This study explores how to integrate the generative artificial intelligence (AI) tool Midjourney into the fashion design process, emphasizing the visualization of sporty fashion concepts. The research applied Midjourney at every stage of the fashion design process: mood board, fashion sketch, flat drawing, production package, fashion show presentation, and store display and sales. Specifically, sporty fashion was selected as the theme, and customized prompts were developed from prior research and design principles to generate visual outputs for each stage. Furthermore, three apparel design experts evaluated the AI-generated images to assess Midjourney’s practical applicability and effectiveness in each phase of the fashion design workflow. Expert evaluations revealed that Midjourney was particularly effective in the early stages, offering diverse and visually engaging imagery that supported creative ideation and mood expression. The tool allowed quick exploration of different silhouettes during the sketching stage but was imprecise in detailed forms and proportions. Limitations became more evident in the flat drawing and work instruction stages, where outputs failed to accurately reflect material textures and technical construction. Prompt refinements and referencebased prompts were tested but often resulted in inconsistent or stylized outputs. Additionally, continuity between stages was missing. Midjourney shows potential as a creative tool, but experts highlight its limitations for practical industry application. Further research is needed to improve prompt optimization and training data for enhanced accuracy and usability in AI-assisted fashion design workflows.

This study aimed to analyze the characteristics of the New-Chinese style appearing in Chinese fashion designer Shiatzy Chen’s collections and, accordingly, recommend various directions for the New-Chinese style design. Regarding the research method, the background and concept of Chinese style and New-Chinese style were reviewed, while relevant characteristics were derived from prior research. Concerning the data collection, 21 season collections from A/W 2014 to A/W 2024, were selected, and 26 reviews and 1,168 collection data were collated. The results are as follows: First, “multicultural convergence” emerges as design methods reflecting social changes and utilizes diverse cultural elements. In fashion design, it emerges in a harmonious combination of culture and artistic styles, expressing the integration of varied cultures —for instance, East–West cultural convergence. Second, “historical tradition” consistently expresses Shiatzy Chen’s fashion; continuously explores Chinese people’s garments and aesthetics; and integrates oriental dignity, culture, and discipline into fashion design. Third, “temporary diversity” refers to a Chinese fashion design culture that represents the seamless blending of traditional culture and modern social values— leading the new consumer market by combining new and old generations, graffiti aesthetics on modern streets, and traditional and contemporary expressions. Fourth, “positive metaphor” expresses the intrinsic mental element and emphasizes covert rather than overt beauty. These expressions metaphorically communicate ancient Chinese legends via artistic techniques, such as contemporary illustration and embroidery, thereby conveying an active mental culture.

This study analyzes the expressive characteristics of fashion design through sensory experiences, focusing on the Metropolitan Museum of Art’s exhibition Sleeping beauties: Reawakening fashion. It aims to explore the creative and innovative potential of fashion design that utilizes sensory experiences while proposing new directions for future fashion exhibitions and the design field. The research scope includes 220 garments and accessories featured in the exhibition. Based on theoretical considerations and case studies, this research classifies and examines fashion design characteristics from the perspectives of olfactory, tactile, visual, auditory, and multi-sensory experiences. The findings indicate that olfactory experiences enhance emotional engagement by integrating fragrance with storytelling, while tactile ones increase immersion through fabric texture and structural elements. Visual experiences strengthen aesthetic appeal and narrative through various digital technologies and lighting effects, while auditory ones convey the emotional messages of fashion design using sound and music. Additionally, multi-sensory experiences combine multiple sensory elements to provide viewers with an immersive, multidimensional experience. This study confirms that sensory experiences expand the creative possibilities of fashion design and suggests new exhibition strategies that integrate sustainability and digital technology. Beyond simple stimuli, sensory experiences foster emotional connections and contribute to enhancing fashion design’s artistic and cultural value. Therefore, this research highlights the importance of integrating sensory experiences with creative approaches and technological convergence to amplify the social and artistic impact of fashion design.

This study explored the development direction of punk fashion through 3D digital fashion design by analyzing the expressive characteristics and inherent meanings of the punk fashion expressed in Vivienne Westwood’s creations. To this end, the concept underlying punk and its expressive characteristics were examined, and the eco-friendly expressive attributes of punk fashion were scrutinized through photos of Vivienne Westwood’s collections. The analysis focused on 10 seasonal collections showcased over the past five years, from the designer’s 2018 S/S to 2022 F/W collections. The results revealed that Westwood’s punk expression was characterized by traditionality, eco-friendliness, playfulness, resistance, and deconstruction. Traditionality appeared in the form of a harmonious redesign of classics to create new works, while eco-friendliness was manifested through the use of slogans and eco-friendly materials and methods. Playfulness conveyed positive messages through comedic situations or characters, and resistance emerged as a means of delivering messages for improving social issues. Finally, the deconstruction of punk was reflected as resistance, boldly destroying fashion structures to express dissatisfaction with society. Punk design in fashion is one of the avenues in which designers effectively express the messages that they want to communicate to society. This study is significant, as it provides foundational data for exploring punk characteristic design strategies to be used in future fashion. The scope of application for 3D virtual clothing programs is expected to expand in the fashion industry, and continuous research on digital fashion design is anticipated.

This study investigates the cognitive characteristics and transition flow of team mental models in virtual reality environments (VRE) compared to Zoom-based collaboration during fashion design problem-solving processes. Using the VRE platform Spatial.io as a case study, the study examines how virtual reality technologies influence the formation of shared mental models among collaborators. The objective is to identify key cognitive features that VREs offer to support problem-solving in multidisciplinary fashion design collaborations. The study employed a comparative experimental design, involving professionals from fashion design, marketing, and production. Participants completed the design concept generation tasks in both VRE and Zoom environments, all interactions were recorded and coded, with the analysis focusing on cognitive transitions, verbal dynamics, and collaborative behavior patterns across both environments. The results reveal that VRE fosters higher frequencies of environmental interaction (EI-EI), cognitive integration (CIM-CI), and planning to execution transitions in team interactions (PP-PIM), forming multidirectional feedback loops. These features enhanced dynamic adaptation to environmental stimuli. In contrast, Zoom-based collaboration relied heavily on linear verbal communication, with fewer cognitive transitions and limited structural feedback loops, thereby reducing efficiency in idea evaluation and execution in team interaction. The study highlights the potential of VREs to transform collaborative practices in fashion design by enabling immersive and multidimensional interactions, contributing to advancing digital collaboration strategies in creative industries, with implications for education and interdisciplinary innovation.

This study explores the contemporary reinterpretation of traditional suit design through the lens of post-structuralist philosopher Jacques Derrida’s concept of decentralization. The objective is to systematically analyze the diverse expression methods of decentralized suits in contemporary fashion and identify their design characteristics, thus exploring various design possibilities for decentraliz suits. To achieve this, the study examines the deconstructivist fashion collections of notable designers such as Martin Margiela, Rei Kawakubo of Comme des Garçons, Alexander McQueen, and Thom Browne, analyzing 269 decentralized suits from their men’s collections from 2009 to the present. The methods of decentralization are categorized based on the structure (composition), details, and materials of the garments, are classified into deconstruction, discontinuity, and disorder. Specific expression methods include irregular wearing, layering, asymmetry, and distortion for deconstruction; omission, heterogeneous insertion, material transition, and separation for discontinuity; and tearing, graffiti, and unfinished elements for disorder. The identified design characteristics are as follows: gender-neutral and category-free, which dismantles the rigid formality and masculine image of suits to allow flexible and diverse gender expressions; integration of unconventional elements, which combines traditional suit design with non-traditional details like ruffles, strings, unfinished edges, and graffiti to create new designs; and sustainable design, which utilizes the deconstruction and recombination of existing suits to recycle discarded suits, making it suitable for upcycling.

ㅊThis study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology—relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect— can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

Clothing is intimately intertwined with daily lives as every individual relies on it. The pervasive issue of plagiarism in the fashion industry has led to an increased demand to protect intellectual property rights. Currently, studies on the protection of fashion design intellectual property rights in China remain in the exploratory stage and warrant further investigation. This paper addresses the issue in two parts. The first part contains an analysis of the theoretical foundation for the protection of fashion design copyrights. It is further divided into three subsections. The first subsection primarily examines the concept of copyrights and laws. The second subsection focuses on the concept of fashion design copyrights and laws. The third subsection analyzes copyright laws concerning fashion designs in China. The second section offers an analysis of infringement cases involving fashion designs published during the Baiyi Cup Intellectual Property Case Summary Writing Competition held in China in 2023. It outlines the shortcomings of the current Chinese copyright laws regarding the protection of fashion designs, and proposes measures for improvement. This study argues that the institutional framework for intellectual property rights in the Chinese fashion industry should align with practical considerations and explores suitable legal regulations and how they relate to specific circumstances in China. Besides refining the legal framework, fashion designers and enterprises must take measures to entablish the intellectual property rights of their clothing brands.

This study aimed to explore sustainable fashion design plans and directions by analyzing Marine Serre’s collection. Previous research was reviewed to derive classifications of the aesthetic characteristics of sustainable fashion design. This classification was then used to analyze the characteristics of the Marine Serre collection. Design analysis was conducted on Marine Serre’s 2018 FW to 2023 SS collections. Marine Serre’s sustainability characteristics are functionality, surprise, handicraft, and inclusion. The results are as follows. First, functionality is the highest among the four characteristics and includes the functionality of movement, the functionality of form, and futurism. This characteristic was observed in the use of all-in-one body suits, pockets, and workwear, showing the will and values of designers who value daily activity. Second, surprise includes the scarcity of materials and the unexpectedness of composition. The value of the clothing is enhanced by the use of scarce materials not typically used in clothing. In addition, Marine Serre is highly regarded for expanding clothing into life by incorporating material upcycling into the theme of the collection. Third, handcrafted features include exaggerated decorations, logo, retro designs, and natural properties, and intentional utilization is differentiated. Marine Serre’s signature pattern suggests a suitable expression for the fabric to use the crescent moon for the season. Fourth, the collection expresses themes of inclusivity and cultural diversity. The results indicate that Marine Serre wants to contribute to a better future characterized by global coexistence.

본 연구는 패션 산업현장에서 발생하는 실제 문제 해결을 위해 필요한 지식을 자기 주도적으로 학습하고, 이를 실제 상황에서 적용하여 협업을 통한 창의적인 문제 해결 능력을 습득할 수 있는 PBL 기반 디자이씽킹 을 활용한 패션디자인 수업모델을 제안하는 것을 목적으로 하고 있다. 연구 내용은 PBL과 디자인씽킹의 핵심 요소들을 융합한 DT-PBL 모델 을 적용한 수업을 설계하고 부마민주항쟁 기념상품개발이라는 실제적인 시나리오를 중심으로 문제해결안을 도출해가는 수업 과정을 운영하였다. 수업 운영 결과, 학습자는 자기 주도적 학습 활동을 진행하는 과정에서 소통과 협업 능력을 발휘하여 창의적인 문제해결안을 도출하는 역량이 향상되는 학습 성과를 확인할 수 있었다. 따라서, DT-PBL은 패션 관련 전공 PBL 교과목 수업 설계 시 디자인씽킹을 활용하여 패션산업 현장의 실무를 창의적이고 자기 주도적으로 문제해결안을 도출할 수 있는 효율 적인 패션디자인 수업모델과 수업사례로 활용될 수 있기를 기대한다.

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 merge Picasso’s expressive elements and deconstructive fashion’s formative traits, proposing an upcycle fashion design that fuses artistic and philosophical aspects. The analysis of Picasso’s Cubism identified qualities like liberating revolution, fluidity of vision, geometric reducibility, complex symbolism, and creative imitation. The analysis of Derrida’s deconstructionism revealed expressive traits: uncertainty, intertextuality, différance, and dis-de phenomenon. An upscale fashion design was developed based on six Picasso works featuring women. The design was created using the fashion design software CLO 3D and integrated clothing waste and scrap fabrics as materials.The results are as follows. First, upcycle fashion was viewed from a new perspective based on Picasso and Derrida’s values. This perspective suggested creating better ethical values by upholding environmental protection in novel ways that overcome limitations rather than destroy existing values indiscriminately. Second, upcycle fashion design methodologies were derived from various perspectives utilizing formative features of Picasso’s works and specific expressive features of deconstructed fashion. Third, the direction of mitigating waste and pollution from clothing production and transportation was revealed by making clothes in a virtual space using the CLO 3D program. This study contributed to obtaining various methods for developing upcycle fashion designs using own methods of Picasso and Derrida to diversify the approaches of upcycling, which is relatively stagnant in disassembling.

The objective of this study was to explore the symbolism associated with phoenix patterns in China and the temporal aesthetic characteristics of these patterns found in Dunhuang Mogao Grottoes. The study involved collecting examples of clothing designs featuring phoenix patterns from China Fashion Week and the Vogue website, spanning from spring and summer of 2016 to fall and winter of 2022. After collecting and organizing these examples, representative cases were selected for analysis. The objective was to identify effective techniques for incorporating phoenix patterns within the context of Dunhuang Mogao Grottoes and provided insights for future clothing design and textile pattern design research. Phoenix patterns boasted a lengthy history and were laden with symbolic meaning. Early renditions of phoenix patterns found at Mogao Grottoes in Dunhuang were relatively simplistic in design, mainly employing elements like rhythm, coordination, balance and symmetry to convey a sense of nature and gravity. Over time, these patterns evolved under the influence of the prevailing cultural backdrop, employing repeated emphasis to portray notions of abundance and tenacity. Furthermore, regarding the use of phoenix patterns in clothing, there were four prevalent expression techniques: embroidery, beading, printing, and knitting. Traditional techniques like embroidery and beadwork often prioritized aesthetic features like coordination, emphasis, and symmetry, thereby showcasing the opulent characteristics of phoenix patterns. On the other hand, printing and knitting techniques used a single phoenix pattern or a modified version to simplify designs by emphasizing or repeating aesthetic characteristics while adhering to a modern artistic approach.

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr’s image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

This study analyzes traditional women’s Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the “moment” theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

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.

The purpose of this study is to apply the traditional Chinese fretwork on the ‘Faux Chenille’ textile work method in a way of enhancing the decorative features of patterns and developing the fashion design. As for the method, it works on the historic background and advancement of the fretwork and it refers to the bibliographies pertinent to the traditional Chinese geometric pattern. The result are as follows. First, pure cotton and 100% rayon are mixed to make it feasible to produce the texture for the material to be tender and enhanced, and in the process of washing and drying the Faux Chenille textile. The Faux Chenille textile is an important material that is required to select materials with great absorption capability as the most effective material to re-visualize the lines and patterns by sustaining the diagonal lines. Second, the fretwork is designed to process the basic formation for 90° angle with the sense of unlimited extensive line and changes with straight line. It has been confirmed that, if the angle that controls the Faux Chenille textile and the tailoring interval are well aligned, the expression of traditional geometric pattern would be effective and it may be expressed in contemporary style. Third, through the fashion design application by utilizing the Faux Chenille textile of the fretwork, it is confirmed that the contemporary application of the traditional culture could be expressed uniquely and creatively while it is affirmed that the western technique and Asian culture can be blended in harmony.

The environment has increasingly attracted attention and fashion brands need to use new growth models by developing eco-friendly products, along with the drastic climate change. This study drew design guidelines from the factors of clothing disposal and reuse to propose ways to extend the longevity of clothing. It sets the design goals for the longevity extension of clothing as flexibility, originality, durability, and adjustability and drew a specific design guideline. The design methods used to achieve such goals are as follows. First, the design that is flexible in terms of physical changes needs to increase its activity and to be changeable, by applying pleats, rubber bands and elastic materials to the parts with many physical changes and movements. Second, it is necessary to reinforce the brand identity, create design that is flexible in terms of fashion and design very rare and attractive products, for the goal of original design beyond fashion. Third, it is necessary to increase the quality of clothing and improve the durability which can be decreased by washing and wearing. Fourth, it is necessary to create the design that can produce various styles, preserve the state of clothing and maintain its hygienic conditions by using removable detailed designs, shape-transformation designs and the designs which can be adjusted to climate changes and states, for the goal of adjustable design with better functionality. The findings provide ideas for fashion experts to pay more attention to the extending the longevity of clothing products and to develop eco-friendly designs and strategies.

In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of “futurism.” Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.

The purpose of this study is to suggest effective online pedagogical strategies for a fashion design CAD course to enhance student learning and satisfaction. The study investigated student experience of online learning and compared online learning with a face-to-face learning experience. Student concentration, participation, perceptions of effectiveness of teaching, utilization of learning materials, and satisfaction were analyzed using a 5-point Likert scale. Advantages and disadvantages of online learning as well as advantages of face-to-face learning were also analyzed both quantitatively and qualitatively. Student concentration, participation, and perception of effectiveness of teaching were greater for face-to-face learning with significantly higher concentration on individual practice. Students utilized video recording of synchronous online lectures more actively than PDF lecture notes. The advantages of face-to-face learning were plentiful communication and feedback and easy questioning process as well as high levels of understanding and concentration. Meanwhile, major disadvantages of online learning were the speed of the lecture, lower levels of understanding and concentration, limited peer interaction, and technical problems. Major advantages of online learning were flexibility and convenience, repetitive learning through videos, and instant communication and feedback. Students preferred a blended learning approach for the fashion design CAD course. For effective online learning, it is suggested that instructors frequently question and check student practice through screen share in a private online meeting room and engage activities that are demanding of student interaction. The video recording of synchronous online lectures is also suggested as a supplemental learning material for repetitive learning.