This study analyzed the design elements and fashion images of women's knitwear in collections of Paris, Milan, London and New York between 2003 and 2008, and examined knitwear trends in an effort to verify whether knitwear trends are repeated in certain cycles, whether they show complicated patterns in cycles and yet occur in quasi cycles, or whether they occur non-periodically in complicated forms of chaotic cycles. Trend cycle analysis results are deemed to identify the time series attribute of knit fashions. It also sought to categorize the attribute of various factors influencing knitwear trends with a view to determining relevancy between design elements, and to present the direction of predicting knitwear fashion trends and the progression of short-term knitwear trends. This study reached the following conclusion. According to design elements or fashion images, knitwear fashion trends occur in cycles, quasi cycles, non-periodical cycles. These cyclic characteristics can be used as scientific data for planning knitwear products. The study confirmed close relevancy between fashion images and fashion elements. It identified close relevancy between designs with similar fashion elements and images through coordinates by year and season, and it is possible to make short-term prediction of trend direction through the flow of coordinates. Time series data were insufficient, thereby making it difficult to perfectly verify chaos indices and giving limitations to this study. A study with more time series data will produce a more effective method of predicting and using knitwear fashion trends.

Thanks to both developments in various media such as the internet and TV and China's economic growth, the fashion market in China has gain a lot of attention by global businesses as a newly-raised spending market. Fashion companies in Korea have entered into the china since the late 1990s. For them to get competitive edges, they have to differentiate their brand by creating new design based on the culture becoming mega-trend in fashion market. So in this research, I try to create fashion designs based on Hallyu Stars' fashion styles and images, who come on as a new culture code in China and other Asian. For this, I conducted theological consideration on what the Hallyu is, and looked into fashion styles in soft dramas which 5 Hallyu Stars started in and street fashion in Shanghai in China. Based on the outcomes of analysis, I figured out those star's fashion style and created products targeting young generation born after 1980s in China. The conclusion of this study is as follows. Firstly, the very definition of Hallyu which can be described as a phenomenon in which Korean movies, soap operas, and pop music have become immensely popular throughout Asia—has been expanding to signify the proliferation of Korean culture as a whole. Secondly, having selected the 5 female stars representing Hallyu, we were able to analyze and categorize their fashion styles on the basis of their music videos, movies, and soap-operas. Thirdly, In order to explore the level of influence of Hallyu fashion industry, we studied the street fashion of Shanghai The result was that we could observe both the slim and feminine cool casual style and the cute and affectionate pretty casual style simultaneously.

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel’s clothing that is usually used by neutral colors and on Yohji Yamamoto’s clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.

This study attempted to understand the value of traditional floral wall patterns reflecting the distinct aesthetic consciousness of Korean people and reinterpret the images of floral wall patterns in simplified forms. In addition, the study created new floral patterns to apply them to the design of neckties and scarves. In a methodological aspect, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to make the traditional floral wall patterns motifs. Four basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating, and/or reducing shapes based on floral wall patterns, and each motif was developed in two variations with different colors applied to them. Each of the set motifs was expressed in a repeated arrangement and in a modified pattern of 45 degrees. Necktie design with a floral wall pattern made use of the motifs developed through a variety of effects such as simplification, repetition, size variation, and gradation and the pattern modified at a 45°for application. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed and expressed them through such effects as repetition, rotation, compositional variation and gradation.

The club culture is not something unified. Rather, it is a group of subcultures which share intertwined areas. And it keeps its own dress code, dance style, music genre along with series of authoritarian and unlawful rituals. For young adults, a club is a new cultural space to enjoy in reasonable price and they can express themselves without thinking much about others. A club creates its unique mass culture by producing continuously changing and experimental fashion styles. As the club culture’s influence becomes powerful, the club market was established and experimental fashion styles are wide spread among general public, young adults who try to express their unique characters and even fashion-leading industry. The study results are as follows. First, dance club and its derivative, rave is symbolic axles and the center of social activity. They are also defined as culture which is related to specific space that continues to present and change sound and style. Second, the definition of clubber in a dictionary is club member or a person who is united with others. Third, based upon clubbers’fashion styles in Hongdae and Kang-nam areas, there are 5 different images including sexy casual, lingerie, dynamic, chic style and feminine style. Fourth, based upon case study above, to take unique life style of fashionista that leads fashion with trendy fashion style into account, we suggested five designs which are unique, sensitive and trendy. Fifth, through analyzing clubber generation and design factors of clubbers’ fashion style combined with various trend, unique brand was developed to meet the demands of clubbers who want differentiated images and leading styles.

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich Wölfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which Wölfflin directly dealt. As for the theoretical literature review, I used Wölfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

In modern society as people adapt to social and cultural changes, people prefer high-scarcity designed products rather than standardized ones. Consequently, this adaptation lays a foundation in art and cultural domains to express uniqueness and individuality. The purpose of this study is to develop fashion designs by fusing fashion painting and handicraft techniques through creative and various artistic expressions. The researchers studied the sociocultural background of modern handicraft fashion using document-based research methods. Based on the characteristics of modern handicraft, we produced six garments that applied fashion painting techniques. In this study, the origin of fashion painting was found in ornaments such as tattoo or body-painting. We determined that modern designers were using various fashion painting techniques and motives as unique and advanced ornamentary skills. Harmonizing various handicraft techniques(dyeing, embroidery, quilt, patchwork, beads, fashion painting, etc.) centered on fashion painting enabled creation of unique fashion design through varieties of artistic expressions.

This study aimed to analyze the expression of Hybrid in Contemporary Hair Design that is one kind of total fashion. In this research, by background of the hybrid characteristics of the messes culture art, the hybrid characteristics of the hair design has been defined as characters which is the mixture of timeless spaces, styles, sexes, unsuitable elements and cultures. The results of analysis by the expression of the hybrid hair design after 2000 is like this. As the researching, the hybrid characteristics of the hair design by the mixture of unsuitable elements and styles have been presented the highest. The result of the frequency of the apparition in the hair design molding elements according to the expression of the hybrid hair design, the hybrid characteristics of the unsuitable elements and style has been presented ideological form and the artificial form was the highest. The case of the hybrid of the activated texture, the unsuitable elements, style and timeless space has been presented excellently one after another. In the color tone, the mixture of the style, the unsuitable elements and timeless space has been presented one by one. The case of the hybrid of the image, the unsuitable elements that is the highest the frequency of the apparition was presented the image of the avant-garde, the fantastic and humor one after another.

The contra-sexual phenomenon that is recently focused is one of the new factors, which is focused when explaining the life style of progressive woman’s image and it is creating cultural category. Moreover, the contra sexual people that are rising as new consuming subjects are not simple primary consumers but their shopping culture and cultural tastes are giving effects to many people. Because of the tendency, marketer of consuming industry are making efforts to predict the changes of contra-sexual people’s shopping habits and tastes. Therefore, it is necessary to grasp contra-sexual phenomenon and research the fashion design aiming at that in order to predict woman’s fashion image in the future. Therefore, the study considered concept and characteristic of contra-sexual phenomenon and surveyed its example in the popular culture. And, the study analyzed the formative characteristic of contra-sexual fashion shown in the public cultures such as drama and movie. On the basis of the result, design was suggested by reflecting contra-sexual fashion characteristic under the concept of ‘Urban Splendor’. From the results above, it was possible to grasp the concept and characteristic of contra-sexual phenomenon, which appeared as a trend and understand new woman’s image and the fashion that has changed because of it. It is considered that the establishment of the foundation of contra-sexual phenomenon, which plays as an important variable in woman’s fashion, fashion accessory, cosmetic and advertisement field but it is hard to clarify, by analyzing the work aiming at contra-sexual phenomenon will be helpful for predicting the change of woman’s fashion in the future.

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.

본 연구는 남성소비자들의 패션라이프스타일 유형에 따른 넥타이 문양디자인 선호도와 구매 의도를 파악하고자 하는데 그 목적이 있다. 남성소비자들의 패션라이프스타일 유형은 '유행 지향', '보수 전통지향', '과시적 브랜드 지향', '개성 지향', '실용 지향', '패션 무관심' 형으로 분류되었다. 각각의 패션 라이프스타일 요인들을 군집 분석하여 남성소비자들의 패션라이프스타일에 따른 집단을 '개성 추구', '실용 & 브랜드 추구', '보수 전통 & 개성 추구', '유행 추구', '패션 무관심' 집단으로 구분하였다. 남성소비자들의 패션라이프스타일 유형에 따라 넥타이 문양 선호와 구매 의사에는 차이가 있는 것으로 나타났다. '실용 지향'형은 '무지단색', '원', '페이즐리'의 넥타이 문양을 선호하는 경향이 있는 반면, '꽃' 문양은 선호하지 않는 것으로 나타났다. '보수 전통지향', '과시적 브랜드지향', '실용 지향'형은 '줄', '체크'의 넥타이 문양을 선호하는 경향으로 나타났고, '유행 지향', '과시적 브랜드지향', '개성 지향'형은 '무지단색', '꽃', '동물'의 넥타이 문양을 선호하는 것으로 나타났다. '유행 지향'형은 '무지단색', '꽃', '동물'의 넥타이 문양에 대한 구매 의사가 있는 반면, '실용 지향'형은 '원' 문양에 대한 구매 의사가 있는 것으로 나타났다. '실용지향'형은 '원' 문양에 대한 선호 및 구매 의사가 동시에 있었고, '유행 지향'형 역시 '무지단색', '꽃', '동물' 문양에 대한 선호 및 구매 의사가 동시에 있는 것으로 나타났다. 반면, '보수 전통지향' 및 '과시적 브랜드 지향'형이 '줄', '체크' 문양에 대한 선호가 높았으나, 구매 의사는 '페이즐리' 문양에 있는 것으로 조사되어 선호하는 넥타이 문양과 구매하고자 하는 문양 간에 차이를 보였다.