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

• Journal of Fashion Business
• /
• v.23 no.4
• /
• pp.24-37
• /
• 2019

This study focused on the fashion designer brand 'Alexander McQueen' to determine how butterflies are used in modern fashion through the sensibilities of certain designers. To this end, both a literature review and empirical research were conducted. First, we examined the origin of the word and appearance characteristics of butterflies based on prior research and a book, and also surveyed the tendencies used by the fashion designer brand Alexander McQueen. Second, out of 239 items announced by the fashion designer brand "Alexander McQueen" RTW (Ready to Wear) ranging from the S/S Collection in 2008 to the 2018-9 F/W collection, 73 pieces deemed to be fashion using butterfly images were collected through www.samsung.net and www.firstview.com, then analyzed based on timing and aesthetic characteristics. Results. The analysis by time period was divided into fantasy, handicraft, mix and match, and aesthetic characteristics shown in the order of compromise beauty, rhythmical beauty, and voluptuous beauty. The purpose of this study was to determine how butterflies are expressed in fashion based on the sensibility of a specific designer in modern fashion, the fashion designer brand 'Alexander McQueen'. Based on the results of this study, we hope that the information presented herein on fashion of natural images will serve as a basic material for similar research or design ideas as an example of designs based on butterfly images.

• Fashion & Textile Research Journal
• /
• v.5 no.5
• /
• pp.465-469
• /
• 2003

The present study revealed; that (1) The students majoring in a piano course were the preference type of the performance dress - best line was designed of upper form chest. It was 1.5cm shorter than armhole line, the princess line was preferred Top one piece without sleeves which was designed with slim by bottom line through west dart form best line. The expression method was showing embroidery and bidding, colors were in order to white, ivory, black and blue style. The material was in order to silk with glorious shinning, silk satin and race style. (2) The students majoring in a vocal music were the preference type of the performance dress - the princess line was designed shorter, the west line of back and forth was preferred the one piece of bulk style divided with three partitions. Neck line was 5cm shorter than the middle of back, 9cm shorter than the side neck position, 9cm shorter than the middle of forth, sweet heart neck line with circular sleeve designed 7cm shorter than the side neck position. Colors were in order to ivory, red and yellow style. The material was in order to silk with glorious shinning silk satin and race style.

• Fashion & Textile Research Journal
• /
• v.5 no.4
• /
• pp.324-330
• /
• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• Fashion & Textile Research Journal
• /
• v.21 no.1
• /
• pp.75-87
• /
• 2019

The purpose of the study was to suggest a cycle wear top jersey improved in mobility. The study developed a new cycle wear with improvement in dissatisfaction factors by planning design, pattern and the functionality of fabric. Considering the amount of sweat and the necessities of compression part, the basic material, the additional compression material, and the mesh material were arranged differently according to areas. The assessment of the developed cycle wear was composed of wearing comfort evaluation by female cyclist, photo analysis and garment pressure evaluation. The developed cycle wear was evaluated and compared with the current cycle wear. As a result of wearing comfort evaluation, the developed cycle wear was evaluated as better than the existing ones in all part, particularly in the areas of reflection tape and materials, partial pressure, pocket size, and prevention of loss. Photo analysis was in agreement with the appearance evaluation of the participants. As a result of garment pressure evaluation, the front neck part was more comfortable and the upper arm, abdomen, and waist area showed higher pressure, so it partially supported the body. This study has significant meaning for developing a new cycle wear top, protecting the body and improving the exercise effect.

• Korean Journal of Human Ecology
• /
• v.6 no.1
• /
• pp.65-77
• /
• 1997

The purpose of this study was to suggest effective teaching method of fashion illustration based on the results of examing the use of fashion illustration required by fashion designers and the ways of teaching used by professors teaching fashion illustration. The methods of this research were based on questionnaires. Questionnaire I was responded by 73 fashion designers working for fashion industry. Questionnaire II was answered by 52 professors teaching fashion illustration in colleges and universities. The results were as follows 1. In the examination of fashion illustration used by fashion designers in fashion industry, the flat was found to be most frequently used for market research, design sketch, presentation and specification. The illustration of wearers' form for making trend maps. So the flat was found to be the method that is most used by fashion designers. As for the coloring materials, markers were most frequently used that are of easy use, and the texture was mostly expressed by attaching fabric swatches. Two or three body poses are used for each style of clothing. 2. The effective teaching methods of fashion illustration that fashion designers and professors teaching fashion illustration consider are first, to teach the flat more precisely, second, to increase use of markers as coloring material, third, to teach various types of model poses. And fourth, the texture needs to be a little bit less expressed by focusing only on the effects because fabric swatch is used.

• The Research Journal of the Costume Culture
• /
• v.25 no.3
• /
• pp.315-326
• /
• 2017

The purpose of this study is to investigate the design methods and characteristics of papercraft fashion from 2001 to 2015. The study has been conducted through theoretical research and case study. Overall, types of papercraft expressions are classified into the following four categories: narrative papercraft fashion, organic papercraft fashion, variable papercraft fashion, and recycling papercraft fashion. The characteristics and aspects of each type of papercraft is described below. First, narrative papercraft fashion expresses as factual description of the natural environment. These works convey fantastic image by showing fairy tale animals or plants using paper folding or cutting. Second, organic papercraft fashion creates a futuristic shape by expressing organic parts in nature. Also, it often depicts future-oriented images by repeatedly representing organic shapes using uniform patterns in nature. Third, variable papercraft fashion expresses a variety of changing shapes through a flexible design based on the style of wearing. This variation may be accomplished through changeable dress connected to human gestures. Variable papercraft represents play-fulness, which conveys enjoyment to the wearer and the audience. Fourth, recycling papercraft fashion uses paper materials of the past, and recreates them into artworks through handicraft techniques. Recycling papercraft conveys high value added fashion by dissolving the material into pulp.

• Fashion & Textile Research Journal
• /
• v.8 no.1
• /
• pp.71-79
• /
• 2006

The study of young people's attitudes towards appearance management has special significance for understanding young people's living, thought and attitudes. It was handed out 600 questionnaires in the three cities and look 573 questionnaires back, out of which 552 were used as the basic material for the analysis. These 522 questionnaires included 178 in Beijing, 200 in Shanghai, 175 in Dalian. 154 questions in four aspects were raised in the questionnaires. The purpose of this study were to identify the Chinese generation' lifestyle and fashion attitudes. Questionnaires developed by researcher were distributed and collected from 552 chinese new generation of the three cities(178 in Beijing, 200 in Shanghai, 175 in Dalian). 1) Life attitudes of new generation men and women in China were classified into five factors, which were extravagant pleasure-seeking, sports-oriented, marriage-oriented, appearance-oriented and study-oriented attitudes. 2) Fashion attitudes of new generation men and women in China were classified into eight factors, which were fashion attitude of being conscious of others, others-dependent fashion attitude, rational fashion attitude, brand-pursuing fashion attitude, active appearance management fashion attitude, unique fashion attitude, fashion attitude of being conscious of sex role and individuality-oriented fashion attitude.

• Fashion & Textile Research Journal
• /
• v.22 no.6
• /
• pp.803-811
• /
• 2020

This study investigates the management of clothes and the perception of up-cycling fashion based on university students majoring in fashion. Results based on 124 survey participants are as follows. First, students prioritized design when buying clothes and regarded texture as important for material. In managing clothes, male students emphasized durability; however, female participants checked fluff occurrence. Second, more than half of the respondents knew what up-cycling fashion was; overall, female students were more aware of up-cycling fashion than males. Few students purchased up-cycling clothes; however, many were willing to buy up-cycling clothes for eco-friendliness, which implies that they understood the relations between up-cycling fashion and environment. Third, pertaining to the perception of SPA fashion, students were highly satisfied with the accessibility of SPA brand stores. The group of students who knew up-cycling fashion were more satisfied with SPA brands and indicated o correlation between the cognition of up-cycling brands and preference for SPA brands. Last, in terms of the perception of environment and clothing, university students majoring fashion recognized the need for environmental protection; however, they did not emphasize environment when purchasing or managing clothes.

• Journal of the Korean Society of Costume
• /
• v.58 no.2
• /
• pp.78-92
• /
• 2008

The mutual relationship between fashion and architecture and the similarities in their form and structure have been continuously debated over the decades, considering that both spheres are objects used in human life. Both spheres bring about the creation of three-dimensional space structures that are completed by the human body and material, based on a design targeted for people. The similarities between fashion and architecture in terms of form and structure have been debated by western architecture scholars focusing on the support that holds the garment's shape, the tailoring of a men's suit and also the material. The debate originates from the discussion of F. Th. Vischer, Kritische Gnge, and Gottfried Semper during the nineteenth century on the similarities between crinoline and the form of architecture and also the similarities between sewing and architecture. However, architects always regarded fashion as the inferior creative process that follows architecture in viewing the relationship between fashion and architecture. During the mid to end of the twentieth century, contrary to previous decades, the sense of fashion in architecture stood out, as an issue and a different approach was taken in discussing architecture that incorporates fashion. Accordingly, in the mid 1990's, architecture scholars such as Deborah Fausch and Mark Wigley began to conduct close observation of the mutual relationship between fashion and architecture from a more equal point of view. Notwithstanding, their point of view was still biased towards architectural standards. Commencing the Millennium, fashion has become the primary work of creation which leads style in all spheres, and under these circumstances this point of view has transferred from architecture to fashion when thinking about relationships between these spheres. The discussion on fashion and architecture form fashion's point of view is currently concentrated on the post 1990's phenomenon and illustrates the environment that is related to architecture. In general, the discussion is limited to determining a work of an individual designer as 'being architectural' when explaining the sculptural form of fashion. Therefore, this research aims to renew the discussion on twentieth century fashion design, which was neglected in any studies on observing architecture and fashion. The aim of this research is to classify the architectural paradigm of twentieth century fashion design and to observe the architectural forms of the respective eras. It is necessary to have a close observation of the architectural paradigm in twentieth century fashion design where support tools such as the crinoline was avoided and the form and functionality of the garment itself was emphasized. I will conduct this research by considering the architectural form shown in fashion as a practical three-dimensional creation that exists in space.