• International Journal of Costume and Fashion
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• v.12 no.1
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• pp.83-95
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• 2012

This study aims to develop the 21st century eco design-based fashion products by examining Taller Flora products and presenting eco design approaches. Eco design terms were examined based on literature, and Taller Flora products were explored based on literature and websites. The following research issues were discussed. First, eco design terms are totally handled, thus defining the eco design. Second, eco design-oriented Taller Flora products are examined to explore design approaches. Eco design aims to conserve and heal the global environment with focus on a greater understanding of and interest in nature. As such, eco design is based on a new modern concept of aestheticism that seeks to minimize environmental damage caused by the three processes of production and distribution use and disposal, to take social and moral responsibilities for such activities, and to avoid hurting the environment. Taller Flora brands seek to produce products by keeping close ties with indigenous communities in various nations, and by emphasizing and embracing indigenous people's craftsmanship spirit and creativity Indigenous people use eco-friendly materials and produce products with craftsmanship spirit, and their cooperation by linking different cooperative networks is a good model for strengthening fair trade networks. These addresses the problem of expanding design work through traditional crafting. Therefore, the features of Taller Flora brands presented a new method to approach the eco fashion. The research findings are expected to help develop the eco design of fashion products.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.972-980
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• 2009

This study was aimed to develop ume flower image into a competitive fashion culture product image by reinterpreting the image in modern terms, manufacturing patterns and applying them to various items. In terms of method, ume flower petal was used as a motive and developed into a pattern, using Adobe Illustrator 10, a computer design program. Based on the symbolic image and realist form of ume flower, three new basic motives of new figurative image were set using form omission, simplification, overlapping, repetition and graphic elements. Each motive developed transformed patterns through the change, transformation, combination of colors. The repetitive unit of each motive set expressed geometrical patterns and combination of flower patterns using pattern repetition and $45^{\circ}$ repetition technique in combination with the check arrangement using quadrangle, and set the direction of design that would fit for each item of fashion culture products. Also, consistency and practicality were sought in the goods planning composition of each item by applying motive pattern results to the fashion culture goods, such as neckties, scarves, T-shirts that can be consumed in everyday life. It seems that more creative culture goods including ume flowers will be developed by seeing our own cultural elements as well as flower patterns like ume flower with modern trends.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.670-687
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• 2014

This study focused on Jungchimak (coats with side slits) which was typically worn by men in the mid and late Joseon Dynasty. It was done research by examining the case of wearing Jungchimak centering on literature and paintings and analyzing its changes in terms of its form based on the relics that have been found in order to suggest the standard for the evaluation of the period of Jungchimak. Results are as follows. First, men who wore Jungchimak were the king, crown prince and Aristocratic under the official uniform or other robes or as ordinary clothes and shroud. Second, Jungchimak for king was mostly made of Dan (satin damask) and mostly jade green & navy in color, and it commonly used dragon pattern, cloud and treasure pattern, or grape pattern. The fabric used to make Jungchimak for crown prince was Dan & Ju (coarse-finished silk) and puple, green, jade green & navy in color. The fabric used to make Jungchimak for Aristocratic was Ju and indigo or white in color. Third, 251 relics have been announced until now. Most of them were made of silk fabric and had cloud and flower patterns. Fourth, Jungchimak showed changes through time in terms of collar and sleeve shapes, the ratio of armhole to sleeve opening, Geotseop (panel sewn on front opening for overlapping), Dang and Mu (side panel), the ratio of the total length of outer collar to the length of side slits, and the ratio of chest size to the width of lower end.

• International Journal of Costume and Fashion
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• v.17 no.1
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• pp.73-87
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• 2017

Monpe, Korean women's wartime attire during the Japanese colonization period, has survived for 70 years as typical baggy workpants for rural women and emerged as retro-fashion. This paper applied a theory of "meme" to explain the monpe fashion trend in Korea. Based on literature review, empirical analyses were conducted by analyzing market and media including newspaper articles and blogs. We found that the monpe meme has evolved over time through variation, penetration, and diffusion. In terms of variation, the impression of monpe transitioned from a negative image to a positive one as a result of changes in design, functionality, and popular image. In terms of penetration, the monpe meme has spread into popular culture, again through mass media, with images of active, sexy, and attractive monpe-wearers on television and at popular occasions. Finally, the monpe meme has diffused throughout a broad range of consumers of various ages and both genders as an item of clothing for various occasions through diversified distribution channels. In this way, the development of monpe as fashionable clothing in Korea during the 2000s is itself a meme reflecting its evolution from a disgraceful colonial legacy to an item of contemporary fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.123-134
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• 2012

As a mirror of its time, fashion exactly reflects the trend of today' s society. In addition, as a tool to satisfy our desire and express images, it brings diverse image changes in people's minds. This kind of pattern is frequently found in wedding images, especially in wedding dresses. When it comes to a wedding dress, in general, we often think of a modest and pure-white one. In modem times, however, people prefer a differentiated image which reflects their personality and ego. In other words, it is an important means of expressing their own personality by focusing on their active and personal aspects and getting away from the passive, stable and formative aspects in the past. These days, a combination of narcissism and eroticism is found on wedding dresses. This kind of trend has been expressed into romanticism. In terms of the latest sensitive wedding dress trend, unique and creative couture wedding dresses have appeared. Therefore, this study has classified this kind of trend into two categories; Formative and Design aspects. According to an analysis on the formative and design aspects of romanticism in wedding dresses, diverse characteristics were observed in shape, color, material and ornament in the Formative Aspect. In terms of design, the characteristics of sensuality, ornament, exoticism and compromise were observed.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.467-477
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• 2013

Retailers deploy new shopping value-additions to induce customers to shop more, thus driving compulsive buying tendencies, which lead to increased profits for them. Customers display their ambivalence in purchasing a product either through instantaneous consumption, such as when following the latest fashion trends, or methodical decision making. The aim of this study is to investigate the influence of consumers' ambivalent attitudes toward various aspects (brand, store, price, trends, and product types) of clothing shopping on compulsive behavior tendencies. Compulsive buying tendencies were analyzed in terms of the shopping value group and demographic characteristics. For the empirical research, a questionnaire was used. Data from male and female clothing shoppers were analyzed. Consumers were segmented into ambivalent consumption group, emotional value consumption group, rationality consumption group, and indifference consumption group. Results indicate that ambivalent consumption groups showed significantly higher levels of compulsive behavior tendencies in terms of brand, store, price, trends, and product types than other groups. Females showed more compulsive buying tendencies than males. Single people showed more compulsive buying tendencies than married.

• The Research Journal of the Costume Culture
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• v.22 no.2
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• pp.326-338
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• 2014

This study is to examine the satisfaction of protective clothing for riot policewomen. The protective clothing that riot policewomen currently wear are not suitable for them because they are structurally designed for men. A survey was conducted about satisfaction of protective clothing for 190 riot policewomen who work in Seoul and Gyeonggi province. This study focused on functionality and comfort of the protective clothing. It examined overall condition of protective clothing and policewomen's satisfaction in terms of safety, activity, fitness, comfort, convenience and design. The first three aspects were examine to measure its functionality and the last three to measure its comfort. Most results show under 3 out of 5 point in terms of functions and comfort level. In conclusion, it is strongly recommended that new design which fits better to women according to their body structures and sizes as well as new fabric materials that permeability better are needed.

• Journal of Fashion Business
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• v.19 no.4
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.72-87
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• 2011

The 21st century are seeing a large number of performing arts, and one of them, opera is evolving, transforming itself as one of total arts. Besides, the costume in performing art which play a major role in opera's visual impact, characterize figures, set the tone for performance and greatly contribute to the perfection of the stage. Under these circumstances, the study developed designs of stage costumes and built a full-scale production of the Magic Flute, one of three greatest Mozart operas. The opera based on a fiction, is still popular today since it is a fantastic fairy tale introducing moral and ethical lessons. The play's background itself is Egypt. But due to its fairy-take-like storyline, it has been performed focusing on various concepts rather than on costumes prepared through background research. As such, this study conducted research on designs of stage costumes that contains the element of Egypt and also take athleticism and comfort into consideration. The results derived from the study were as follows. First, traditional dresses of ancient Egypt were used as a basis while adding some modem touch in terms of forms or colors, which resulted in a new design. Second, a variety of images were captured using textures and colors that fit the characteristics of attributes of the figures. Third painting techniques were used to help highlight the symbolic image of Egypt-simple, not heavy and extravagant-with fairy-tale-like fantasy.