• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.63-78
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• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.

• Journal of Fashion Business
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• v.7 no.6
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• pp.21-31
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• 2003

The CLI(Consumer Life Information) is a new study to unite and create new values recognizing the importance of knowledge and information in information-oriented society based on domestic science and digital technology. The objective of this research is to define academic identity of consuming science and CLI, to analyze the theory, styles, manners, psychology and the concept of consumption, which is the base of consuming life, and to present the direction of CLI with tasks and three major axises of CLI. Nowadays, international order demands new paradigms from human beings. Especially, vision and creation of the values are settled as methodological ways considering the economic power. The CLI should be on the same horizon adjusting social change of pointing values and quality in consuming patterns of diversity and variety. Therefore, I would suggest the ways for the CLI to head for as follows. First, it is to perceive the 3 major Axises & Task of CLI. Second, it is to develope service (experiencing goods) and goods that can lead consuming lives. Third, it is to study merchandising strategy, to create new signs and symbols of goods, and to collaborate of R & D(reseach and developement) and Business. Fourth, it is to head for globalization. Consequantly, this study will be helpful to establish the theory of relationship between producer and consumer in fashion business included research and developments of qualitative goods.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.769-785
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• 2018

This study focused on similarities between modern philosophical Nomadism and the thoughts of Korean people as well as analyzed the correlation between modern Nomad fashion and Korean traditional costumes. This study aims are as follows. First, to establish aesthetic characteristics by examining modern Nomadism and Korean thoughts. Second, draw the principles of design expressions of modern Nomad fashion and Korean traditional costumes. Third, analyze correlations between them. The method of this study was a literature review and an analysis of related photos. The study results are as follows. First, Nomadic aesthetics are characterized by the formation of complex diversity with the variability of fusion and separation through liquidity in an ambiguous boundary; in addition, various possibilities and harmony are the characteristics of Korean aesthetics, held by a holistic thought based on the vision of the universe of Qi (氣). Second, Nomad fashion appeared as variable designs through repetition and the overlapping of forms, and irregular designs were noticed through repetition and the overlapping of circles, quadrangles, and angles in Korean traditional costumes. Third, similarities in the creation of liquidity, variability, and de-territoriality based on modules can be found; in addition, common principles can also be drawn from the appearing design expressions.

• Journal of Practical Engineering Education
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• v.11 no.2
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• pp.175-180
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• 2019

Existing fashion web sites show only the search results for one type of clothes in items such as tops and bottoms. As the fashion market grows, consumers are demanding a platform to find a variety of fashion information. To solve this problem, we devised the idea of linking image classification through deep learning with a website and integrating SNS functions. User uploads their own image to the web site and uses the deep learning server to identify, classify and store the image's characteristics. Users can use the stored information to search for the images in various combinations. In addition, communication between users can be actively performed through the SNS function. Through this, the plan to solve the problem of existing fashion-related sites was prepared.

• Smart Media Journal
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• v.12 no.7
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• pp.43-51
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• 2023

As online transactions increase, the image of clothing has a great influence on consumer purchasing decisions. The importance of image information for clothing materials has been emphasized, and it is important for the fashion industry to analyze clothing images and grasp the materials used. Textile materials used for clothing are difficult to identify with the naked eye, and much time and cost are consumed in sorting. This study aims to classify the materials of textiles from clothing images based on deep learning algorithms. Classifying materials can help reduce clothing production costs, increase the efficiency of the manufacturing process, and contribute to the service of recommending products of specific materials to consumers. We used machine vision-based deep learning algorithms ResNet and Vision Transformer to classify clothing images. A total of 760,949 images were collected and preprocessed to detect abnormal images. Finally, a total of 167,299 clothing images, 19 textile labels and 20 fabric labels were used. We used ResNet and Vision Transformer to classify clothing materials and compared the performance of the algorithms with the Top-k Accuracy Score metric. As a result of comparing the performance, the Vision Transformer algorithm outperforms ResNet.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.95-109
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• 2016

The process of making fashion accessories brings many benefits to visually impaired people. It helps the development of their tactile sensation, improves their aesthetic attitude, creativity, and imagination, and brings energy to their life. The current accessory making education in Korea is targeted to people with normal vision, and does not reflect the specific needs of the visually impaired. This causes a lot of trouble in educating the visually impaired. Therefore, this study aims to increase the efficiency of accessory making education by selecting curriculum and material that are appropriate and systematic for the visually impaired. In order to understand visual impairment, literature review was conducted to examine the definition and classifications of the impairment. Research was also done regarding material types and production method of fashion accessory. The study also designed an education program, including teaching guidelines, by referring to literature related to fashion accessory design, teaching guideline. The study conducted 12 experiments based on the results from April to June 2014. After revising and supplementing the teaching method, 2nd set of experiments were conducted from July to September 2014. Each class lasted for one and a half hour every week, and the class was composed of 6 students, 1 instructor and 1 volunteer. After each class, interviews were done to collect student opinions about the curriculum and material. Total experiment results and interview were reflected in constructing the final education program. The result of the experiments and interviews showed that selecting the accessory materials for class must be selected carefully. The visually-impaired students were very sensitive to the size, texture, shape, hole size of beads and length of material. After the experiments, all the students were able to distinguish the size and shape of the beads well, and finished the accessories using the given materials. The study verified that there is a need for another approach when educating the visually impaired about fashion accessory design. Many factors need to be considered from selecting materials to class contents. This study will contribute as a reference to fashion accessory making education as well as other design education for the visually impaired.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.129-139
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• 1999

This paper analyzes the trend of fashion and make-up in 1990s and their relevancy to each other. Based on the chronological analysis, we propose a new category for the fashion and make-up trend in 1990s, which is 1) traditional ecology period(1990∼1994), 2) versatile trial or decadent period(1995∼1997), and 3) soft landing period based on the minimal neo-ecology and romanticism(1998∼2000). Between 1990 and 1994, there was no differentiation in seasons. It appeared that spring/summer and fall/winter trend have had no big differences. At the beginning in 1990s, it was basically based on ecology concept that emphasizes the natural image. However after 1995, seasonal differences in trend are appeared and there were various make-up designs. The trends of spring/summer in 1996 could be named as color revolution period that emphasized the unique and individual expression of each person. In 1997, black, pastel, and brown colors were the result of reinterpreting the classic and sexy images of 1960s to natural and modernistic image of 1997. Purple color started to be introduced to us. In 1998, pastel tone, pink, and purple color expresses the glamorous look based on the romantic feminism. S/S of 1999 is mainly represented by minimalism and avant garde. For fall/winter trends, brown color lines make-up comes to mix with romantic image and developed into wine, orange, neon colors in 1995 and 1996. These colors were the symbol of property and sentiment. Gold make-up emphasizing the eye area was the tendency of that period. In 1997, the fear of coming end of century was expressed as decadent image. At that time, ethnic and romantic image appeared with vivid color lines, gold, red and violet. In 1998, romanticism was popular again with modernism and ethnic mood. It expressed the romantic elegant image. The trend has returned to the ecology mood again in 1999. This ecology is somewhat different from the previous ecology. It adds a sofistaiced feeling and sportic fashion. To express natural and sportic image, they choose pink blush. In coming 2000 as a new millennium, the yellow color will be main the stream to express vision, dream, and happiness in both fashion and make-up as an accent color. The minimal design and minimal tools will be used for the design and make-up, respectively. In addition, the fusion concept will dominate the fashion and make-up industry in the globalized and boundariless age. Through this paper, we hope that make-up can be accepted as a part of total fashion in its relationship with other elements such as shoes, clothes and accessory and that it can be considered as a independent art that has direct influence on people and industry.

• International Journal of Costume and Fashion
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• v.13 no.2
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• pp.31-51
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• 2013

Hawaiian textile art has inspired artists and fashion designers worldwide and accounts for the high value of vintage Hawaiian apparel as collectibles. Other than tropical designs, a large portion of the textile art showcased the ethnic diversity of Hawai'i. In the 1800s, Hawai'i attracted immigrants from all over Asia, and the majority of Hawaii's residents today claim Asian ethnicity. This ethnic mix was made visible in textiles, a trend championed by Alfred Shaheen, an apparel manufacturer who loved Asian designs. He was committed to the celebration of cultural diversity at a time when Hawai'i was rapidly westernizing. The team of Asian textile artists he led created textile designs based on motifs and imagery from Asia. Shaheen's passionate vision led to the unique textiles produced in the 'golden age' of Hawaiian textiles, from 1940 through the 1960s. Alfred Shaheen has been called "Hawaii's Master Printer" and has been credited for turning Hawaiian textiles into art. The author's interviews with Mr. Shaheen were conducted over a decade, and form the basis for this paper in which Shaheen's own words are used to discuss his use of textile art in the transformation of the Hawaiian textiles and garment industry.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.2 s.13
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• pp.75-84
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• 2007

All styles began to coexist by recognizing diversity and changeability instead of an absolute value system of beauty or truth in the general culture field of modern society. In other words, the characteristic of deconstructism, which breaks down the boundary between order, balance, style and genre within the texture, is brought out. This characteristic is also having an effect on the field of up style in a hair genre to secure the beauty of incompletion as the beauty of the present time, involving the beauty of ugliness in the boundary of beauty. This study aims at presenting new vision by applying deconstuctism to the up style to express as an original and experimental formative art with various expressive methods. In addition, it aims at being perfect for presenting the creativity and artistry through expressive techniques by formative factor of deconstructive up style to find new methods and directions to design concept with main expressive ability of deconstructive up style.

• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.932-948
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• 2021

Tartan, the woven, checked, and wool textile considered by many to be originally from Scotland, has in fact been in use in a range of forms across numerous cultures and during various historical periods. The characteristic checked feature is due to the assembly of different coloured threads in both warp and weft directions which intersect at 90 degrees in a combination known as a sett. For well over one hundred years, different setts and thus different colour combinations have been associated closely with different geographical regions within Scotland, as well as different clans or families. Tartan-type textiles have reached popularity at various times and those have often been a predicted fashion trend suggested, for example, by contributors to fashion gatherings such as Premier Vision in Paris. Often proposed designs are best considered based on tartan combinations rather than simple reproductions. Promotional terms such as "patched checks" or "textured checks" have been common, and often these have been derived from tartan-type constructions. This paper explores novel pattern design methods by identifying the underlying grid structures and proportions exhibited by various well-known tartan setts. The possibility of pattern development from tartan grids and their manipulations is thus the focus of attention. An insight into the methodology associated with the production of original pattern designs is thus provided.