• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.412-419
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• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.143-153
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• 2002

Fashion has been analyzed and explained in diverse ways. Fashion, like every phase of culture, is a reflection of the Zeitgeist. In order to understand the changing fashion we must understand the changing society. For fashion of a period are expressions of the interrelation of the various elements of the culture, including the social and political values, the economic and industrial progress, art, the development of technology, etc... Particularly fashion is closely connected with a style of art. In a style of art, futurism focused on the "dynamism" resulting from super-speed and high-technology. This study aimed to review literatures, fashion magazines, web-site in order to know how the dynamism of futurism is expressed in modern fashion. The results of this study were as follows; 1. Dynamism was expressed by means of lines, colors, patterns through the eyesights visually. Asymmetrical oblique lines, zig-zag lines or bold cutting expressed the mechanical and offensive dynamism. In contrast, such lines as curves and spirals expressed the soft and natural dynamism. Primary colors or complementary contrast expressed energetic and rhythmical dynamism. The geometrical patterns and automobile wheels patterns expressed dynamism resulting from mechanical aesthetics. 2. Dynamism was expressed through repeat of lines, colors, patterns, and textiles. Particularly Vinyl material, fluorescent material, metallic material, beads, and spangle expressed a strong dynamism. On the other hand, natural materials, paper and other similar ones are used to signify the orientation towards a futuristic high-technology society.y society.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.147-164
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• 2022

The aim of this study was to reproduce the ordinary attire of Yi Seung-hyu, a civil official and writer of the late Goryeo, which will be used to make a his portrait. The reproduced costume consists of a single-layered pyoui (表衣) and jungdan (中單), lined jeogori and baji, and geon (巾), created with reference to historical documents, materials, and portraits. The pyoui was made with samcheokbe, with an H-shaped neck-shoulder band, an oblique single collar, and rectangular gussets. Two skirts were attached on the inside at the back, similarly to dopo. The jungdan also has an oblique single collar, but has an I-shaped neck-shoulder band and triangular gussets. A flat felled seam stitch, whip stitch, and French seam stitch were used in the hemlines and seams of the pyoui and jungdan. The jeogori and baji were made with toju (土紬), and small ties were attached to stabilize them. The geon is a long, oblique hat, which has folded side lines, and was made with flexible black hangra and using a French seam stitch and backstitch. The results include the elements of "restoration, historical research, and portrait costume", and will be maintained as the cultural heritage of Samcheok City.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1334-1346
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• 2011

This study focused on the beoseon, traditional Korean socks that are a fashion item showcasing the beauty of the round hanbok shape. The study utilized the beoseon as an influential design motif and suggested 24 cultural fashion items to which the beoseon can be applied, including neckties, scarves, and T-shirts. For the purposes of this study, Adobe Illustrator CS3 and Adobe Photoshop CS3 were used for the motif design as well as the literature review on traditional beoseon socks. For the basic design motif, two basic forms were taken from the collection of the National Folk Museum of Korea. The key point of the motif development is that it maintains the basic shape of the beoseon but highlights the attractiveness of the Korean image by using repetition, rotation, symmetry and overlap into a new image pattern so that modern and chic images were taken into consideration for each cultural product. For the necktie, the mixed or repeated patterns for each motif were used as is. Alternatively, an oblique line pattern was adopted to express a stable and stylish image. For the T-shirt, a round-neck sleeveless type was designed. T-shirts were unified in the white color to highlight the image from the pattern. For the scarf, two shapes were displayed, square and rectangle. Through mixture of two repeated variation unit patterns for each motif, a splendid and stylish image was revealed along with various layouts.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.16-25
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• 2010

This study reinterpreted the formative design elements of traditional grate patterns to create new lattice patterns and come up with a design concept for fashion-cultural products that highlight the uniqueness of traditional Korean culture and its characteristic features. Methodologically, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop were used to make grate patterns motifs. and they were applied to scarves and again to blouses using a three-dimensional simulation technique. In this study, three basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating and reducing shapes based on the images of traditional 亞-shaped, arched and floral lattices, and each motif was expanded to have two variations with different colors applied to them. The direction of basic motif design was set to fit for each of fashion-cultural items such as scarves and blouses. Basic colors for motifs were arranged to create a colorful and modern but staid image in pink, blue, purple, green, yellow and brown tones. Based on a developed motif, changes were made in blouse design with lattice patterns through a variety of effects such as repetition, rotation, cross-arrangement, and oblique arrangement, and three-dimensional simulation was used to bring the design to life. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed them through such effects as repetition, rotation, compositional variation and gradation to express a gorgeous and refined image.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.12-27
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• 2004

The Tuck, an important component of modem clothing design, was analyzed through various sources of literature comprised chiefly of domestic and imported fashion magazines from 2000 to 2003. The results were as follows: 1) The Tuck was organized in horizontal, perpendicular, oblique and radial directions. Application methods included repetition, gradation, radial arrangement, sequence and alternation of individual lines. 2) The Tuck was found in a variety of forms and uses. But due to structural characteristics, its function is more psychological and aesthetic than functional. The aesthetic properties of the Tuck included rhythm, optical illusion, abstraction, and material. The structural property of the Tuck occasionally substituted bust or waist darts. 3) The individuality and originality of the Tuck was used in unpredictable ways to give spatial ornamentality and emphasis on material. This enabled aesthetically unique designs to arise. To summarize, the Tuck, a component of clothing design as a formative art, was used in a variety of methods towards developing creative clothing design.

• Ocean and Polar Research
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• v.24 no.3
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• pp.179-187
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• 2002

The Ayu Trough, located in the southern end of the Philippine Sea, represents a divergent boundary between the Philippine Sea and the Caroline Plates. A detailed geophysical survey was carried out in the Ayu Trough by R/V Onnuri. Topographically, the Ayu Trough resembles an slow spreading ridge. The trough can be divided into three sections: the south $(0^{\circ}-1^{\circ}30'N),\;middle\;(1^{\circ}30'-4^{\circ}N)$, and north $(4^{\circ}-6^{\circ}30'N)$. The seafloor in the middle section is characterized by features asymmetric with respect to the axis. These features were probably produced by NW-SE and NNW-SSE extensions and seem to support the argument that the opening of the Ayu Trough occurred in an oblique fashion. Farther south, a long transform fault but with a short offset defines the boundary between middle and southern sections. The axial depth increases a stepwise to the south of $1^{\circ}30'N$. A clear difference can be seen between the southern and middle sections with the latter exhibiting much higher mantle Bouguer anomaly values in the axial region. The anomaly indicates that the axial crust perhaps experienced a much higher degree of extension in the middle than in the southern section. The analyses of magnetic field data reveal that the region beyond 100km exhibits considerable variations, whereas the magnetic anomalies within 100km from the trough axis are very much subdued. This observation suggests that the opening of the Ayu Trough involved an initial stage of rifting of existing volcanic arcs, followed by production of new seafloor.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.173-181
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• 2013

This research analyzed the expression trend about the slit which composes the open space by the visual concept and then introduced the imbedded aesthetic value in it. Based on it, this work aims at showing the evidence on the slit as a utilizing tool for various design applications and providing the basic materials in order to develop the creative design production in the fashion area in the future. Specifically, for the theoretical background in this research, the concept of slit and its chronological changes were reviewed through literature. For the empirical analysis on the slit, a total of 226 designs with its application were analyzed from collection pieces in the four major collections including Paris, Milan, New York, and London from 2006S/S to 2012S/S. As a result of analysis, types of slit appeared as a slash, opening, slit, or a mix of them. These were applied to many different items of clothing, and among which, one-piece or dress was adopted most for application. In regard to space form, perpendicularity was used most frequently. But other various forms like cross and geometrical pattern were also used as well as curve, oblique line and horizontality. As to the arrangement of slit, single type was most frequently used. However, in addition to it, other types were also applied, producing both the functionality and the decorative detail such as bilateral symmetry, free irregularity, and a combination of regular and repeated layout which makes an effect of single pattern. Aesthetic values imbedded in slit were revealed as functionality, sensuality, spatiality, and decorativeness.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.325-335
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• 2013

This work develops a motif design integrated with geometrical patterns in traditional ddeoksal and that can be applied to a scarf design so that traditional elements unique to Korean culture can be developed further for a modern application to various design fields. For the research method, literature reviews on op art and traditional ddeoksal were conducted with Adobe Illustrator CS3 and Adobe Photoshop CS3. As for the motif combination, such applications were taken as five pieces from the works of Victor Vasarely and some traditional ddeoksal shapes such as oblique line pattern, taegeuk pattern, and geometrical pattern. Abstract and geometrical images were borrowed from op art and ddeoksal for image expression. The total number of works selected was eleven. To realize the applied scarf design, a motif layout was performed with the scarf center or rim highlighted so that each design feature could be remarkable based on the motif combination. With the function of scaling, rotation, opacity control, filtering effect, the changed images were shown through motif distortion. In addition, this work applies a single combined motif to products for a possible transformation into handkerchiefs and boutique scarfs in the case of smaller sized scarfs.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.