• 사상체질의학회지
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• 제28권4호
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• pp.330-337
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• 2016

Objectives The purpose of this study was to investigate whether the menstrual pain affect the Sasang constitutions questionnaire response in adult women. Methods Using a structured menstrual history questionnaire, we evaluated the degree of menstrual pain of 550 adult women who participated in this clinical trial. Based on the survey we classified them into menstrual pain group and control group. They filled out SSCQ-P (Sasang Constitution Questionnaire for Patients) and we had compared the difference in response by Sasang constitutions. From 329 women in menstrual pain group and 212 women in control group, 541 questionnaire was analyzed statistically by their constitutions. Results 7 questions in Soyangin, 11 questions in Taeeumin and 20 questions in Soeumin were statistically significant in response between menstrual pain group and control group. Conclusions Soyangin's menstrual pain shows less influence on SSCQ-P than Taeeumin and Soeumin. Taeeumin who has Taeyangin's appearances and characteristics has more menstrual pain. In Soeumin, menstrual pain may result in negative and less expressive characteristics.

• 한국의상디자인학회지
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• 제21권2호
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• pp.139-151
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• 2019

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.

• 한국의상디자인학회지
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• 제22권2호
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• pp.71-85
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• 2020

The purpose of this study was to study the beauty-coordination characteristics of Genderless fashion, which is emerging as a new trend by analyzing the trend in the latest collection and classify the resulting expression characteristics of make-up. Methods and scope of the study were based on collections published in the 2020 S/S season and 35 out of 84 designers with design elements were selected to analyze the garments most likely to be genderless. The characteristics of the expression of the genderless derived through this analysis were classified into compromise, androgyny, sensuality, exaggeration, enjoyment, and historicity. Compromise was the highest, and the lowest was for enjoyment of the classifications. The designer's work according to the characteristics of each expression shows that the pieces by Saint Laurent were the highest in compromise, sensuality, and historicity, and the pieces by Maison Margiela were the highest in androgyny while Balenciaga was the highest in exaggeration and enjoyment. Compromise represented a mixture of discord, such as incongruous bonding and coloring of heterogeneous materials, and androgyny led to the use of silhouettes and colors, with sensuality utilizing see-through material and incision lines allowing for physical exposure. Exaggeration intentionally destroyed the existing concept by breaking the overall balance of the human body through the enlargement of certain parts of the body, while enjoyment showed unexpectedness by destroying the line and sides of the garment. Lastly, historicity was analyzed for its retro design that transcends time and space with regional cultural and period characteristics.

• 복식
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• 제65권8호
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• pp.110-124
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• 2015

This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.

• 한국실내디자인학회논문집
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• 제25권4호
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• pp.90-97
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• 2016

As the paradigm which emphasizes nurturing creative elites is introduced, more attention has been paid to children playing and their creativity. This change means that the importance of creativity is emphasized in the education of children, and furthermore, playgrounds which focus on creativity and imagination are needed. Therefore, this study examines the spatial characteristics of playgrounds for children and suggested strategies to improve them. There are five spatial characteristics of a creative playground: aesthetics, being eco-friendly, exploration, challenging and variable. Through the five characteristics, playgrounds were analysed based on ten expressive elements and the results are summarized: Creative playgrounds for children should have an attractive design with sculptural elements which stimulate children to be excited through associable shapes and abstract colors. Second, shelter type structures and a flexible flow design are needed so that children can feel free and be encouraged to explore in diverse ways. Third, as playgrounds for children provide spaces for rest in addition to play, organic facilities and eco-friendly materials for the rest space should to be used. Fourth, as childhood is a period when emotional, cognitive and physical development are achieved, organic geographical features and atypical facilities should be provided so that children can acquire extensive skills and join in physical activities. Finally, creative playgrounds for children should have mobile or variable facilities which consider the characteristics of children who want to do diverse activities and play different games. This study analysed playgrounds for children and suggested strategies to improve them. For successful design and use of creative playgrounds, it is suggested that intensive research on them and consultation with experts should be considered.

• 한국실내디자인학회논문집
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• 제17권5호
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• pp.40-50
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• 2008

This article examined the applicability of spatial configuration to Escher's works through configurative logics and rules and studied the contrasting relations among the unit elements in Escher's works and their characteristics and the creative process of the characteristics. As the results of the study on the bases to maintain and create the partial elements revealed as the characteristics, it was shown that Escher's sequential transformative works demonstrated diverse expressive characteristics as a creative process of Inter-complementary contrasting relations based on the independence of the unit elements. It was also shown that the creative process of the unit elements was actualized through the maintenance base of the fixed and absolute characteristic as the logic for the creation and the creation base of the dynamic and relative characteristic. Therefore, it was interpreted that by applying the logics for creation to Escher's unit elements through the spatial interpretation of the maintenance base and the creation base as well as by configuring the units created in such a way according to the characteristics of Escher's works, spatial possibility canbe derived out from Escher's contrasting tessellation works. The process of spatial configuration is the process to make a balance between various conditions, artists own understanding of the space and his/her intention of the space. From this viewpoint, the logics for maintenance base and for creation base seem to have the potentiality as a spatial configuration to consistently meet the given conditions as well as to derive out novelty through the transformation to maintain the fixed and absolute condition(base) and the characteristics of the independent(additional) transformation arising together with the implicit relations among the transformative units.

• 한국의상디자인학회지
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• 제19권1호
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• pp.71-90
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• 2017

The purpose of this study is to identify the characteristics of currently targeted consumers of the fashion enterprises. It also aims to assess the value of consumer-related variables that are related to market segmentation. In order to identify the characteristics of targeted consumers, the contents of brand concept and target of 143 brands for women's clothing, and 79 brands for men's clothing were qualitatively analyzed. The results are as follows. First, the demographic characteristics of both male and female included the desire to appear younger, and be more youthful in sensibilities than their actual age. In terms of occupation, male had more variety and concreteness than female. Male and female were above middle class, with an emphasis on being a part of the new generation, one that is young, free, healthy, and leisurely. Second, the psychological and behavioral characteristics of both male and female consumers included the benefit sought of the following: rationality, economy, practicality, functionality, individuality, fashionability, and aesthetics. Their fashion orientations were found to be practical, rational, fashionable, expressive of individual style, and aesthetic sensibilities. Their lifestyles were characterized by elements such as rationality, smartness, urban, active, healthy, young, leisurely, and stable. In terms of the spirit, female had a tendency to be intelligent, elegant, and sensitive, while also being self-reliant, self-disciplined, and unafraid of challenging situations. The male consumers had a tendency to be rational, progressive, passionate, and embracing change, with emphasis on legitimacy, honor, success, pride, and affluence. Third, the usefulness of consumer-related variables in targeting consumers was different according to male and female. These results show that there is a need for these variables to be looked at more closely during market segmentation process. This research may be used as base material in setting up the brand concept and the target market.

• 복식
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• 제59권2호
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• pp.70-86
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• 2009

Today, digital technology is extending its influence to fashion design, which is closely related to people's lifestyle. In order for people to access information all the time, every place, people have to wear these devices all the time, every place. Intelligent wear allows people to communicate with their own body, other persons or surrounding real-time. The purposes of this study are to define 'Intelligent wear' by looking through the similar terms of intelligent wear on related fields, to analyze characteristics of intelligent wear and to provide not only theoretical data but also, practical data far product development on both functional and aesthetic sides. In this study, usefulness provided by intelligent wear were identified in the concept of instrumental & expressive function. For the aim of the study, literature and case study were considered at the same time. The conclusions are as the following. The characteristics of intelligent materials were found to be information, intelligence and protection, the characteristics of intelligent manufacture were combination and virtual reality. And The characteristics of intelligent products were multi-function, transformation, camouflage. Integration of operability function extends human ability and the area of human activity, entertainment, and communication, and provides convenience. Consequently, development of intelligent wear should promote through not only computer engineering but also, connection to other fields. Most of all, there is a need for active research in clothing design and the fashion design since intelligent wear is after all, clothing.

• 복식문화연구
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• 제32권3호
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• pp.345-363
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• 2024

This study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology-relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect-can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

• 복식문화연구
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• 제32권4호
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• pp.547-563
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• 2024

This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen's men's fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand's official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.