• 한국의상디자인학회지
• /
• 제8권1호
• /
• pp.81-96
• /
• 2006

This study aimed to investigate the sociocultural phenomena which affected to clothing change in 1650-1900 and to examine the features of men's necktie in the western art. For this study, information about historic neckwear is obtained from the visual evidence of painted or engraved portraits, contemporary written sources. The covered area of this study was Europe mainly England and France. For this process, research steps were as follows : 1. Investigating the sociocultural phenomena which affect to clothing change through 1650-1900 and analysis of men's clothing and appearance. 2. Finding the changing characteristics of neckties including it's different types, shapes, knots, colors and materials and analyzing similarities and differences of neckties by the times. 3. Examining necktie as one of important and representative icons of male gender identity. The results of the study was as follows: 1. In 1660-1900, men's fashion was simplified in color and detail due to the influence of practical Puritanism and matured civil culture. And British men's fashion spreaded throughout whole European countries and get popularity. 2. In 1650-1720, there were band, cravat and steinkirk. And expecially cravatier, a expert custodian of cravats, was appeared in that period. In 1720-1800, there were stock, solitaire and cravat. In 1800-1850, neckwear were popularized and got various sizes and types up to shape and size of chemise collars. Black stock, scarf cravat and shawl cravat were popular and terms of 'necktie' were used for an certain neckcloth shape. And abundant literature for necktie were published thanks to the development of printing technology in that period. In 1851-1900, the leady-made neckties were spreaded and there were changes in shape, length, knot of necktie up to V-zone formed with shirt's collars and vest types. Neckwear was gradually evolving through four distinct styles, bow tie, scarf or neckerchief, Ascot and four-in-hand. 3. After the mid-l7th Century, as civil culture matured and splendid and extravagant colorful men's wear disappeared, British men's fashion spreaded throughout whole European countries and got popularity. The necktie become an essential ornamental accessory of men's fashion and one of important and representative icons of male gender identity.

• 복식
• /
• 제56권6호
• /
• pp.33-44
• /
• 2006

With the basis of objective truth by the subjective sensibility and the Rock art's history and the molding the Rock arts image motive, the conclusion like this; The first, Rock art express the imagination variety as symbols of abundance, fecundity, stable lift's present mourning and absolute respect and the spirit. The second, the new motives are developed by making formative images with deeply understanding essential side in the Rock arts. With this, the pattern is repeated with making motive's repeat units and the new pattern is developed by 45-angle iteration. These cultural products were used to produce necktie, scarf, and clothing making commonly efficient use in actual life- with 3D simulation. Through developing Rock art pattern, it is great the possibility of development for expressing Korea images with making an excavation. A competitive design as to the international period can be developed with applying to the variety department-cultural products development.

• 복식문화연구
• /
• 제19권6호
• /
• pp.1334-1346
• /
• 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.

• 한국의류산업학회지
• /
• 제8권6호
• /
• pp.665-671
• /
• 2006

This study is to develop tourist souvenir which designed image of butterfly, the symbol of Hampyeong Butterfly Festival, using natural dyeing product, the specialty of Namdo region. Results of market survey of tourist souvenirs for Hampyeong Butterfly festival showed that souvenirs of butterfly design sold in market which were not discriminated from that of general products and locality or characteristic of the region could not be exhibited. According to the results of market survey, design of souvenirs of Hampyeong Butterfly Festival is as follows; Butterfly pattern of hinge and Dangcho pattern are developed to graphic motive of modern sense with traditional beauty to make design which can be consumed by modern consumers in their actual life and then proper pattern is planned by combining, repeating and disassembling them. Such a pattern is applied to souvenirs like T-shirts, necktie and scarf to make tourists feel identity and unification of the festival visually. In addition, design of souvenirs was made to be coordinated with casuals. Therefore, visual factor could be extracted from Korean cultural heritages suitable to concept of local festivals and it is considered that ways of commercialization and development of traditional pattern suitable to consumers' demands can be suggested.

• 한국의류산업학회지
• /
• 제9권6호
• /
• pp.603-612
• /
• 2007

Giorgio Armani has made a huge success with his own persistent unique fashion styles for the last 30 years. But he too went through a transitional period during which he was criticized for lacking the so-called Armani design. Overcoming the confusion, however, he succeeded in recreating his styles of elegant image and fascinating people with his practical and yet sophisticated modern classical styles that he pioneered. The design characteristics of his men's clothing are as follows; functional and comfortable slim silhouettes that bring life to the curves of the human body, grey-based mixed colors in a natural atmosphere, natural materials such as wool, silk, and cashmere that are light and soft and have great drape properties with femininity, solid patterns with stripes, checks, and geometrical figures added, and the elegance expressed in moderate decorations such as a handkerchief and scarf. Armani men's clothing has enjoyed ongoing popularity and success across the world because it transcends time and allows men to maintain their class not being bound by the formality. It's also important to notice that Armani takes into account the perspectives of both men who wear his clothes and women who look at the men in his clothes.

• 복식문화연구
• /
• 제21권3호
• /
• pp.376-393
• /
• 2013

In modern society, culture is an important factor to form a country's image and identity and a representative content to generate revenue. Culture is a keyword to design life in the 21st century and has become competitiveness between countries. As a cultural content with international competitiveness, this study performed textile design development with the use of relics from the Tomb of King Muryeong, which is the tumulus of King Muryeong who was the 25th king of Baekje among Korean history. The developed design could be applied to the production of various fashion cultural products such as clothes, scarf, neck-tie, and bag. The process for the design development was carried out as follows: As a first step, this study found basis as a cultural content with a global sense that could form the historical value of the Tomb of King Muryeong and gain global sympathy of people all over the world through literature reviews. As a second step, this study examined the current state that traditional Korean elements were used as a fashion cultural products. As a third step, this study analyzed the current state and problems of fashion cultural products using relics from the Tomb of King Muryeong through field survey. As a final step, this study planned the concept of design with the use of diadem ornaments, earring, sword, stone guardian animal, and bricks with lotus-flower design from the tomb of King Muryeong. And these developed 6 textile designs could be applied to the production of various fashion cultural products.

• 복식
• /
• 제62권7호
• /
• pp.133-149
• /
• 2012

Jikji, Memory of the World of UNESCO, the world's oldest extant movable metal print book, is a cultural heritage to give motivation for IT power of Korea. Although the cultural value of Jikji is understood in Korea, the value of cultural assets is not satisfactory and the commercialization is not sufficient. Furthermore, most Jikji product designs on the market are simple and limited mainly for the old generation. The purpose of this study is to design fashion-cultural products suitable for young people who will be responsible for this cultural inheritance. The methods of this study were to make the design development through literature research and a case study for Jikji products on the market. For developing the products suitable for young people, 308 university students in Chungju were surveyed. To express end products, computer graphic program, Illustrator CS5, was used. The results of this study showed that the products on the market were not targeted for use by young people. The younger generations want modern and interesting design. Among the 8 design motives that are planned for design development, the most preferred motive numbers, 3, 7, and 8, were used. Design items, such as scarf, wallet and t-shirts, were selected by the result of survey and 3 scarves, 4 wallets, 3 t-shirts, a total of 30 items were developed. The designed products in this study can inform the cultural resource of Korea and contribute to raise the cultural value if they are commercialized.

• 한국생활과학회지
• /
• 제23권4호
• /
• pp.697-707
• /
• 2014

The purpose of this research is to examine the images and interest degree and purchase intension of consumer and images according to demographic characteristics for Hanji clothing products. 207 subjects evaluated images for Hanji clothing and attitudes and behaviors of consumer were analysed. For statistical analysis, frequency analysis, factor analysis, mean, pearson correlation coefficients, regression, crosstabs and ANOVA were used. The results were as follows: Image factors of Hanji clothing products were 'luxurious', 'practical', 'wellbeing', and 'traditional'. differences of according to the age and occupation were showed at 'practical', 'wellbeing', and 'traditional' image. Hanji clothing products having highest consumer interest degree and purchase intention were shirts, scarf and handkerchief and Hanji clothing products having highest experience of use was socks. interest degree, experience of use, and purchase intention for Hanji clothing products were increased at high age, office worker. For consideration of Hanji clothing products according to demographics variables, age of 20's-30's and students considered design and functionality and age over 40's and office workers regarded price and quality as important consideration.

• 복식문화연구
• /
• 제23권2호
• /
• pp.176-192
• /
• 2015

This work aims at analyzing the comparative feature about female flight attendant uniform designs of Korean and Asian region low cost carriers and providing some basic materials for development of these airline companies. As a research method, examinations were carried out on attendant's uniform both theoretically and empirically. Comparison of uniforms was made among the five Korean carriers and ten typical Asian carriers for empirical research. Results showed the followings. First, all Korean low cost carriers were characterized as formal style except Jin Air. Unlike this, Asian low cost carriers appeared as diverse including formal, semi formal, and casual styles with a uniquely differentiated image. Second, all carriers applied their own symbolic color to their uniform. Third, logo or symbol was adopted as a pattern on scarf in the two Korean companies but it didn't take effect practically. For those Asian carriers, embroidery was used on jacket, jumper and collar. They utilized even a merchandising character to put emphasis on airline image. Fourth, diverse petty items with a decorative effect were used in the case of Korean low cost carriers. In the changing period of uniform, nothing much was changed and remained almost the same as before. Those in the Asian region were characterized with the smallest number of items and the preclusion of decorative add-ons on uniform.

• 패션비즈니스
• /
• 제23권2호
• /
• pp.18-33
• /
• 2019

The purpose of this study is to develop fashion cultural products that contain an example of cultural symbolism, which is based on the results of iconological analysis seen on imaginary animals. The method of research was to derive design ideas through a verbal association method, using the technique of mind map as based on the iconological analysis results. In the scarf design, four auspicious animals were used as the main motifs, and the background elements that appeared with each folk painting were used as sub-motifs for each of the four animals. In this case, the Yong was expressed with an image of clouds and flames as sub-motifs, and was strongly represented by the presence of a contrast color combination. In what follows, the Bonghwang was used with the sun and feathers in a stable structure due to its four-way arrangement, and was expressed with its soft light tone. The Shingoo was used with blue and khaki colors of dull and deep tone, and the image of aquatic plants and lotus were used. Finally, with the Kirin was represented by a symmetrical structure as characterized with a dull toned color and square border that provides a sense of stability. The clutch bags were as generally expressed using simple animal motifs, and were composed of a uniform motif and color. The design process used the Illustrator CS6 to perform motifs design. In the end, the process finally developed the actual product of eight scarves and four clutch handbags.