• 복식문화연구
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• 제31권2호
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• pp.228-247
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• 2023

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr's image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

• 한국의상디자인학회지
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• 제23권1호
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• pp.129-142
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• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• 패션비즈니스
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• 제10권2호
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• pp.1-17
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• 2006

The purpose of this study is to analyze the street style of women in Dalian, China. 1.185 females of Dalian central street have participated for the survey of this study. This study analyzes characterization of the street style and, classifies it's characteristics by age groups, clothing styles, and clothing items. There are three outcomes due to the aim of this study, 1. In age group classification, every age groups preferred casual style. Especially, young/young adults preferred mix-match styles with various designs. Distinctly, some of missy group preferred fashion trend and others preferred mature style. Also, the preference of missies/madame's group is obviously divided into two groups which pursues fashion trend and not. 2. In clothing style classification, casual styles such as mini-skirts, hot pants, tight t-shirts are mostly in tight silhouette. Also, the main colors are indigo-blue, white, black and point color, which are vivid tone and fluorescent colors. The characteristics of sport casual style contribute the upper garment and the lower garment, which forms a set. Classic styles are divided into two groups of typical formal dress and traditional Qipao dress. The colors of feminine style and textile printing are more sumptuous than other styles. 3. In clothing items classification, the points of the upper garments is the construction of designs, textile printing, ornament with beads, embroidery, and ribbon etc., exposed back. The lower garments like hot pants and mini-skirts are made of jeans. The cargo pants that is made of jean, cotton, luster textile. Also, one-piece dress has the characteristics of tiered and irregular hem line.

• 한국의상디자인학회지
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• 제22권2호
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• pp.167-180
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• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.

• 복식문화연구
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• 제12권2호
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• pp.224-238
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• 2004

This paper analyzes the similarity of fashion in the 1920's and 1960's. Fashion is a reflection of Zeitgeist. The similarity of fashion appeared in the similar social ideal period. The fashion of the 1920's and 1960's have a lot of similarity in many respects. Androgyny was the new word. The woman cut her hair short, wore short skirt, and projected a self-confidence that was considered by many to be too masculine. The new fashions also appeared very youthful. The cult of eternal youth was born. The mature woman was no longer requested. Instead, in the face of changing lifestyles and extremely rapid technological development, taste ran in favor of a young, athletic, and mobile ideal. The new fashions do-emphasized curvaceous shapes through short dresses and short hair-both styles were supposed to express youthfulness. Characteristic of the times was the short loose dress: straight silhouette disguised feminine curves. The new dresses were invented for very young, slim, and wide-eyed women. The common Zeitgeist of the 1920's and 1960's represents the cult of youth and the adoption of innovative style, which emphasized decoration-cleared simplicity, functionality, practicality, activity, androgyny. Innovative short skirt, youth fashion, androgynous style, unisex style, tubular silhouette, short hair style, and eyeline-emphasized makeup were analyzed by the similarity of fashion in the 1920's and 1960's.

• 복식문화연구
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• 제18권1호
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• pp.44-63
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• 2010

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama and suggest the costume, which is developed with contemporary taste. 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 study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

• 한국의류산업학회지
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• 제11권1호
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• pp.14-23
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• 2009

This study is to analyze the regional differences of sensibility image of wedding dress design for single women of marriageable age in Ulsan and Seoul. The conclusions of this study were as follows. In silhouette, both of two regions were not significant differences but within the same sensibility image there was a bit of differences. In neckline, reminded sweetheart of pure image, yet those of Ulsan reminded sweetheart of feminine image. Both of two regions reminded V of hard image, boat of feminine image, square of hard image, halter of complex image. But within the same sensibility image there was a bit of differences between two regions. Oval was significant differences between two regions. Subject of Ulsan reminded oval of mature image, yet those of Seoul reminded oval of elegance image. It was reminded ruffle of complex image. Subject of Ulsan reminded china of hard image, yet those of Seoul reminded china of calm image. In material, it was not significant differences between two regions, but within the same sensibility image there was a bit of differences between two regions. In detail, subject of Ulsan reminded ruffle of messy image, yet those of Seoul reminded ruffle of complex image. Both of two areas reminded ribbon of pure image, button of pure image. Subject of Ulsan reminded beads of feminine image, yet those of Seoul reminded beads of pure image. In conclusion, it could be said that there was no major differences in sensibility image for wedding dress design between Ulsan and Seoul.

• 복식
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• 제57권2호
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• pp.143-154
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• 2007

This study's purpose is how express gender image according to sex in editorial fashion photography. This study's objectives are the women's magazine Vogue, Harper's Bazaar and man's magazine GQ, Esquire published 2000-2005 within the country. The photography was classified with established a standard based on the precede studies. The photo is classified Gender image according to dress and its ornaments, model character and atmosphere by Sex Expression of femininity woman has exposure of body parts and emphasizing thin eyebrows and red lips, soft and mild image, modest and static pose. Man expressed femininity used ladylike color and pattern, erotic exposure of body and long hair style. Commonly emphasizing red lips, natural background of flower plant, S-line. For expression of masculinity man and woman are used masculinity item, short hair-style and thick eyebrows. And also emphasize square like chin and shoulder. Specially, woman used direct silhouette to conceal soft body curved line. The expressions of androgynous woman and man are colorful dress and make-up. Woman emphasized male face to show and man expressed soft image through hull of abundant material of fur. All two sex selected method that conceal body curved line and face to express sexless. Hiding characteristics of body and face make indistinct of sex. The gender is affected by atmosphere such as model and illumination background as much as clothes because of the editorial fashion photography.

• 한국의상디자인학회지
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• 제14권4호
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• pp.139-150
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• 2012

This study aims to understand the importance of stage costumes, examine and analyze their theoretical ideas in order to propose new designs and support the studies and advances of stage costumes in play. The writer operated and produced the costume designs of Shakespeare's play, Measure for Measure as a costume director, which was played on September 16 to 17, 2011 at the Haneul Theater in the National Theater of Korea and on September 3, 2011 at the Jinnam Munye Theater. The study was followed by 1. Proposing a new modern point of view of the design of the traditional dresses in 16th to 17th centuries. 2. Expressing a symbolism based on personality, role and nature of characters in the play by a creative and modern image of the dress in color, line, and silhouette, which are basic factors of a clothes design.

• 복식문화연구
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• 제17권6호
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• pp.1112-1128
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• 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.