• International Journal of Human Ecology
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• v.8 no.2
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• pp.107-125
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• 2007

In human history, scarf has acted not only as a protection for body but also as a symbolization of class. Today, scarf has become a whole field in fashion and an important accessory to express individuality in fashion. Hence, like other fashion item, it is very important to develop exclusive design for scarf by analyzing the current fashion trend. In this research, we have designed a scarf textile, accordance with the contemporary design trend, applying the floral pattern, designed by William Morris who was an artist considered as the founder of the 1800s arts and crafts movement. We selected four trend themes, "Salon de Archives", "Eco Tech", "Profound Nature", and "Neo Aristo" for the design of 2007/2008 Fall/Winter. The flower motifs in Pimpernel Wallpaper, Honeysuckle textile design, Acanthus Wallpaper, Garden tulip wallpaper, Evenlode printed cotton, Trellis Wallpaper, and Chrysanthemum Wallpaper, by William Morris who expressed an image of environment friendly and nature reversion, applied to develop new creative scarf through design after modifying and rearranging these flower patterns. After the pattern was drawn by hand, adjusting of color and repeating of the design was done with DTP (Digital Textile Printing). Through this research, the researchers hopes to be of assistance to the development of national scarf brand design, and to the recapturing of textile industry that once played a important role in Koreans economic development.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.83-83
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• 2003

There is no other accessaries that is loved unchangeably in our clothes's life. It is always used except very hot season and it is loved as a necessity item of fashion coordination item used by catholic age group. There are many smart dressers who match more than ten scarfs to clothes otherwise having one or two before. The more having scarf is better for giving new images with usual clothes. The scarf fashion is boomed in streets from last season. Especially, luxury scarf is that popularity accessories in twenties women with a tendency of emphasizing wealth. The popularity of scarf can easily be recognized on the streets and on the displays in department. And the character brand of new basic feminie style is suggested the scarf as an accessary for coordination. It is appeared that animal prints, ethnic flower pattern prints and geometrical patterns for scarf. As the trend of fashion trade is diversified with classic and vintage, the design and style of scarf is satisfied. So there is a purpose of studying fashion scarf presentation to use scarf more efficiently.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.661-672
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• 2015

In this study, nine scarf designs expected to be effective for accent design for the fashion style of new senior women were suggested by reflecting purchase behavior and scarf preference after conducting surveys and an analysis by targeting 136 new senior women in order to propose scarf design-matching with the preferences of new seniors. As a result of the study on the scarf purchase features of new seniors, it was revealed that the purchase time for scarves was mainly autumn and winter, even though it is regardless of season, and in spring and summer, they seldom purchased scarves. The purchase frequency was four times a year, and what they first thought of at the time of purchase was represented in the order of color, design, and the material of the scarf. They most preferred department stores, mixed and achromatic colors, cotton and silk fabrics, natural and geometric patterns, and long scarves of a rectangular shape. In the case of the consumer attributes of scarves, it was revealed that $50^{th}$ desired more individuality-oriented, unique scarf designs than $60^{th}$, and $60^{th}$ desired scarf designs with convenient management considering others' attention compared with $50^{th}$. As concepts for scarf designs, the aspects of individuality, co-existence, and maturity were extracted by reflecting the features of new senior women, and a total of nine scarf designs were suggested by developing three sub-designs for each concept.

• Journal of Fashion Business
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• v.28 no.3
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• pp.48-68
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• 2024

In recent years, with the international spread of traditional Chinese culture, traditional auspicious patterns have been used idely in modern textile design. In particular, a bat pattern has the same pronunciation as 'fu' in Chinese. It symbolizes good luck and longevity. It has auspicious meanings such as happiness, prosperity, wealth, longevity, and good luck. This study aimed to explore how cultural elements could be utilized in modern textile design by incorporating the traditional Chinese bat pattern into scarf design. Through literature research and case analysis, we aimed to understand the historical background and design characteristics of the bat pattern and develop it into a textile design suitable for modern scarf design to promote modern reinterpretation of traditional culture and cultural integration. From a design perspective, the shape of the bat pattern was analyzed to derive five main shapes and characteristics (symmetry, verticality, repetition, totality, and relativity). Based on this, 10 patterns were created by combining them with popular styles of modern scarf patterns. In addition, five product designs were completed considering 23/24 Pantone trend colors, 24spring/summer fashion trend colors, and silk scarf pattern characteristics.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.4
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• pp.93-104
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• 2020

This paper focuses on the spatial changes that create a three-dimensional or deep feeling on the surface of a scarf centering on the cube shape. Through this, consumers with various tastes were able to satisfy their image presentation. The cube form has simplicity and order and is likely to be used as a formative object. The cube shapes can be expressed in various forms through visual and perceptual spatial changes by presenting various shape changes based on the viewpoint of the two-dimensional silk surface, that is, by changing the eyes' position and orientation. Various visual theorists' discussions about cube-shaped visual changes were discussed. In addition, the three-dimensional spatial illusion caused by the shape and color of Victor Bazaarelli's cube was examined. The cube shape was printed silk surfaces to give a three-dimensional sense of space on a two-dimensional scarf design using the size change, the difference in the length of the line, and the color change. As such, the cube shape has infinite possibilities as a method that can express three-dimensional depth and space on the flat surface of a scarf. Therefore, it is hoped that this study will be applied to various aspects as the basic data for the scarf design that expresses the spatial changes in the form of cubes.

• The Research Journal of the Costume Culture
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• v.13 no.4 s.57
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• pp.622-631
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• 2005

The purpose of this study is to know variety winding ways for scarf and to know the trends of scarf expression methods with seeing how to affect these ways on recent fashion. Investigating for scarf's concept and feature through theory records and looking for variety scarf expression ways were done for this study. And then The photo data of fashion magazines from s/s 2000 to s/s 2005, focusing on the divided scarf expressions, were analyzed. The frequencies of scarf expression are like this; decorating on the neck($60\%$), decoration on the shoulders($18\%$), decorating on the head($10\%$), etc($9\%$), using for accessaries($3\%$). Decorating on the necks is shown lasting ways. Also recently the methods breaking the established concepts - the mixing with two ways and the pratical using scarf' as a part of clothes - have a tendency to increase steady.

• Advances in aircraft and spacecraft science
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• v.5 no.3
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• pp.401-410
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• 2018

The aim of this work is to optimize the geometrical parameters as the adhesive thickness and the beveled angle to reduce the edge effect of the scarf and V bounded joint. A finite element analysis is done to define the generated stresses in the bounded joint. The geometrical optimum is obtained using the Experimental Design Method. Results show that the double scarf (V) joint is better than the simple scarf bounded joint.

• 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.

• Journal of the Korean Home Economics Association
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• v.50 no.1
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• pp.29-39
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• 2012

The purpose of this research is to suggest a scarf design which reflects the traditional culture native to Korea by making use of the combined pattern of jokgakbo patchwork and ddeoksal(rice cake). For research methodology, the computer design programs of Adobe Illustrator CS3 and Adobe Photoshop CS3 were used along with the related literature. For the combined sets of motif pattern, the following were consider: first, a combination of jogakbo in square shape and chrysanthemum in a rice cake mold; second, a combination of radius jogakbo and geometrical pattern; third, a combination of vertical and horizontal forms of jogakbo and rice cake pattern; fourth, a combination of yeouijumunbo and butterfly pattern in rice cake mold. For the scarf design with these applications, technical skills such as repeat, rotation, symmetry, free setup, and distortion were used for the combination motif. In terms of the shape of the design, there are two, square and lengthwise tetragons.

• Archives of design research
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• v.19 no.1 s.63
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• pp.59-68
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• 2006

Scarf has played an important role not only as keeping warm of human body but also as accessory of clothes. These days with taking a growing interest of accessory, scarf had thrown off a subsidiary part and gradually had a leading place which guides the overall mode of fashion. Because scarf design of Korea does not get out of imitation step of foreign countries brands it is necessary to develop the scarf design which can show the cultural identity and originality of Korea in international society. Therefore in this study, I chose lotus flower patterns expressed on Buncheon pottery and Korean traditional patchwork cloth as the subject material of scarves design development, and my intention for this study is to develop scarves designs of Korean images by adding modern scenes. For that, first I researched lotus flower patterns expressed on Buncheon pottery and Korean traditional patchwork cloth. Among those materials, I selected to had been presented modern image. And by using computer design program of adobe illustrator 10.0 I designed the basic patterns of three types and developed the square scarves design and rectangle scarves design with those.