• Fashion & Textile Research Journal
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• v.19 no.6
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• pp.777-785
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• 2017

The MICE industry is a new industry that combines corporate meetings, intensive tours, conventions and exhibitions. The convention (the international conference itself) is a conception born from the interpretation of multiple industries such as conferences, incentive tourism, exhibitions and fairs. It is therefore necessary to develop products that can contribute to the revitalization of the MICE industry. We will participate in globalization era trends by developing original design with unique color sense as well as traditional beauty and elegance that can represent the Korean Wave in order to develop high value-added fashion cultural products. We examine the formative characteristics of Chogakbo and apply them to the harmony of geometrical characteristics and colors. The morphological characteristics and sewing method of the Korean traditional 'fo' were also used for shirt designs. It is a fashion cultural product that applies to the Korean Cheokagbo design as well as maintains a basic aloha shirt design that can be worn by everyone (regardless of gender and age) to make it globally acceptable. We used a simple and interesting geometric configuration of the surface represented by the surface composition of the patchwork as well as proposed a design costume by 3D clothing simulation work. The research results can be used as basic data for the domestic fashion market and cultural goods market.

• Journal of Fashion Business
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• v.12 no.1
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• pp.45-62
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• 2008

The purpose of this study is to identify how the components of a fashion show can influence the perception of the spectators, and what the spectators most like in a fashion show. Through the analysis on the literature reviews and in-depth interviews with professional's organizing fashion shows we established a list of the main components, which allowed us to set up a questionnaire. The results regarding the viewing satisfaction of the spectators at a fashion show were investigated and came out as follows: First, the components of fashion show are generally viewed to be four factors: the program, the directing, the model, and the sets. These four factors are influencing the perception of the spectators and are very important to the success of a fashion show and the enjoyment of a fashion show by spectators. Second, it is shown to us that the most influential factor for the perception is 'the directing'(stage scenery, background music, lighting, effects etc.), and the next is 'the sets'(convenience seat, display, service facilities etc.). So, in order to raise the level of satisfaction for the spectators, it is advisable to concentrate on these two main factors. Finally, we would suggest that the organizer of a fashion show shall carefully analyze how spectators understand and perceive the components of a fashion show. This study provides information about how the components of a fashion show can influence the spectator's perception and presents suggestions on how to improve a fashion show by reorienting it towards the satisfaction of the spectator. In addition, there needs to be a strategy by customer satisfaction experience to reinforce a customer-oriented fashion show and heighten a viewing satisfaction for spectators.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.9_10 s.157
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• pp.1476-1484
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• 2006

This study is on the esthetic characteristics of Tuxedo-Look in the modern women fashion from 1990s to the present. It could contribute to understand the aspects and the sense of beauty of the modern fashion. This study is performed by reviewing the precedent studies, related literature and deploying fashion portfolios, domestic and international fashion magazines for the exploratory study. The results of the study are the following. First, Tuxedo-Look expresses the androgenous image which weakens the superficial message of masculinity or femininity and produces the unified image of men and women. Tuxedo-Look, a symbolic male dress item, is brought in the women clothes and it is recreated by design modification, new wearing style, and producing effects. Second, Tuxedo-Look emphasizes femininity by using a exposure and body line stressed design and matching the women dress items with various materials and colors or tuxedo. Third, Tuxedo-Look suggests a dismantling point of view such as exaggeration, distortion, secession, and breaking from the convention. Tuxedo-Look expresses uncertain value by breaking up the symbolic valueby coordinating with casual items and denies formal construct of tuxedo such as perfect balance, symmetrical silhouette, formality, totality.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.19-37
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• 2021

The purpose of this study is to apply the characteristics of David Hockney's paintings to fashion illustration and thereby, review how pure art can be harmoniously grafted onto fashion commodities and thereupon, suggest a far more developed and unique fashion illustration. For the research, this study analyzed David Hockney's late painting works, after the 1980s; the analysis was focused on photo collages, multiple perspectives, the movement of the viewpoint, and lights and colors. In order to produce an artwork, the researcher selected 4 painting works; one work for decade for the period from the 1980s to the 2010s. This study selected 'shoes' as subjects for expression in an effort to depart from the convention approach of focusing on apparel and thereby, suggest some differentiated fashion illustrations. In terms of the artwork production size, four canvases #5 were combined into a set, and thus, a total of four sets were developed. The results are as follows. First, it was very interesting to develop a fashion illustration making use of David Hockney's paintings, and it was proven that the fashion illustration applying the sensitivity of the pure art would provide a unique sense of art. Secondly, as the boundary among disciplines becomes blurred, painting provides a new source of insights and motifs to the diverse design areas to satisfy diversified human needs, and furthermore, the development and diversified application of the fashion illustrations could be confirmed. Thirdly, David Hockney's differentiated world of art, technique of expression and sensitive colors could well be applied to fashion illustrations. This study proves that we fashion artists can depart from the conventional expressions focused on the apparel to expand the fashion illustration into lady's high heels.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1253-1261
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• 2009

The paper-folding effect of origami signifies a planarization of the body which questions the three dimensional construction of the body in a more conventional clothing system. Un-structured, variable space posited between the body and clothes, and an absence of gender identification characterizes the planarization of the body. Origami inspiration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores a trans-extensity that goes beyond the boundary of the body. This study inquires on the influence of origami as a method to create new vestmental space in contemporary fashion. The flat-plane clothes of origami-inspired design are no longer cut to the body and the clothes could be altered by the wearer. The space is introduced in between a three-dimensional dress-body and the body. Origami-inspired design in Japanese avant-garde fashion deconstructs the convention and promotes a symbiosis of body and clothing instead. The shape of the body is completely estranged by three-dimensional sculptures, alluding to the paper folds of origami and the movement of the body that are transmitted to the clothing through fine folding that transform into an unexpected event.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• Journal of Fashion Business
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• v.24 no.3
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• pp.69-84
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• 2020

The purpose of this study is to analyze examples of online fashion product planning of domestic fashion brands, to grasp the characteristics and step-by-step problems in product planning, and to suggest product planning methods. This study consists of a literature study and a case study. The results of th study are as follows. First, in the information analysis and product planning, product planning according to analysis and targeting of online consumers should be conducted separately from offline, and the proportion of online-only products should be expanded. Second, in the design planning and product development stages, it should be possible to secure the quantity through the pre-planning of fabrics, a to acquire the novelty of the material through the preemption of good fabrics and the pre-planning of colors to secure competitive design. Third, in the convention, a systematic review process involving company members and customer review teams should be conducted to ensure product quality and sales-ability Fourth, in the production stage, the production period must be to reduce cost. Fifth, differentiated services according to the characteristics of their products for each brand in the promotion and sales stages. Based on this analysis, a desirable approach online product planning should first run promotion phase, increasing pre-planning for the product, and organizing specialize work and manpower issues.

• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.17-34
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• 1999

Because the United States of America has a short history, they don‘t have a special traditional culture or costumes. Besides, America is a multi-people country, they couldn’t have a consistent culture or a traditional costumes. But even they have a short history, they are trying to make a new culture. America is searching for a representative culture, which are like festival costumes, regional costumes and costumes that are form the group of people, in there country and making it into their a convention culture. This thesis is about the costumes of the U.S.A.'s famous festivals, traditional and festival costumes that are differ from every other states and the traditional costume that they are making it righ

• Journal of Fashion Business
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• v.17 no.1
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.