• The Korean Journal of Community Living Science
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• v.22 no.1
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• pp.103-113
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• 2011

The purpose of the study was to examine formative features of embroidered norigae in form, color, pattern and expressive technique through positive analysis of relics and various of collections of work and to consider expressive features of embroidered norigae. The results of the study were as follows. First, embroidered norigae has handcrafted decoration. it was made by being sewed for women longing for their family's happiness. Embroidered norigae is a dress worn by women that is hung on a coat string or the waist part of a skirt. Second, it is eco-environmental. Embroidered norigae applied things seen in nature such as flowers, butterflies and bees to its pattern. Third, it has practicality. Embroidered norigae has high practical value besides a decorative function. Needle case norigae and incense case norigae provide functions in accordance with women's wisdom and skill as well as practicality. Fourth, it is praying for good luck. Women embroidered patterns symbolizing their desires in life such as their family's happiness, wealth, many sons and a long life. Fifth, it has balance and harmony. The knot of embroidered norigae has a perfect symmetry in the front/back part and in the right/left part. And the main body and tassel are symetrical in the right/left part, which gives stability and comfortableness. Embroidered norigae is classified into knot, main body and decorative part in its form. The three kinds express their unique beauty by being harmonized together. Finally, it has a property of melody. Movement of the tassel has a property of melody shaken by the wind and movement of its wearer.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.75-96
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• 2000

Modern clothing is approached in the level of art, and it becomes the means of expressing individuality in modern society uniformed by the development of information society. In this modern society, modern men need the recovery of humanity and expectations of handcrafted skills for the succession of tradition culture. Prior to expressing individuality, we should examine our traditional culture and combine it with western culture. Quit started to be used for practical purpose such as life items, but it is expanded to the fields of art. Used in dress and its ornaments design, quilt is often applied to the addition of aesthetic factors or cubic material feelings by transforming its warming effect. Hereby, this study has a purpose to create high value added modern dross and its ornaments design by expressing the modern clothing is approached in the level of art, and it becomes the means of expressing individuality roe-dimensional characteristics of quilt, and applying the color combination and the surface of butterfly wings to dress and its ornaments design. The following are the results of this study. 1. The concept of quilt started for practical purposes, but it is expanded to decoration in modern times, and it is confirmed that quilt can be variously applied to handcrafted modern design. 2. Quilt removes the plane character of textile and it riches the three-dimensional material of dress and its ornaments. Applying these characteristics, the expression of transparent wings were possible with 3 transparent layers of textile. 3. The spledid color of butterfly wings are expressed by coloring oganza and felt, and the various colors of felt showed rich color gradation. 4. The form and pattern of butterfly wings are applied as modeling form and line, and the transformation. repetition and expansion of unit forms determined the form of quilting lines. By designing the characteristics of back wings for the composition line of clothing, the form characteristics of a motif could be emphasized. 5. By using felt, oganza, Damdam yarn and ostritch feathers in expressing butterfly wings, the warm material of Linbun is felt, and the tip hair of wings are expressed by croche techniques using Damdam yarn.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.47-59
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• 2006

The purpose of this study is to grasp the meaning of retro-fashion, to research the formative feature characteristic and aesthetic values. Retro-fashion is one of the expression of spatiotemporal-eclecticism, The formative of modern Retro-fashion are as follows: First, Retro-fashion based on spatiotemporal-eclecticism have been come from 40s, 50s, 60s, 70s, 80s style of time, and the asia, africa, middle east, latin America in region. Second, the design inspiration and technique is used more primitive crafts and decoration like handcrafted material, handmade ornaments as dyeing and embroidery of bohemian, jacqwuard pattern, oriental beads, applique, new hippie touch, patchwork, smocking, primitive button, woods, ethnic motives. Third, modern Retro-fashion is reflection of human feelings as nostalgia from the past, it supplies the sense of fashion creativity and new ideas.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.2
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• Journal of Fashion Business
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• v.12 no.6
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• pp.93-106
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• 2008

The purpose of this study is to analyze design characteristics of Chanel bags by its type and shape, material, color, pattern, decorations in order to give information about foundation of the development of Korean fashion brand handbags and help suggest predict future handbag trends. The methods of this study are documentary research and demonstrative research. For the documentary research, mainly previous researches and fashion related data were used. For the demonstrative research, the total of 288 design photos of Chanel bag were selected from 2001 S/S season to 2008 F/W season fashion collections of firstview.com., style.com., and mode et mode. The results of this study are as follows; First, type and shape of bags are clutch(30%), flap(25%), shoulder(25%), others(10%), tote(5%), hobo(5%). Second, the material data shows that leather(46%), mixed(18%), fabric(17%), synthetics (10%), patent(3%), others(3%), and suede(2%). Third, the patterns are geometrical(27%), solid(25%), combination(24%), symbolic(11%), abstract(11%), nature(2%). Fourth, the colors are largely monochrome(73%) and multicolor(27%). In case of monochrome, achromatic color(50%) is more than chromatic color(23%). The chromatic color is consisted of YR(9%), Y(9%), R(5%), RP(4%), PB(2%), P(1%), GY(0.5%), BG(0.5%). The multicolor is consisted of similar coloration(12%), contrast coloration(10%), and accent coloration(5%). Fifth, the decoration data shows that metallic(53%), plain(23%), combination(22%), and handcrafted(1%).

• Journal of the Korean Society of Costume
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• v.43
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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.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.384-397
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• 2019

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children's collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children's clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children's collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in $appliqu\acute{e}s$ and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children's clothing collections. Fifth, playfulness functioned to enhance the children's clothing's wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing's value by fusing with other characteristics such as handcraftedness and naturalness.