• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.61-78
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• 2016

This study through the literature research to understand the most representative art trend - the definition and evolution of the Cubism in the early 20th century, and through the analysis on the representative painter's works, such as works of Pablo Ruiz Picasso and Georges Braque, This article raises the unique characteristics of the Cubist painting, such as geometry modeling, simultaneity, transparency, collage, deconstruction and reconstruction, etc. On the basis of theoretical research in this study, in order to meet the novelty and originality of clothing design requirements in the field, this research uses the modeling characteristics of the Cubist painting, designs and makes five sets of works in costume designing. Research findings are as follows, 1) According to the geometry modeling, split garment surface into triangle or irregular polygon shaped. 2) Show front and side images of the characters in the same garment surface. 3) Overlapping the images of the characters in the same garment surface. 4) Make use of composite materials to express the characters. 5) Disassemble the characters recombine them in an abstract painting way. These works mainly completed by adopting some techniques like Patchwork and Figurative painting. The colors consist of red, yellow and blue caused "Three primary colors series" to achieve the goal of expanding visual effect. Additionally, for the sake of the formal beauty-deformation distortion, symmetric and asymmetric, for instance the structure of the costume adopts formal beauty technique.

• Journal of Fashion Business
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• v.12 no.4
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• pp.88-98
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• 2008

In order to improve the problems with obese women's ready-to-wear by age range, this study surveyed the actual clothing purchase and wearing of women in their 20s and 30s with normal and obese body types, and compared and analyzed their satisfaction with ready-to-wear by age and body type. First, for normal body types, both women in their 20s and 30s use department stores the most. Meanwhile, obese women in their 20s make most of their purchases at internet shopping malls, while those in their 30s mostly go to department stores. For criteria for purchasing clothing, normal women both in their 20s and 30s value design most whereas, obese women put size and fit before design regardless of their age. Normal women in their 20s and 30s both were most unsatisfied with standardized design because they could not find designs they wanted. Obese women in their 20s and 30s also showed disapproval of unvaried sizes, indicating a distinct difference in body types and age. As well, the study found that both normal and obese women wear casual style the most, followed by semi-formal style. Also, regarding the images they were seeking when wearing clothing, the normal women wanted to look fashionable, while obese women wanted to look slim, regardless of age. Both body-type groups generally like preferred semi loose-fits the most, followed by tight-fit. They however, dislike relaxed loose-fitting.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.826-835
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• 2021

The purpose of this study was to compare the similarity between actual and virtual pants using a virtual 3D CLO program. A subject corresponding to the average size of a women in her twenties was selected and an avatar with the same specifications was produced. Silhouettes of the pants were classified into trousers, slacks, and wide pants and images of actual and virtual pants were evaluated from the front, side, and back. The results were as follows: Overall, the resemblance of the trousers was evaluated higher than that of other pants. The average similarity of trousers was 4.20 at the front, 3.98 at the side, and 4.17 at the back, which was much like the actual clothing. In contrast, that of the slacks was 3.62, 3.73, and 3.79 and of the wide pants was 3.81, 3.53, and 3.97. The similarity between the actual and virtual clothing was relatively well reproduced when the shape of the pants was like the silhouette of the human body. However, if the pants were tight or loose, virtual fits failed to display the wrinkles caused by the tightness or the excessive slack. The virtual fit showed fewer wrinkles and did not depict the location and the shape of hemlines as accurately as the actual fit, although virtual fits adequately displayed the baseline and dart on the pants.

• Fashion & Textile Research Journal
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• v.19 no.6
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• pp.671-680
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• 2017

Contemporary people can form a broad social sympathy on cultural products based on the present Korean image. K-pop is good material to use to share korean culture, and fans who are enthusiastic here are increasingly demanding cultural products. The visual materials of Bangtan Boys are collected from their album covers, and a concept book, and divided into specific and symbolic images. Based on this motif, three specific images: 'bulletproof vest', 'army house + superhero extract image', and 'Wings symbol', six designs were proposed. In addition, six motifs from the music videos for recent popular songs, 'Spring Day', 'Blood, Sweat and Tears' and 'Burning Up' were selected as symbolic images. Each selected image is divided into a normal line and a special line. The former is a relatively small, stable, and popular style, and the latter is a large, original, and bold style. By drawing and transforming extracted images and motifs using Adobe Illustrator CS6 and Adobe Photoshop CS6 program, a full-width umbrella design was developed. The messages that the Bangtan Boys wants to convey through their music are put into cultural products that contemporaries can sympathize with. By developing umbrellas, a variety of items and design goods can become desirable points of consumption as high-value products by domestic and foreign fandom. If designs that incorporate various elements of future K-pop contents as well as other Korean Wave contents are developed, it will be possible to develop original design products that will form global understanding.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.1-10
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• 2016

The purpose of this study was to examine the influence of elderly women's makeup behavior, psychological traits and demographic variables on their preference for makeup images in daily life(hereinafter called general makeup image) and for the makeup images of their own future funeral portraits. As for the method of research, a research study was implemented by using the questionnaire method. Seven factors were selected for makeup behavior: fashionability, conformity, subjectivity, instrumentality, interpersonal orientation and conspicuousness. The selected psychological traits were personality, death attitude and depression. Preference for general makeup image and for the makeup image of funeral portrait were investigated in terms of four: agreeableness, refinement, individuality and dignity. The subjects in this study were 651 female elderly residents in and around Seoul who were in their 60s to 80s. Concerning data analysis, factor analysis, Cronbach alpha coefficient, Pearson productmoment correlation coefficient, t-test, one-way ANOVA, Duncan's multiple range test and multiple regression analysis were utilized. Concerning the influence of the elderly women's makeup behavior, personality, death attitude, depression and demographic variables on preference for the makeup image of funeral portrait, their preference for an agreeable makeup image was analyzed. Thus, makeup behavior, personality, death attitude and depression were identified as the variables to exert a significant influence on preference for the makeup images of funeral portrait. The findings of the study are expected to help make makeup for funeral portrait entrenched as a part of the beauty industry and to make a contribution to the development of the beauty industry.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.147-162
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• 2004

The purpose of this study is to investigate the characteristics of Grotesque in Contemporary Fashion. The study selected the 1990's or after fashion material by the material of both $pr{\hat{e}}t-{\grave{a}}-porter$ collection and haute couture collection based on Europe. These days, the characteristics of grotesque have been categorized into four groups based on the theory of representative scholars of the Post Modernism era. The results are as follows. ${\cdot}$ The devilism creates shocking and destructive cruelty and fear by using frightening object and mysterious and devilish motif which symbolize the death of fashion ${\cdot}$ Hatred produces physical destroy of human body, anatomical expression inside human body, cruelty by naked sex expression, pains, cruel treatment, disillusion and unpleasantness, which have been caused by the disturbance and ideological confrontation of the society, and is said to be a kind of self-confession against dislike and fear of the disclosure of human existence. ${\cdot}$ Playfulness distorts and exaggerates clothes and human body forms, and produces abnormality and mystery because of vague sex identity. The playfulness of fashion can open fixed and closed world and lead it flexibly. ${\cdot}$ Heterogeneity is divided into both primitiveness and virtuality The primitiveness distorts or transforms human body through the human body decoration of primitive race, and expresses a grotesque form combining human being and other animals. It gives a question to the existence of alienated and suppressed life through the world. in which everything is mixed and not separated. The virtuality introduces not only cyborg form combining human being and machines but also state of the art technology factors, so that it emphasizes non-mechanical and non-human grotesque images.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.179-189
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• 2014

Peplums have a great advantage in easy styling for wearers to acquire desired physical and reminiscent images depending on the type and where it is placed on the waist line. However, the study of peplum blouses has not yet recognized. This study suggests a baseline data for visual appraisals as a determined key factor is changes. The result of this study as follows: First, peplums published between 2012 through 2014 collections are used for decorative effects on tops or bottoms as the finest decoration details of fashioning women's physical attractiveness. Its application has been extended to various fashion themes such as belts and overskirt that are made of peplum itself. Second, peplums published between 2012 through 2014 collections have close correlation of how the position, shape, and length of peplums are attached on bottoms. Peplum effects are categorized as extension of tops, expansion of bottoms, connections of tops and bottoms, and separation of tops and bottoms. Third, total of seventy nine peplum blouses that are found in the domestic online shopping mall are analyzed. The total length of peplum blouses are generally produced to 56 to 61cm, which is little shorter than or approximately equal to the hip line of women aged in between twenty to twenty four. In addition, the most popular peplum design is made of flare and cutting lines on the waist line and is 45.56% of samples. The most common location of peplums is identified as 3 to 6 cm above the natural waist line or the natural waist line and is 78.47% of samples. Fourth, the key factor of peplum blouse that can significantly influence the visual image is the total length of blouse, position of peplum, and peplum shape.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.50-64
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• 2009

In current society, products and services are positioned to match customers' lifestyles and emotions. One example of such can be collaboration strategies. Various types of collaboration can be found and should be applied to academic research in terms of fashion designing as well as in marketing. As a result, this research focuses on defining collaboration and identifying its different forms. Case studies are provided for each form of collaboration. A set of emotional factors required for collaboration and a domestic fashion brand is selected in order to carry out analysis and design production. As a result of this study, the following conclusions were reached. First, collaboration can be defined as two or more companies, brands or even individuals working together for an agreed period of time by sharing core competencies and advantages in order to pursuit profit and value creation. Second, collaboration types can be specified into two categories which are collaboration between companies within the fashion industry and collaborations with companies outside the fashion industry. In addition, companies may collaborate with the purpose of enhancing value, broadening its areas of business and to execute an event. Third, according to the case studies examined, effects of collaboration can be upgrade of brand images, variety of promotional benefits and increase in sales. Fourth, the selections of collaboration targets were made. MOGG and Sex&the City were chosen in order to apply collaboration strategies in line with promoting the domestic womens' wear market. Fifth, by considering and applying all the findings from the research, the limited edition line was produced under the design concept of 'Sex and the City with MOGG'.

• The Research Journal of the Costume Culture
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• v.31 no.1
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• pp.70-90
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• 2023

This study aims to use Art brut works-the artwork of the socially underprivileged and alienated-to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut's concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann's work were collected through online sources like the Gugging Museum's website, Christian Berst Gallery's website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann's works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann's works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann's work is a color block design of fashion, which utilizes the formative fun.

• Human Ecology Research
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• v.52 no.1
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• pp.21-31
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• 2014

The purpose of this study was to analyze the types and meanings of calligraphy presented in modern fashion design. Calligraphy refers to beautiful handwriting or fine penmanship in the West, and handwriting with brushstrokes in the East. The expression patterns being used at present can be divided into three categories. Legible calligraphy is focused on readability more than embellishment. Decorative calligraphy places its importance on decoration at the expense of practicality. The third type, harmonious calligraphy, pursues decorativeness and legibility at the same time. Each of these types of calligraphy is expressed in modern fashion with its own purpose: calligraphy for conveying emotional messages, calligraphy as a special brand image, and calligraphy as an expression of formativeness. The first, calligraphy for conveying emotional messages, is used with characters that are familiar to the public. Calligraphy of this type delivers messages confined emotionally to the conscious world, harmonizing calligraphy with words, or expressing readability filled with purity and delight. Second, calligraphy as a special brand image refers to transmitting a distinctive brand image from other companies through employment of a design motive or pattern by expressing the brand logos or names of designers. Third, calligraphy as a expression of formativeness has the function of shaping expressions as motives or patterns, avoiding meanings of words or phrases. It can be represented by the abbreviation or modification of words, or arranging words in different shapes, harmonizing the words with the clothing construction and atmosphere of the other images.