• 한국의류학회지
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• 제29권5호
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• pp.703-714
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• 2005

The purpose of this study is to acquire various methods for the fashion image coordination and to examine common features of variation of coordination methods according to the trend. It has attained by investigating Men's fashion image coordination through trend analysis in terms of its coordination features and its variety aspects. For this study, it has classified into twelve typical Men's fashion images in collecting 1,291 pieces of photographs on the subject of jackets and pants from Men's fashion collection$(1995\~2002)$. The study has examined methods and features of fashion image coordination by year according to design elements and the harmony between items. In addition, it has drawn common factors in the image coordination. The summary and conclusion are as follows. A year of 1995, it has presented as the essential code of the variation that morphologic aspects of a design in the fashion image coordination. Various designs have developed through the variation of shapes such as shoulder width, shoulder pad, jacket width and its length and so on. In the initial stage, the width of shoulder and jacket has fitted into large pattern and then adjusted elegantly to make fit the body that indicates a dissolution according to an avant-garde image. At the time that over-measurement of the shape has reduced and high quality and variation of materials has gradually become significant. Those are often used that high-quality glossy materials or other materials which are opposite to the basic code of the original fashion image materials and qualities regardless of images. On the pattern and color, in addition, have represented neat and elegant impression with moderate applications rather than quantitative abundance that have used opposite elements to the basic code f3r the change code like materials. Furthermore, before and after 1999, ' it shows that a concept of the total coordination has arisen that increased coordination methods to strengthen and affluent its images for the whole with wearing accessaries such as hats, gloves, sunglasses, mufflers, bags, belts and so on.

• 한국의류학회지
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• 제32권10호
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• pp.1509-1521
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• 2008

The subjects of this study were middle-aged women in their 40s$\sim$50s and older women aged 60 and over who were living in Seoul and Kyonggi-do, Korea. Through studying the participants' responses to the questions regarding the attributes of apparel quality in terms of the levels of satisfaction and importance, the target consumers' demand has been studied. And, they are applied to a QFD Matrix, to find out the relationship between the attributes of product quality and the guidelines of clothing design. For this study, apparel product quality is composed of five parameters: practicality, aesthetics, brand image, ease of care and fit. For the parameters of apparel product quality, the result of this study show that product improvements are needed in fit, aesthetics and practicality(in order of importance). The level of satisfaction(how satisfied consumer feels) was marked higher in brand image than that of importance(how important it is). To review demands for the apparel product attributes of formal suits for middle-aged and older women, the priority of these attributes through QFD Matrix that shows the relationship between the attributes and dress elements emphasized by designers has been examined. Material was the most important design element in designing formal suits. The shape of the pants was the second because the harmony between the jacket and the pants is important in formal suits. These were followed by trim and color tone of the jacket.

• 복식
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• 제25권
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• pp.5-20
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• 1995

The fashion of late Yi dynasty had explored a possibility of new fashional beauty from its own experiences throughout the history of Korean fashion excluding any interference of foreign fashions, and brought out some characteristics ; first, the aesthetical value focused on the more human fashion resulted in the exposure of waist. This aesthetical change in the fashion of late Yi dynasty produced out results as follows ; the length and width of jacket became short and narrow maintaining the basic form, while the width of skirt became increased to be contrasted exceptionally with the upper coat. This mode of fashion reveals the transitional movement from the emphasis on balance to that on unbalance in the late period of Yi dynasty. But regarding the fact that the proportional change by the ways of putting on skirt became to be similar to the golden ratio, we can see many examples throughout the folk paintings by Shin Yun bok, we find that the fashional beauty of that age pursued ideal harmony and unity all the time being in spite of its tendency toward non-refinement. Second, we see another peculiarity in the mode of woman's fashion from the paintings by Shin Yun-bok who always depicted the hu-man nature frankly. For example, the jacket became shorter to emphasize lady's slim waist, and underwears began to be exposed after the upper part of skirt had been to expose lady's waist while the bottom line pulled up highter than before. Thus, as the function of robe had changed from a mere means of covering into an expression of beauty, the fashion of late Yi dynasty began to express a perfectly new beauty possessing an erotic mood and sensu-ality of a woman, which was its inner aesthetic need. Third, this emergence of new fashional beauty made the mental value of man and the aesthetic views of that time quite different from the previous ones, and finally there came various expressions of a new beauty. There-fore, the woman's fashion of late Yi dynasty is noted for the exposure and emphasis on the body line of a woman after the aesthetic view-point had changed of time toward pragmatism and humanism, while upholding the traditions of Korean clothes and pride for the nation. And our ancestors realized very Korean fashional beauty by pursuing the expressional ways of gentle, indirect emphasis upon the feminine and natural beauty to exclude and ar-tificial, direct and straightforward exposures and images.

• 한국의류학회지
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• 제36권4호
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• pp.400-411
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• 2012

This study analyzes the formative changes and trends of cape design in modern fashion. In this study, a total of 496 cape designs were collected through the four major fashion collections of Paris, Milan, New York, and London from 2006S/S to 2010F/W, and a literature overview on capes was performed. The results of this study show that the cases with collars and hoods attached outnumbered the non-collared designs. In addition, the cases of lengthy cape in the hip or knee line represent more portions in designs. As to the material, it indicated that generic cloth was used the most. In most cases, decorations with various details and trimmings were also used. For expression characteristics, cases only with unique texture to cloth material and formative beauty were the most remarkable without decoration. For the formative feature, the independent item style was found the most, even though it was worn together with other kinds of clothing. Integration with other types also appeared such as cape jacket, cape dress, cape one-piece, or cape coat. Cape design features in contemporary fashion and could be characterized as feministic elegancy, harmony of practical value and fashion, authoritativeness, and decorativeness from the design trend analysis.

• 복식
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• 제56권1호
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• pp.1-12
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• 2006

The purpose of this study is to comprehend the color and the coloration of Han-bok on the oil-painting of modern Korea. Generally, the modern Korean art is from late 19th to early 1980s' for the lowest year. Through the introduction of oil painting and the painter's work which had been reflected painter's realism at these times, we might know that the phases of the times and we could see a Korean costume and color combination. In this study, Han-bok is divided to upper clothes, lower clothes and the other parts which was distinguished by the color. The color of Han-bok which is watched on the modern art oil-painting is mainly white. The primary color including red, yellow, blue and middle tone colors is in harmony. It means that the five colors of Yin-Yang Wu-hsing were preferred until the modern times. The coloration of Han-bok is classified to a one-colored arrangement, two-colored arrangement and three-colored arrangement. The one-colored arrangement by white and black is a peculiar coloration to the modern times. The two-colored arrangement is a traditional coloration of Han-bok. The color which is high value and chroma is arranged on jacket, Jeogori. A dimension rate that is related with the difference of value and chroma made a visual harmony. In many cases of the two-colored arrangement of neutral colors is not much different in Jeogori and Chima. So Han-bok which is two-colored arrangement of neutral colors is colored in a breast- tie, pigtail ribbon, cuff and waist band for getting visual focus. The represented three-colored arrangement is white Jeogori and navy blue Chima with red breast-tie. It is a perfect visual color combination. The color of Han-bok was inherited a traditional color and the combination of neutral color was balanced. It was a refinable coloration system according to a difference of value and chroma. It means that a color sensation and arrangement of Korean have been developed by our unique climate, nations and the culture which has been formed for a long times.

• 패션비즈니스
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• 제7권2호
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• pp.55-68
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• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• 한국의상디자인학회지
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• 제6권2호
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• pp.111-121
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• 2004

The Mevelana sect is a spiritual Islamic group experiencing spiritual transaction with their god through a peculiar dancing as a form of religious ritual. The Mevelana, a sect of Islamic Sufism, has their head mosque in Konya in Turkey. Although Mevelana sect is regarded as heretic of Islam, it has exerted considerable influence on the Islamic religion through its peculiar religious worshiping form constituted in dancing and reciting poems. Nowadays, Turkey recognizes the Mevelana dancing as their precious cultural legacy of a long history, exerting public information efforts to give it for wider publicity of Turkey to the world. The Mevelana dress with ornament attired for the ritual dancing performance is regarded to symbolize a spiritual medium, which leads to conciliation with the eternity. The straight lines and curved line characteristic of the Mevelana dancer's trousers, skirt, jacket and such mirrors the image of the Orientals, which is in peculiar contrast with the white and gray colors of the dress with ornament. The impression of the spiritual Mevelana dressing in harmony with the dynamic dancing motion goes beyond mere a religious dressing. It is expressive of a graceful and sophisticated modern formative art, of which the mystic design gives an inspiration to the modern fashion. After Poiret, Islamic factors have emerged in the modern fashion. For instance, a hat with Arabic fashion lapel, a Fez hat of Turkish style, harem pants and such are still popular in the modern fashion. It seems probable that the Iraq War would far more activate the influence of Arabic culture to the modern fashion. By making an analysis on the religious background and formative characteristics of the Mevelana dressing, and by giving design examples on how the Mevelanan dressing has been applied to the modern fashion, this research suggests working out new designs by making a renewed application of their characteristics to the modern fashion.

• 대한가정학회지
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• 제45권4호
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• pp.43-51
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• 2007

This study analyzed the knit wear trend, which has gained attention as a sensuous and luxury item, through collection magazines, and used the technique of hand-knit to produce and present the knit wear that was designed based on the study results. Accordingly, the purpose of this study is to raise awareness of the expansion of hand knit's new expression techniques and expression areas and to verify its possibility as a higher value-added product. The trends of hand-knit wear resulted from the analysis of collections divided into the following four groups, and the knit designs were also grouped accordingly: First was "The design using object." The trend survey showed the results that the form of drops or flowers was often used as a factor of object. Accordingly, as for the study design, the drop-knitting technique, which is one of the pattern knitting techniques, was used to present a design that employed drops as the object. Second was "The design matched with woven material." It is a way to emphasize aesthetic formativeness and at the same time to activate the area of knit design by matching woven material, which is different from knit in texture, with knit. This study presented a design that tried to combine knit texture and woven material by connecting denim material with various textures and colors. Third was "The design to express see-through." A sense of showing through knit wear was expressed through changes in the type of thread or knitting technique. In this study, the sense of see-through was expressed using piano wires and wool threads and through changes in the thickness of needle. Fourth was "The design to emphasize coloring." It was analyzed that regarding the production of hand knit, the method of coloring expression was to express points, lines and sides or to create harmony by changing the material's color or texture to show particular objects or shapes. In this study, a jacket was designed using the method to express points, lines and sides by changing the material's color.

• 복식
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• 제36권
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• pp.77-95
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• 1998

The culture of a country is formed by the sense of value of a nation being a creator as well as on operator of the culture. So, the Chinese culture and fruthermore, the sense of value the Chinese people can be understood through the study of the costume of China. Above all, the culture of China, including the costume, have been formed through the his-tory of exchange between the central Chinese people and its surrounding minority races, and it should not be overlooked that its own culture of each race is existing with each other in the great Chinese culture sphere. In the paper, the concept of costume as relections of a culture is confirmed through the examination of the characteristics of the costume of the Miao tribe with such history and culture as a background and on effort is made to take those as resources modern fashion designs while inferring from them the characteristics of costume with universal and original values sthat can be sublimated into the modernistic beauty. The results of the study are as follows. First, the basic composition consists of a simple jacket made in a way of straight-cut-ting and a close pleated skirt and it tended to put emphasis on diversified and splendid decorations compared with the simple basis composition. Second, the costume of the Miao tribe are characteristic of hair done in a knot with head-dress around head. Third, the kinds of dress are multifarious by race and region due to a long period of mobile and disperse life. In the course of studying the universal value of the Miao tribe is confirmed which is by no means inferior to the standard of the medernistic beauty which keeping its originality. The study is made to be helpful for activating the design going with the trend that the basic harmony between the nature and man, that is a climate and the local cul-ture hearing formed a splendid culture in the past, are being found again.