• Journal of the Korean Society of Clothing and Textiles
• /
• v.34 no.9
• /
• pp.1546-1557
• /
• 2010

This study analyzes the status of foreign direct investment in Korean textiles and fashion firms and investigates the factors determining their performance. A total of 1,251 cases (including 1,116 manufacturers and 135 of distributors from the 2009/2010 Korean Overseas Business Directory published by KOTRA) were used. The results of this study are as follow: 1) In the case of manufacturers, China was the most heavily invested in country, and the Asian region that included China, Vietnam, Indonesia and Bangladesh consisted of 80% total investment. In cases of distributors, China was also the first ranking country and other countries, that included Vietnam, United States, and Japan are major ones. 2) In terms of the foreign entry mode, wholly-owned subsidiaries represented 90% of total cases. As the index of the degree of localization, the ratio of local employees was very high. 3) Different countries were utilized by year, type of business, and area of process. In manufacturers, Indonesia, China, and Vietnam were the most heavily utilized countries in the 1980s, 1990s, and 2000s, respectively. For distributors, China was the major market ill the 1980s and 1990s but Vietnam has emerged as the biggest market in the 2000s. In terms of area of process, China was for manufacturing fibers and fabrics, Vietnam was for most items, Indonesia was for assembly, knit, accessories, and Bangladesh was for embroidery and accessories. 4) The determining factors of the age of foreign business as the proxy index and performance of foreign business entry, were different by the type of business. For manufacturers, four factors including the dollar amount of investment, number of local employees, the mode of foreign direct investment, and entry to China were significant. On the other hand, only two factors including the dollar amount of investment and entry (other than China) were significant distributors.

• Journal of the Korean Society of Costume
• /
• v.60 no.1
• /
• pp.101-116
• /
• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

• Journal of the Korean Society of Costume
• /
• v.63 no.6
• /
• pp.56-68
• /
• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• The Research Journal of the Costume Culture
• /
• v.19 no.4
• /
• pp.712-722
• /
• 2011

The purpose of this study is to examine the types and characteristics of decorative techniques applied to the Korean traditional skirt of contemporary style. For the purpose, this researcher selected 167 pieces of Korean traditional skirts which were shown in relevant monthly magazines published between 2001 and 2010. Then, the researcher classified the types of decorative techniques found in those selected pieces and analyzed the characteristics of decoration technique for each area of the pieces and the characteristics of patterns used in relation to those techniques. The Korean traditional skirt, otherwise called 'Hanbok chima', was classified into two types, single and composite, in accordance with which technique of decoration was used to it. The single type was characterized by so many embroideries, while the composite type, a combination of two decorative techniques, seonchigi and jatmulim. In the Korean traditional skirt, decorative techniques were applied to the knotting and entire of the skirt. Patterns used to decorate the Korean traditional skirt were usually in form of embroidery, gold or silver foil or painting. Out of the patterns, those which were embroidered or painted were shaped flowers, while those which were plated with gold or silver are shaped bosangdangchomun and flowers. There were other decorative techniques than mentioned above, for example, applying two or more different colors to the hem of the skirt, attaching pads to the knotting of the skirt and padding a decorative cloth on the front center of the skirt.

• Journal of Fashion Business
• /
• v.12 no.1
• /
• pp.147-163
• /
• 2008

This research aims to develop cultural products for professional sales after producing creative products utilizing dinosaur characters, which are the representative exhibited item of dinosaur-centered museum. There are seven museums in Korea whose theme is dinosaur. There are three dinosaur museums among them, Goseong Dinosaur Museum at Kyungnam, Mokpo Natural History Museum, and Seodaemun Museum of Natural History. While inspecting cultural products within the museum shops of these three museums, general products occupy more than 80% of all the products rather than products related to dinosaurs, and has a problem that most products are decorative ones. This resulted from that enterprises supplying these products are not professional ones and are irrelevent to cultural industry; as result, purpose of conveying culture through products is lost. This research develops dinosaur characters utilizing computer 3D techniques in order to imbue unique characteristics to dinosaur museums and informing cultural speciality of our country. In addition, this research presented design method of cultural products by grafting traditional symbols onto these characters, and actually produced 11 items of 5 kinds: toys(dolls), clothes(T-shirts, pajamas, socks), stationery(notebooks, memo), accessaries (bags, umbrellas, handkerchief), and others(cups). On the items above, dinosaur characters are variously utilized in form of printing, embroidery, and stickers by using computer 3D technique. A cultural product is a tangible form which could show variety of cultural characteristics of our nation that could spread the culture through the consumers, and such type of purchasing could increase values of cultural industry by creating economic profits; such points are the significance of this study.

• Fashion & Textile Research Journal
• /
• v.21 no.5
• /
• pp.665-676
• /
• 2019

This study provides basic data for future design proposals aimed at improving the uniforms and bullet/stab proof garments of local police. An analysis was conducted on various aspects of the uniforms used until 2015 and those newly introduced in 2016. Current bullet/stab proof garments were compared with old stab proof garments; in addition, police force posting on the internal SNS were analyzed in regards to the improvement needs for uniforms. Analyses results are as follows. As for the uniforms, convenience was improved by eliminating the necktie, and the four trigrams embroidery was added to emphasize the Korean identity. Cargo-style pants were added for enhanced activity, and the color of the top was changed to turquoise to improve discrimination. In terms of material, durable polyester was used heavily in outside uniforms that were likely to be damaged during work; consequently, the percentage of elastic materials was increased for improved activity. The price showed a high increase rate due to inflation and the use of functional new materials. Complaints and demands for improvement continued despite various modifications made to uniforms and suggested a strong need for further improvements that reflected the opinions of wearers. As for the protective garments, there was a limit to reducing the final weight despite the use of lightweight material because of protection performance enhancements made from expanding the protection surface area. Also, considering further decrease in supply rate, it was deemed necessary to secure budget for full supply of bullet/stab proof garments.

• Journal of the Korean Society of Costume
• /
• v.55 no.2 s.92
• /
• pp.1-17
• /
• 2005

The realistic plan to establish a silver market in the clothing industries has not taken concrete shape, although the interest in the establishment of a silver market targeting the aged as a new custom group Is gradually Increasing because the rapid development of science and medical technology in the 20th century has led to an extension of lift and improvement of living conditions. The specialized business which produces and sells the clothing for the elderly is of small number and most of the clothes for the elderly are manufactured and sold by the companies for women's clothing in which change the size or length of the original works rather than reflect the bodily features of the elderly. The findings indicated that domestic brands showed the coordinated concept of a suit of jacket and slacks or skirts while the clothes were formed with a variety of coordinations centering around single article in the U.S brands. But, there was no difference in the use of natural materials centering around cotton and silk etc. and in the use of embroidery, lace and decorative details between the two countries. The knit brands of knit suit style in Korea were formed with the items focused on pull over and cardigan twin set, while the U.S brands were mainly formed with the design of knit suit style. The domestic knit brands were mostly developed with complicated patterns and gorgeous colors, while most of the U.S. brands were presenting a single or two tone color suit style and evening one-piece dress with a simple and modern style. The sporty casual brands of sporty casual style in Korea had a variety of colors and patterns focused on function and comfort for diverse leisure activities and daily life, while the U.S brands were established to present a variety of styles with the items of single article because they had a separate brand for casual even though it was not a exclusive brand for the elderly This study has a meaning in the presentation of the design idea considering the bodily shape of the elderly compared to the ready-to-wear considering the size alone, by examining the characteristics of bodice according to the physical change of the elderly women, analyzing the design of madam brand and the style of the ready-to-wear, researching the general circumstances of the brand for the elderly women, and highlighting the necessity of the elderly clothing market.

• The Research Journal of the Costume Culture
• /
• v.19 no.2
• /
• pp.283-295
• /
• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• Journal of the Korean Society of Costume
• /
• v.52 no.1
• /
• pp.129-143
• /
• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.4 no.2
• /
• pp.139-161
• /
• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.