• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• Journal of Fashion Business
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• v.10 no.2
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• pp.60-82
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• 2006

The purpose of this study was to confirm and practical use the street fashion design analysis system(Web-SFAS) which was designed in preceding research. Web-SFAS was developed to analyze data fast, accurately, conveniently, and to provide them to related fields by using Information Technology (IT) in fashion design industry. By inputting, sorting and analyzing actual image data into this system, it purposes to check if it needs to be corrected and to verify its operation and application. For this study, 191 street fashion image and paper questionaries were collected on Oct. 16th from 4pm to 7pm in Gyeong-Nam area(4 markets), 2004. This study was processed basically cross research(real time research). The collected data and paper questionaries were analysed by 4 experts who had over Master Degrees, and the results were input to the Web-SFAS system. This system analyzed the results as follow ; First, Top is usually wear T-shirts, cardigan item of soft material, Bottom is usually wear Skirt, jean item of hard material. Second, As for shoes, pumps were the most popular, and as for accessories, diverse items such as shoulder bag, jewelry, and totebag were preferred. Third, fashion image, most people wear a sportive casual style with semi-casual in a close second. Therefore, We also expect that this data can be used a prediction for the next seasons design trends and needs, especially if we make an online database through this development system, then it will be easier to access faster and more accurate fashion information.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.705-718
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• 2020

The goal of this study was to develop a haptic communication system that can convey the tactile sensation of fashion materials in a virtual environment. In addition, the effectiveness and how realistically the virtual fabric image of this system delivers the tactile sensation of actual fabric was verified. First, a literature review was conducted through which the tactile attributes of fashion materials were defined that would be implemented in the haptic communication system. Then, a questionnaire for evaluating the tactile attributes of fashion materials was developed. Next, a haptic communication system was designed to convey fashion image experiences in a virtual environment, from which a haptic rendering model was suggested. The effectiveness of the haptic communication system was evaluated by verifying user experiences with questions developed through a user evaluation experiment. The validity of the evaluation questions pertaining to the tactile attributes and the effects of the haptic communication system were verified. Factor analysis was conducted to verify the evaluation of the tactile sense attributes of the fashion material, which identified density, thickness, and elasticity of the material as key factors. As a result of comparisons between the tactile sense through haptic characteristics and through touching, it was observed that regarding density and thickness, tactile sense experience led to greater perceived reality, while this was not the case for elasticity.

• Journal of Fashion Business
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• v.22 no.1
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• pp.1-19
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• 2018

The purpose of this study is to analyze the fashion style of Kate Middleton, the Royal Family, and to examine the social and cultural influence of Middleton fashion. We selected 314 photographs collected from a Google site and Gettyimages.com April 2011-December 2016 as the final research subjects. We categorized the situation by domestic events, royal events, diplomatic activities, and social contribution activities, and analyzed fashion styles focusing on item composition, color, material, silhouette, detail, trimming, and length. As a result of the study, the one piece was the highest in the combination of items, and the color was the most in white. The color tones were mostly vivid, and the material texture was silky. The image was classic, and the dress code was high in semi-formal. In a situational style, the coat was the most common at the Royal Family events and blue or white of the light tones appeared in the formal style of the classic image. In domestic events, there were many silky textures of modern image, and vivid, strong tonal knee length H line dress was the most prevalent. During diplomatic activities, various colors such as red, green, gray appeared in addition to blue or white and in social contribution activities, many dresses of vivid and dark tones of red appeared in the dress code as semi-formal. In conclusion, the stylistic features of Kate Middleton and the Royal Family are largely in the form of royal and noble, low cost and chic, and body-conscious styling.

• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.35-51
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• 1999

This study was aimed to analyze how images of information society were embodied in contemporary fashion design. To find out images of information society expressed in contemporary fashion design, this paper reviewed the characteristics of information society, and, found out six categories of contemporary fashion design in which the information society was expressed. Cyber environment causes techno style clothing which is characterized by the metallic or lustrous material and mechanical message. And interest in new materials increased significantly. Time-space compression makes the meaning of time and space change, therefore the past, present and future are coexist in the contemporary fashion design. The boundaries has loosed, so, heterogeneous materials and colors are used in fashion design all together. Variety and plurality affect expression of individuality and self-concept. Flexibility increased, so, soft and pliable clothing increased, too. Finally, quality of life is considered as more important value than quantity, so, luxurious look and zen style appear. Also, minimalism which is characterized as simplicity and purity affects the contemporary fashion design.

• Fashion & Textile Research Journal
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• v.11 no.4
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• pp.527-536
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• 2009

The purpose of this study is to consider the characteristics of fashion paradigm on contemporary fashion in pursuit of social change towards 'slowness'. As for the research methodology, literature survey has been undertaken. The results of this study can be summarized as followings. First, eco-friendly ethics towards sustainability is in taking action. The concept of 'cradle-to-cradle' is realized through reuse, recycle, organic material, and no use of chemical. Second, local diversity is revolving quality and longevity. Good quality of fashion made by artisans and specificity in local area is to be kept last. Third, people are recast in roles from simple consumers to self-made producers of their clothes. Users of clothes are more active and skilled role in practice of handmade, reform, DIY, and open-source design. In Conclusion, the fashion paradigm of 'slowness' is about designing, producing, consuming and living better to combine ideas for sense of nature's time, culture's time and people's time.

• Journal of Fashion Business
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• v.3 no.1
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• pp.147-158
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• 1999

The Purpose of this study is to comprehend the form of Post-modernism in 1980~90 Fashion by comparing to the representative form of Modernism. For empirical data, photographs and critics about fashion were collected from Vogue fashion magazine to differentiate from other studies which is mostly analysed from collection. The results are as follows: The Modernism in fashion can be epitomized simple and functional form as a rational costume and Post-modern fashion expresses all sorts of emotion as a react of rational theme of modernism with manners of anti-formal pluralism such as pastiche, parody and Kitsch. The fashion in 1980-90s in Vogue expressed as follow :1) The Postmodernism is well exploited around 1990 and costrained by traditional and classical Mode. 2) The other main character of Postmodernism, romantic eroticism is broadly expressed with material and slim curved body conscious line. 3) The Modernism and Postmodernism coexisted in the end of 1990, in more matured format.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.149-163
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• 2011

Hanjisa(Korean paper yarn), a new material made from the traditional Korean paper, has been developed through local R&D efforts, reflecting the current trend highly valuing environmental friendly. This new material is considered suitable for the 21C lifestyle and culture pursuing improved quality of human life and the environment. Therefore, this study aims to widely make known the originality and functions of the environmentally friendly Korean paper yarn, as well as to increase its commercial value. Furthermore, a new category of apparel design is presented by studying painting dyeing based on transformational tuck techniques and wax resist dyeing with formative features of repeated lines and rhythms of shells in order to implement three-dimensional and decorative artistic expressions. The texture of the Korean cotton paper yarn was particularly suitable to employ tuck and dyeing techniques Which express formative features of shell. Also, the material was useful for expressing the three-dimensional feelings with repeated curves and cross sections of shells. Moreover, paraffin resist dyeing and stitch techniques were used in order to avoid monotony and the images of shells visually materialized. Through the results stated above, this study could explore how to overcome obstacles to globalization of the Korean modern apparel such as its uniqueness, limit of materials or absense of internationality by applying modern design to the Korean paper fabrics. In the future, it is expected that more manufactures could produce and supply the new materials so as to make widely known the originality of the Korean paper fabrics and develop the material into a popular organic product fitting the modern lifestyle.

• Fashion & Textile Research Journal
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• v.9 no.2
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• pp.157-166
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• 2007

The purpose of this study is to provide guidance to plan clothing design with an analysis of design property of famous overseas brands. For this purpose, the prt-a-porter fashion collection from 2001 S/S to 2005 F/W is divided into the following sectors: brands, years, and seasons, focusing on the design elements, with regards to the design property of clothing. The reference for the actual study was 1055 pictures of clothing that were collected of collections of famous overseas brand. The results of this study are as follows. With regard to the character of the clothing design classified by brand, the design property was embossed with all design elements. Therefore, we can use design elements to express design property, like clothing design of famous overseas brands. With regard to the changes of clothing design year by year, it was changed with almost all of the design elements. Therefore, it is noted that clothing design do well to reflect the fashion trends of the year with almost all design elements. With regard to design properties of seasonal clothing, clothing design properties which are popular in the S/S season are slim silhouette, see-thru material, brilliant material, abstraction pattern, and so on. On the other hand, clothing design properties which are popular in the F/W season are wide silhouette, hard material, complex material, complex pattern, inorganic decoration and so on. Therefore, it is noted that clothing design do well to reflect the seasonal trends.

• Journal of Fashion Business
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• v.23 no.3
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• pp.67-84
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• 2019

Since the early 2000s, various fashion design products that use 3D printing technology have constantly been introduced to the fashion industry. However, given the nature of 3D printing technology, the flexible characteristics of material of textile fabrics is yet to be achieved. The aim of this study is to develop the optimal design conditions for production of flexible and elastic 3D printing fabric structure based on plain weave, which is the basic structure in fabric weaving using SLS 3D printing technology. As a the result this study aims to utilize appropriate design conditions as basic data for future study of flexible fashion product design such as textile material. Weaving structural design using 3D printing is based on the basic plain weave, and the warp & weft thickness of 4mm, 3mm, 2mm, 1.5mm, 1mm, and 0.7mm as expressed in Rhino 6.0 CAD software program for making a 3D model of size $1800mm{\times}180mm$ each. The completed 3D digital design work was then applied to the EOS SLS Machine through Maker ware, a program for 3D printer output, using polyamide 12 material which has a rigid durability strength, and the final results obtained through bending flexibility tests. In conclusion, when designing the fabric structure design in 3D printing using SLS method through application of polyamide 12 material, the thickness of 1 mm presented the optimal condition in order to design a durable digital textile structure with flexibility and elasticity of the 3D printing result.