• Fashion & Textile Research Journal
• /
• v.9 no.4
• /
• pp.363-372
• /
• 2007

T-shirt has changed into advanced and stylish outwear by new paradigm, taste of consumer, awareness of recycling, spread of subculture, DIY culture, refusal of standardization and pursuit of high quality goods, etc. The purpose of this study was to analyze aesthetic characteristics of t-shirt designs that changed into diverse designs in world fashion college since 2000. The method of this study was to analyze documentaries, fashion magazines and internet fashion site. Aesthetic characteristics of t-shirt designs were expressed in deconstruction, mixture, integration and imitation. And each of external expressions and internal meanings was as follows: First, deconstruction was expressed in partial cutwork and three dimensional texture by sewing and construction drape. It means breaking the conventional structure and break-ing the boundary of t-shirt and another item and possibility of multi-vocal analysis. Second, mixture was expressed in collage of diverse ornaments, diverse fabrics and diverse patterns. It means exceeding the limit of material, elaboratenes and high quality of handwork, reflection of self-identity, brand image, fashion trend, consumer's psychology and mind of experimentation and couture. Third, integration was expressed in extension of length, width, use and style. It means unification of functions, deconstruction of items and extension of meanings and images. Forth, imitation was expressed in stain of dye, irregular and ripped sign, cut out, rough warp, drawing and washing, etc. It means subculture, rarity value, monopolization, diversity, familiarity, yearning and uniqueness.

• Journal of the Korean Society of Costume
• /
• v.65 no.7
• /
• pp.60-74
• /
• 2015

It is considered that jacket was widespread in the 19th century due to its simple and convenient production technique. This study aims to explore the western women's jacket in the late 19th century, which is the basis of modern women's outwear, and we focused on the patterns and construction, the technical aspect of the jacket. We researched pattern books and preserved costume materials, and the study methods are as follows: First, we analyzed the pattern of the jackets from the pattern books and preserved costumes. Second, we analyzed the construction of the jackets from the preserved costumes and compared it to previous researches. The study results are as follows: 19th century jacket consisted of a bodice, a back bodice, a side panel, two-piece sleeve and a collar. The front bodice had cuttings and a dart to make the jacket fit the shape of the body and the two-pieced leg of mutton sleeve, puffed at the shoulder. Various styles of collar and neckline existed. The pattern suggested diverse ways of designing a jacket, such as cutting with partition, dart and pattern expansion that focused on three-dimensional effect at that time.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.21 no.8
• /
• pp.1261-1274
• /
• 1997

Contemporary costume by the 'Deconstruction' from the outside has shown disclosure, destruction, poverty and analysis. The conclusion of this thesis as follows, 1. The Deconstruction of disclosure by infra disclosed the underwear and inner structure outside, which has deconstructed a fixed idea i.e.'underwear must be in outwear', modesty versus immodesty and disclosure versus concealment. 2. The Deconstruction of destruction originated in punk look has rejected traditional manners and utility, at the same time, it has shown the ambivalence i.e. completeness versus incompleteness, making versus destructing by slashes, rips, fringes. 3. The Deconstruction of poverty has appeared as French avangarde mode, little black dress by Chanel, second hand style by hippy, blue jean, granny look, especially Rei Kawakubo's poor look influenced by Zen Aesthetics and post punk. It has looked like old and worn out dress by doing patchwork, dye, decolor, rip, fray, which has shown the decentring by concealing the body than disclosing, rejecting snobbery. 4. The Deconstruction of analysis, seemingly partial and patched is a violation only of our expectation of clothing's unbroken entity though it has looked like a fragment. The completeness and coherence of it is made more evident by its breach, void, and bond like a poetic language. As the result, disclosed, destructed, poor, and analytical costumes has expressed as an escape from the appearance which traditional aesthetic concept had pursued.

• Journal of Fashion Business
• /
• v.8 no.6
• /
• pp.57-67
• /
• 2004

The forms of man's costumes in Byzantine Empire were changed according to each composition of costumes. Those forms of costumes had common features of each period when costumes were included. At the same time, however, the fact that differences existed in accordance with a social position including gender, class, occupation, etc. even though in same period were showed. Analytic elements of man's costumes in Byzantine Empire were selected by important factors. This showed the meanings of position and class in that time. The kinds of analytic elements in man's outwear were various but the forms of costumes were not developed because christianity influenced the forms of clothing in the Middle Ages. As the result of synthesis, the main factor of man's costumes was a tunic in Byzantine Empire of the Middle Ages The phases of the times were reflected on the structure of man's costumes in Byzantine Empire. In particular, religious feature was emphasized, and analytic elements of costumes having meanings showed the features of the society at the Middle Ages. For example, a central analytic element of man's costume, an outer garment was a tunic style of H-silhouette that hid the body line. This was influenced by the phases of the times. Namely, the costume stands as a symbol of the times, and also is a cultural sign that reflects phases like politics, economy, religion.

• Journal of Fashion Business
• /
• v.22 no.5
• /
• pp.113-124
• /
• 2018

This study is to find ways to use fast-fashion wedding dresses continuously which usually have worn three or four times and just wasted, which is an current interesting issue over the society. Among clothing from the 19th Century, three styles of Empire, and Crinoline were analyzed from their underwear styles to outwear styles through library and museums and are made for rental service. Based on 8-year-old girls' physical dimensions, openings and closing methods of each size were applied to develop and make rental dress designs. It will be a good opportunity to study history and develop creativity if children can try different styles of dresses from different cultures and times and also experience difference wearing ways as they also have such desire. Underwears were designed to be worn by adjusting cloth rings, rubber bands, or hook and eye to fit different dimensions. The final products are as follows. First, empire dress doesn't need underwear to wear. Depending on the purpose of the rental dress, the back side of upper clothes have lace up by using cloth rings like empire style. Skirt was cut to use hem lace suitably from wasted dress. Second, Crinoline dress is usually configured of Crinoline, Petticoat, Two Piece on Drawers, Chemise, and Corset. It was designed by flat front, bigger sides and backs by Crinoline and Petticoat.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.35 no.1
• /
• pp.104-114
• /
• 2011

There is rising interest in green energy, energy efficient equipment, and products as countries show increased interest in 'Low Carbon and Green Growth'. The cellphone has become one of the essential influences on modem people beyond the meaning itself by the release and the commercialization of the Smartphone. Thus, it considers that the introduction of fashion for cellphones and digital devices to be always on should be a quite natural design attempt for humans to wear clothes at all times. In addition, outdoor activities increase as the population enjoys more sports and leisure time that requires the development of specialized outwear such as the development of a functional jacket. This specialized field is associated with higher value-added businesses. This study made a prototype of a functional jacket equipped with solar cells that established a system of a fashion design that is harmonious with green growth as a plan to measure of fashion design for green growth. The objects of this study are as follow: First, the study seeks a design method for green growth. Second, it makes a prototype to present the improved design method. Third, it presents the establishment of a design system that considers green growth and the concrete measures practical for the system. It established the design system and made the prototype of functional jacket equipped with solar cells, LED, and digital devices as a measure of design for green growth based on the improvement plan of the design that the problems had been supplemented for. Previous studies were mainly about prototypes that attempted to equip mobile digital devices as a study of smart wear; however, this study leaves the issue of power supply for a follow-up study that is different from preceding studies.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.30 no.6 s.154
• /
• pp.870-879
• /
• 2006

In this study, the difference in the mechanical properties of silver and cotton weft knitted fabrics was studied. Six silver fabrics for the summer ladies' knit outwear were knitted varying knit structure and fabric density. Two commercial cotton knitted fabrics were selected to compare the properties. subjective sensation of hand of the fabrics was also studied. Mechanical properties of the fabric samples were measured by KES-FB system. From these, primary hand values(HV) were evaluated by the conversion equation (KW-403-KTU) and the total hand value(THV) was carried out according to the KW-304 Summer. The result of the research show that silver weft knitted fabrics had lower LT, RT, G, 2HG and higher EM, W, LC, WC, RC than cotton weft knitted fabrics. The use of silver yam contributed to increase in surface roughness of knitted fabrics. As the silver knitted fabrics became thicker compressional energy increased. The use of silver yarns contributed to much better fabric handle compared with the use of cotton yam only. It appeared that coefficient of friction of tuck stitch was larger than that of plain and interlock stitch. KOSHI and FUKURAMI values of the tuck samples were significantly higher than those values of the plain and interlock samples, while SHARI values were low in general. The total hand value of tuck stitch was higher than those of interlock and plain stitch.

• Fashion & Textile Research Journal
• /
• v.9 no.4
• /
• pp.391-400
• /
• 2007

This purpose of this study is to announce the research for the formative characteristics and the constructive characteristics for the 23 pair of pants excavated from the tomb of Yeosan Song's family at Mokdal Dong in Daejeon. Men and women wore the open-type over the close-type pants. Song Hyo-sang and Chungjoo Park wore the 1 or 2 pairs of the open-type pants over the 3 pairs of close-type pants. Song Hee-jong and his wife Sonhung An wore a pair of the open-style pants over the 1 or 2 pairs of pants. It was due to the shortage of goods by the war that Song Heejong had less shrouds than Song Hyosang. The pants were almost made of the cotton and the silk. The open-type pants worn inside was made of the cotton but outside was made of the silk. That time the cotton was used for the unlined underwears for the health and the protection against the cold and the hot. The silk was used for the outwear. In the construction type, 12 pairs of pants were unlined, 6 pairs of pants were quilted, 4 pairs of pants were padded, and 1 pair of pants was lined. All unlined were the close-type and the quilted and padded pants were the open-type, which were worn inside. Lined type was just one. In the wearing order of shrouds, type, textile, and constructive type, Song Hyosang and Chungjo Park were similar, Song Heejong and Sonhung An were similar.

• Journal of the Korean Society of Costume
• /
• v.50 no.3
• /
• pp.13-30
• /
• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of Fashion Business
• /
• v.16 no.4
• /
• pp.29-45
• /
• 2012

The purpose of this study is for providing not only the latest design technique trend for zero waste fashion, but information about creative fashion design education through eco-fashion industry trend in globally and domestic which is focusing on eco-fashion labelling. The research were processed with literature related eco, sustainable, green fashion books, former articles, newspapers, and web sites. The results as follows; The certification about eco-fashion product is moving to 'Life Cycle Assessment' from focused on primary process like material, finishing, dyeing. Especially simplicity of process means reducing the wastes. And fabric wastage for adult outwear was estimated 15% percent of total fabric used in general design studios. Three cases for Zero waste fashion were as follows; First, Jigsaw puzzle by Timo Rissane and Mark Liu were different zero waste methods, but the result was same. Rissene's method was based on traditional cutting like 'cut and sew' but traditional cutting can lead to design that have an abundance of fabric and drape. Jigsaw of Rissene was approached with description a pattern-cutting technique in which all piece interlock with each other generating no waste from design production. Another Jigsaw by Liu was related with innovative textile design. DTP makes the possibilities for zero waste garment production almost endless. The dress intricately cut from 10 pieces, wastes none of the fabric required to make it. Second, Subtraction Cutting by Julian Roberts provides unexpected fluid, organic forms and zero waste fabric. Utilizing Roberts plug(tunnel) technique enables any part of the garment that is removed for fit or aesthetics to be reincorporated into the design of garment. Third was 'Bio Couture' by Suzanne Lee. She has created garments from cellulose bacteria which grow in a bathtub using only green methods addressing in such as way ecological issues and exploring the future of fashion design in conjunction with technology.