about disasters that can occur in each construction work in order to enable designers to efficiently perform DFS task in the design phase. In this study, the construction work was classified by work unit and the disaster risk assessment was conducted using the Failure Mode and Effect Analysis technique. The disaster information by work unit analyzed in this study can be used to provide designers with an alternative to prevent disasters at the design stage. Disaster information by work unit of apartment construction can be used by designers to prepare an alternative for disaster prevention at the design stage.

• 한국멀티미디어학회논문지
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• 제24권4호
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• pp.619-627
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• 2021

With growing competition in the market, more product differentiation in visual perception is needed to enhance competitive power of products. The purpose of this paper is to have a research on designer's cognitive differences in aesthetic preferences of female consumers in product CMF design, and the deviation result in different female consumer groups will be obtained based on collected data of CMF design preferences of different female consumer groups. The research method adopted is to conduct matching experiment with professional products designers as participant to test the matching through correlation analysis between designers' cognition of female consumers and their preferences and female consumer preferences on the basis of the constructed typical user roles of female consumers. The results of the research show the correlation between designers' understanding of female consumer groups and their own real needs, and the surface processing of product surface decoration is the highest aesthetic preference of female consumer groups. The research provides reference for product design industry and designers of small and medium-sized enterprises who have substantial difficulty in surface design analysis.

• 복식문화연구
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• 제12권2호
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• pp.300-311
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• 2004

The purpose of this study is to investigate design process and production in the Korean knitwear industry and to examine the possibility for our knitwear industry to develop into the developed countries' model. This purpose was empirically pursued through questionnaires, of which respondents were 110 designers, merchandiser(MD), and top managers of knitwear companies and jobbers in Seoul. The questionnaires were analyzed on the basis of such statistical tools as χ²-test, t-test, and one-way ANOVA. Findings of this study were as follows. Designers of knitwear companies evaluated that their design is more creative than that of designers of jobbers. But designers of knitwear companies and jobbers all responded that they obtained their design ideas from samples produced by leading foreign knitwear companies. The dominant form by which knitwear companies use jobbers was that knitwear companies do a major part of designing and order jobbers to elaborate it and produce knitwear samples. The most important reason of hiring jobbers was to obtain specialized technical skills and knowledge.