• Human Ecology Research
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• v.61 no.4
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• pp.585-598
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• 2023

This case study is centered on the developing process for the curriculum of fashion design major that is focused on the concept of competency, which is becoming increasingly more important in universities. The purpose of this study is to develop a competency-oriented curriculum for fashion design majors based on recent social changes that accentuate the importance of competency in such programs. In order to establish a competency-oriented curriculum of the Department of Fashion Design, the researchers examined environmental trends within the fashion industry, the curriculum and major competencies of other universities were examined. As a result, the key ability types of the Department of Fashion Design at A University, a local private university, were determined to be: communication and consideration, creativity and convergence, digital fashion, and practical adaptability. Four major abilities were selected to develop competencies suitable for the aforementioned ability types. These abilities are design planning and development, creative and convergent thinking, integrated information search and utilization, and field expertise application. From there, the curriculum was organized with these four major abilities in mind, and curriculum completion plans were developed for each grade and semester according to the stage and level of contents for each subject. To ensure the validity of the curriculum, it is necessary to develop a back-flow system that demonstrates whether the targer competency has been acquired through a competence-based curriculum.

• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.156-166
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• 2018

The purpose of this study is to present the suitable material that can be a real help to make the creativity development teaching method for creative inspirations of fashion design. To achieve these goals, researched and analyzed the creativity studies in the fields of psychology, education, and design (visual design, product design, fashion design, etc.) published in the national journal. Through this analysis, were extracted the characteristics of creativity, teaching methods for creativity learning, and expression methods. Based on this, intend to provide the creativity characteristic, the expression method, and the problem solving process in teaching methods for promoting fashion design ability. After the analysis, the results are as follows; First, the classical 4P (Place, Person, Process, Product) is important to a creativity development teaching method for fashion design. The elements of creativity of a creativity development teaching method for fashion design are 5elements; curiosity, openness, originality, patience, and synthetic ability. Second, the typical method is a drawing (such as a sketch) when visually express and embody ideas in fashion design. Drawing is an important activity that is working with the right brain and the left brain. Drawing exercises will reduce the burden of expressing ideas, providing pleasure and fulfillment in the development of creative ideas. Third, offered 5stages to solve problems of a creativity development teaching method for fashion design; understanding stage, idea stage, visualization stage, evaluation stage, and verification stage. Abstract intangible ideas are concreted and elaborated through stages of visual manifestation such as language, symbol, and drawing.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.351-363
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• 2015

This research explores diachronic fashion design trends through a structure analysis of a connection network based on fashion show concepts implemented by modern fashion designers from S/S 2009 to F/W 2013. The findings from this research are as follows. First, four categories affect the inspiration and thinking of design: the experience of the designer, social atmosphere and phenomena, natural sensitivity (or formative characteristics of natural objects), and the influence and quality of other fields. Second, in cases where the designers' experiences influenced design inspiration and thinking, designers express personal memories with keywords like high school, grandmother's closet, prom, beauty and the beast, heritage, past, and reminiscence through design elements such as lines, silhouettes, materials, and colors. Third, the representative example of the social atmosphere and phenomena that influenced design inspiration and thinking was the 2008 Global Financial Crisis that reflected the social climate through design concepts of keywords such as Recession, Black, Economy, US, Depression, Gray, Dark Age, White and New York. Fourth, inspired by nature and the formative characteristics in design, the designers employed ornamental elements to collections and design concepts that focused on nature words connected to light, sun, wild, dirt, rock, moss, and trees. Fifth, the designers took their ideas from different fields of personal interest in the arts, science and humanities (sports, architecture, sculpture, painting, and literature) that were decisive in determining materials, design colors and silhouettes. The theme of architecture was analyzed as a central element that had an ongoing impact on the concepts of designers.

• Journal of Fashion Business
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• v.24 no.5
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• pp.21-34
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• 2020

The purpose of this study was to develop a new Korean fashion design using forced-relationship techniques and the traditional hanbok Korean dress and Korean traditional images as the source of the ideas. The research methods consisted of literature research and design production. In the literature research for the hanbok composition and design elements, the concept and type of forced-relationship techniques were studied. The design development process was as follows. First, 'Developing a Korean fashion design' was set as the design theme. Second, the composition and design elements of hanbok and Korean motifs, which consist of Korean images were set as fixed elements of the forced-relationship technique. Third, among the various trends in keywords, 'punk' belonging to a subculture, was set as an arbitrary element of the forced-relationship technique. Fourth, the punk fashion design elements and items were listed. Fifth, a rough sketch was performed by selectively combining fixed and arbitrary elements. Sixth, a design evaluation process was conducted to select the designs out of 52 design sketches that fit the purpose of the study. Seventh, a total of six designs were selected after making design modifications. Through this, a total of six works of women's clothing was designed, made, and presented. This study offers the possibility of developing new Korean fashion design images, and a chance to share designs based on different cultural elements in the global market.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer's brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer's name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.132-133
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• 2005

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.68-70
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• 2004

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.132-135
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• 2004

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.55-67
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• 2011

The purpose of this study is exploring the expressional characteristics of organic fashion design different from the past by analyzing the expressional characteristics of organic fashion design dependent on the digital paradigm and simultaneously suggesting the theoretical data required to understand the changing trend of organic design in relation to the paradigm of the age. The results of the research is as follows; The expressional characteristics of organic fashion design according to the digital age appeared to have same aspects. Pluralism respecting multi-culture, hybrid of multi-meaning image, circulation that can consistently circulated, non-hierarchical post-structure, de-boundary through dissolution of genres, digital nomad considering mobility, human centered through significant sensitivity, de-materialization of assimilation between reality and non-reality, conceptualization given the concept of designer, technology combining with digital technology. This study found that organic fashion design in the digital age has the same conceptual context as periodical paradigm freely circulating consistently by organically combining each individual. This can be understood as the trend of design implied in conceptual context that organic fashion design requires periodical paradigm.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.225-237
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• 2009

This study started with the cognition of problem that design activities closely related to industries could cause damages to the environment. The purpose of this study was to suggest a new concept of fashion design for environment using pre-consumer textile wastes which are produced in cutting process and used to be disposed in landfill sites. To achieve the purpose of this study, the literatures about fashion design for environment were reviewed, and design process including design development, producing, and presentation was performed. As a result, three fashion designs for environment using textile wastes were suggested. The results of this study were followings. Using pre-consumer textile wastes, this study suggested realistic way of fashion design for environment which is not just showing environment image, but providing practical use as well as preventing the waste of resources. Second, through constructing textile wastes, both 2-dimensional and 3-dimensional designs were possible, and unexpected effects created new value of beauty. Third, because the amount and type of pre-consumer textile wastes are unlimited, this fashion design for environment could be considered as continuous profit model.