• 한국의류학회지
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• 제35권3호
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• pp.359-370
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• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• 복식문화연구
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• 제31권4호
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• pp.558-571
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• 2023

In recent years, young Chinese consumers have become more favorably inclined toward products relating to traditional culture. Therefore, this study aimed to develop a textile design that incorporates traditional Chinese patterns and cultural symbolism that will appeal to consumers from the MZ generation (millennials and Generation Z). Through a literature search for traditional Chinese patterns and symbols regarded as auspicious, our design concept and motives were established. We selected peony, lotus, and frog motifs as representative of a "wealth and eternal prosperity" design theme. In textile design work 1, we used hand drawing and watercolor techniques, color transformation with Adobe Photoshop, and colorway and end-use 3D simulation with TexPro. The 3D simulation work suggests that this textile pattern is suitable for women's outerwear, mufflers, and tote bags. Textile design work 2 conveyed the 'wealth and eternal prosperity' design theme and had a graceful mood that embodied the nobility of the lotus flower whilst also encompassing the symbolism of money and status. The end design is a modern reinterpretation of traditional Chinese patterns and motifs. As such, it is hoped that it will satisfy the needs of young consumers for cultural values yet offer a unique new aesthetic distinct from existing textile designs. These qualities can be expected to enhance the competitive market value of textiles bearing this design.

• 대한가정학회지
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• 제30권1호
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• pp.49-65
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• 1992

The writer did a survey of current textile patterns for the purpose of identifying a motif trend. After identifying a current motif trend the writer used an IBM PC 386 Computer and Lumena Software to design actual patterns. The results are as follows: 1. The most common currently used prints are floral patterns. 2. Knowing that floral patterns are most popular, the writer established a motif using the Rose of Sharon, the national flower of Korea. 3. Using computer graphics to move, enlarge and scale-down motif, the writer has been able to design various textile patterns. 4. Creating patterns with computer graphics was not only more efficient, but it also produced more accurate designs and a greater variety of designs. 5. Using the many computer graphic functions avaliable, a greater variety of patterns changes and compositions can be displayed than would be possible if produce by hand. 6. Computer simulations of textiles and clothing made it possible to evaluate the printed fabric or finished product. Faults in the printed fabric or clothing could be corrented before production. Through simulation then it is possible to create higher quality garments and readuce costly mistakes. Thereby greater profits will be realized from the finished garments.

• 복식
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• 제43권
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• 보존과학회지
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• 제32권3호
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• pp.345-352
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• 2016

연구는 부산 오륜대 한국순교자박물관에 소장되어있는 "국긔복소션"과 "법복졀복"의 직의(織衣) 즉, 표지직물 및 이를 보관하는 첩갑을 구성하고 있는 직물에 관한 분석적 연구이다. 본 유물은 조선 제24대 왕인 헌종(재위 1834~1849)의 후궁인 경빈 김씨(1831-1907)가 작성한 것으로 추정된다. 첩갑과 2권의 필첩의 표지는 모두 적외분광 분석 결과, 견직물에 의해 배첩이 되어있으며 첩갑의 표지는 화문직은단(花紋織銀緞)으로 되어있고 두 필첩의 겉표지는 초록색과 적색의 수자편복문단이다. 첩갑의 금속사 부분은 에너지분산형 분광분석으로 분석한 결과 은이 산화한 것임을 확인할 수 있었다. 한편 염료분석 결과, 적색인 "법복졀복"의 표지직물에서는 berberine, brazilin, carthamin 등이 검출되어 황벽, 소목, 홍화 등에 의해 복합염색이 된 것으로 추정되며 첩갑의 색사들을 분석한 결과에서는 첩갑의 황색섬유에서 rutin이 검출되어 괴화에 의한 염색으로 추정된다.

• 한국의류산업학회지
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• 제16권4호
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• pp.532-542
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• 2014

This study developed a practical knitwear design with applying the pattern of Queen Yeong's pearl pouch. The ume flower pattern of pearl pouch was simplified to be one repeat pattern, and four simulated knit pattern samples of G-A, G-B, R-A, and R-Bwere made with cable, cross, and two background colors of gray and red using Texpro V.11.0. The items of design application were selected after an interview with a panel of university students in their twenties and knit samples were produced by hand knitting. The small sized G-A for the partial ornament of hat, sweater, skirt, kitchenware case and accessories; the long sized G-B for the tuck of sleeves, hem of skirt and one-piece dress, partial ornament of sweater, scarf, and curtain decoration: the small sized R-A was preferred for point ornament of pouch, boots, hat, partial ornament of children's fashion products and accessories: the long sized R-B for table runner, leg warmer, tuck of sleeves, skirt hem, necktie, and scarf. The knit samples were formulated with partial ornaments attached on dress and props or connected each other. Colors of pastel and navy were also presented to meet the demands of panels. The study placed a limit on the slight difference between the simulation samples and knit samples due to the characteristics of threads and hand tension. The color variation for multiple coordination and activation to reduce the piece rate for young customers remains to be discussed in the near future.

• 복식
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• 제59권9호
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• pp.1-15
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• 2009

This study aimed to create a new costume design suitable for publicizing our traditional patterns in the world by using the traditional patterns of Northeast Asia region. The result of this study can be summarized as follows. First, China is characterized by a strictly fixed configuration and a realistic description, Japan a simplistic modality and an abstract-geometrical pattern, and Korea a eclectic type, whole-pattern, and part-pattern. This study aimed to make the pattern by using harmoniously these characters. Second, Korea, China, and japan have many similarities concerning a symbolism and a type of pattern. In the modern fashion, they often use dragon patterns, various flower patterns like peony, plum blossom, or mum, and geometrical patterns. This study focused on expressing patterns which contain the ornamental symbolism of Oriental Look, aside from an existing symbolism, and show a traditional sentiment of Northeast Asia. The method for expressing traditional patterns usually included weaving, dyeing, embroidery, or gold foil. Although these methods have been used in all the three nations, even rubbed metal foil and patchwork have been widely used in Japan.

• 대한가정학회지
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• 제45권2호
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• 한국의상디자인학회지
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• 제25권1호
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• pp.15-31
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• 2023

This study aimed to propose a fashion design development method using the external and internal characteristics of the flower and bird paintings in traditional Korean folk paintings. As a research method, external and internal characteristics of folk paintings were examined through previous studies and literature research, and folk painting patterns were developed into digital textile designs. Five 3D digital fashion designs were proposed using the CLO 3D program. The external characteristics of folk paintings were as follows: simplification and planarization of object representation, diversification of viewpoints, ignorance of perspective and symmetrical enumeration, strong colors and contrast effects, and the simultaneous representation of time. The internal characteristics of folk paintings were as follows: symbolic meaning, the beauty of free humor, modest aesthetics, complexity of reality and fantasy, and desire of shamanism. The results are as follows. Firstly, the flower and bird painting was a decorative painting style that emphasized decorative beauty and was suitable for developing fashion designs with Korean originality because of the symbolic and internal meanings. Simple layouts and bold free-spirited representations were effective ways to fill the screen with objects and gave the pattern a decorative effect. Secondly, developing a virtual clothing prototype based on digital design method using the external and internal characteristics of folk paintings and producing realistic fashion designs suggest the integrated use of science and technology, embodying modern fashion through the combination of digital fashion content and traditional cultural content. Thirdly, as a result of the development of 3D digital fashion designs, an eco-friendly and sustainable fashion design methods with virtual clothing can suggest a design development method that saves time and cost in the fashion design process while considering the environment.

• 한국의류산업학회지
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• 제14권5호
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• pp.749-757
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• 2012

The purpose of this study is to consider the characteristics of Latin American style expressed in modern fashion. Latin American fashion has been overlooked the influences, scope and diversity of dress within this world culture region. So, this study aim to unravel the history and significance of Latin American fashion. As for the research methodology, to classify types of the Latin American fashion style theoretical study and content analysis for Vogue magazine has been undertaken. In this study, the term of Latin American fashion style refers to the dress of common characteristics involving Latin American culture. To inquire into the characteristics of the types, various cases has been searched through books, internet, and designer's collections. The results of this study can be summarized as followings. The major types of Latin American fashion style are Indio-ethnic style, tropical-exotic style, and latin-romantic style. First, Indio-ethnic style has been involving traditional costumes and patterns which are originated in ancient Mexico and Peru. Second, tropical-exotic style has been involving bright color, tropical fruit and African flower pattern, various textures, and relaxed silhouette which are inspired by free and easy culture in Brazil and the Caribbean. Third, latin-romantic style has been involving the mix of Latin American tradition and romantic detail such as see-through material, lace, ruffle, spanish flower motif. In conclusion, Latin American style on contemporary fashion is based on interest to cannibalize folk theme, technique, icons and exotic others.