This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people’s clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe’s shamanistic practices and lifestyle.

This study was aimed at examining the characteristics of women’s blue denim on the basis of design elements to provide fundamental data for fashion majors and fashion designers. Seven design elements were selected from previous studies to compare them with the following characteristics of blue denim: color (washing, dyeing), ornamentation (trimming, detailing, painting, and printing), and form modification, tearing, and ripping). Data from 1,520 photographs of the 2019 S/S to the 2023–24 F/W collections were collected through overlapping checks. The data were then subjected to frequency analysis using the Statistical Package for the Social Sciences (version 26). The results are as follows: The most frequent design method used in producing the denim items in our sample was washing, followed by modification, tearing, and ripping and detailing. The greatest change in denim design occurred in 2023, and more design element changes were observed in the F/W season than in the S/S season. Washing was used four times or more frequently than dyeing, while detailing was employed approximately 2 times more often than trimming. With respect to form, the most common approach was modification, followed by tearing and ripping.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.

This study aims to clarify the aesthetic values between emotion of human and expression of technology in contemporary fashion as it analyzes formative characteristics of related cases in fashion based on principles of 3D Printing technology and the viewpoint of mechanic aesthetics. The conclusions of this study are as follows. First, 3D Printing fashion is not only expressed diverse variations by its principles of formative methods, materials and properties, but also changes of silhouette by applying system of designers. Second, general characteristics of 3D Printing fashion is represented by various applications in SLS system, and it can be specifically explained application to a portion of clothing, decorative roles of clothing, complicated pattern making through crossing fabrics using 3D scanner and displaying a certain object changing fashion styles, and so forth. Third, the formative characteristics of 3D Printing fashion from the perspective of mechanic aesthetics is as follows. It can be analyzed as the integration of metaphysical values through compared symbolization of natural feature and technical evolution, partial dynamics and interactive velocity-based, formative combinations for abstract expression using architectural components, cosmos images and substantialized structures through images of organic space interacted human shapes. As the mention above, 3D Printing technology can creative a diverse area of fashion, and express images of new technological fashion through various works with continuous development of techniques.

The purposeof this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

우리는 불과 15년 전까지만 하여도 2차원적 이미지를 컴퓨터에 입력하여 편집 또는 변형을 통해 원하는 평면의 이미지를 얻어내는 시대를 거쳐 왔으며 실 사진처럼 인쇄된 평면이미지에 놀라움을 감추지 못했었다. 또한, 지금까지의 3차원적 아이템은 출력의 목적보다는 입체영상, 가상현실 또는 평면적 프린트를 위한 목적이 대부분이었으며, 극소수의 경우만이 목업(mock-up)을 위한 3차원의 수리적 타당성을 시뮬레이션(simulation)하기 위함이었다. 이것은 지극히 대량생산을 위함이었으며 개인의 필요성에의해 행해진 3차원적 조형과정은 아니었다. 그러나 지금의 시대는 3차원이라는 거대한 시대적 이슈에 힘입어 급기야 개인적 용도를 위한 3차원 출력이 가능한 시대를 맞이하였다. 즉, 개인적으로 필요한 소량의 소도구들을 3차원 플라스틱 등으로 프린트하여 사용할 수 있게 되었다는 의미인 것이다. 하지만 아직은 이러한 3차원 프린터의 등장에 많은 호기심을 보이고 있으나, 일반인이 접하기에는 많은 장애 즉, 활용에 있어서의 이론적 정보 및 하드웨어적 특성에 따른 기술적 정보 등이 부족한 것이 현실이다. 따라서 본 연구는, 현재 가장 일반적이며 보급형 3차원프린터인 Fused Deposition Modeling(이하 FDM)방식의 프린터에 있어서 어떠한 원리와 특성을 가지고 있는지 고찰하고, 실험을 통하여 나타난 다양한 문제점의 제시와 함께 온도 및 아세톤의 분사에 의한 표면처리 등을 이용한 해결방안을 제시함으로써 급속히 진화하는 3차원프린터에 우리 디자이너들이 대응하고 각자의 창작활동에 응용해 나아갈 수 있는 작은 디딤돌이 되고자한다.

현대 조형예술은 시간이 갈수록 점차 속도와 범위가 확장되고, 이러한 변화는 우리의 생활문화에 조형미를 접목하는 흐름으로 이어져 여러 나라에서 자국을 대표하는 문화상품을 개발하여 부가가치를 높여주는 역할을 담당하고 있다. 의복은 세계 어느 나라이든 그 나라의 특색을 가장 잘 반영하고 있는 문화중의 하나이다. 이러한 의복에 적용된 우리의 전통문양에는 민족의 혼이 담긴 연원이 깃들어 있고 자연에 순응하며 섬세하고 고상하게 우리 전통의 아름다움을 내포하고 있다. 문화상품이 상업화되면서 의복의 상품화와 그 가치에 대한 연구는 다양한 관점에서 접근이 시도되고 있다. 이러한 문헌들을 참고하여 의복에 적용한 대표적인 전통문양의 조형적 특성을 파악하고 사례를 통해 검증하며 향후 발전 방향을 모색해보고자 하였다. 한 나라의 특색을 가장 잘 보여줄 수 있는 의복과 우리나라의 전통문양이 결합됐을 때 그 시너지 효과는 더욱 커질 수 있다. 의복이란 상품을 통해 정체성을 바로 찾을 수 있으며 더 나아가 그 나라의 위상을 전 세계적으로 전파할 수 있는 충분한 매개가 될 수 있는 것이다. 한국의 고유문화나 전통성이 소멸되어 가고 있는 시점에 심미성만을 목적에 두고 의복이라는 상품을 생산하는 것은 우리 민족 고유의 정신이 점차 소멸되어 가는 상황으로 이어질 수 있으며, 이는 현대사회의 흐름에 맞추어 개성있고 창의적이며 누구든 공감할 수 있는 특별한 전통의복을 개발하여 그 뿌리를 이어갈 수 있어야 한다. 고유의 전통문양에 뚜렷한 상징과 정체성, 가치를 담아 재탄생된 의복은 한국 고유의 전통성을 잃지 않고 상품의 가치를 높에 만들 수 있는 계기로 작용할 것이다. 또한 점점 장인이라는 전통 계승자들의 부재는 우리 민족의 혼을 사라지게 하는 하나의 요소가 되고 있으며 이는 산·학간의 협력을 통해 정부의 지원을 받아 우리의 전통을 이어갈 수 있는 젊은 인재의 양성에도 소홀하여서는 안된다. 이러한 젊은 인재들은 전통의상디자이너들과의 교류를 통해 우리 전통문양이라는 문화유산의 가치를 창조하고 기능적인 형태와 색체, 그리고 전통문양의 조화를 이룰 수 있는 한국의 전통의복의 발전으로 이어질 수 있을 것이다.