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.

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.

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.

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.

Zero-waste pattern cutting is a groundbreaking sustainable fashion practice. However, few brands and designers have pursued this method because it requires creative pattern design that diverges from the existing process of using pattern slopers. Therefore, application within the fashion industry is not sufficient. Therefore, in an attempt to highlight the key characteristics of zero-waste pattern design, this study classifies and analyzes cases in which similar designs employ zero-waste pattern-cutting techniques. We hope to make zero-waste pattern design more accessible by presenting realistic pattern-cutting guidelines. To this end, theoretical research on relevant literature, previous research, and online resources and an empirical analysis of cases involving zero-waste pattern cutting were conducted in parallel. As a result of the study, we were able to classify the factors of zero-waste pattern design in terms of fabric use, design, and composition. Regarding materials, our research revealed the importance of appropriate fabric width, understanding the difference between waste minimization and minimal fabric use, and easy reuse and recycling. In terms of design, the simultaneous progress of pattern and design work, adjustable loose silhouettes, and the use of surplus fabric for functional and decorative details emerged as key characteristics. For composition, we found that size adjustment limits, arrangement irregularity, and pattern shapes were crucial elements and that various arrangements revealed unlimited design potential.

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.

The purpose of this study is to understand the concept of zero-waste design and to apply Sophia Vyzoviti’s folding techniques to develop a zero-waste fashion design method that contributes to sustainable fashion design. In this study, we explore the method and characteristics of zero-waste fashion design based on the concept of folding described in Sophia Vyzoviti’s book on folding techniques. Using the autonomy of Sophia Vyzoviti’s folding technique, four changeable folding fashion designs were developed and produced, demonstrating zero-waste fashion design. The results were as follows. First, the development of fashion designs using Sophia Vyzoviti’s folding techniques enabled the development and production of free and creative zero-waste fashion designs that were three-dimensional, continuous, fluid, and full of potential. Second, the production of zero-waste patterns was further developed into a transformable fashion design that can be used with geometric patterns. These folding techniques produced a fashion design method that could transform one piece of clothing, demonstration the potential for maintenance of creativity using a zero-waste design based on these folding techniques. Third, the double-faced fabric, Neoprene, was chosen as an appropriate material as it emphasizes the depth of folding with application of two colors and its cotton/polyester blend that is suitable for folding.

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi’s Nuo masks can be divided into those based on their origin and history, the user’s social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks’ splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood’s original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics—including religious cultures and totem worship—and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the “seven-star” sheepskin cape, one of the Naxi people’s important ethnic costumes as demonstrated by the women’s clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled “By the Light of the Moon and the Stars,” which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people’s seven-star sheepskin cape is a symbol of women’s clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people’s traditional culture.

최근 패션업계에서 이슈가 되고 있는 Virtual Fashion 관련 서비스는 소비자들이 피팅 서비스를 사용함에 있 어 실제 상황과 상호작용하는 것처럼 의류의 재질감, 색상 그리고 사이즈를 실제적으로 경험해 볼 수 있게 하는 수단으로 활용되고 있다. 하지만 기존에 생산한 3D Object 데이터에 대한 접근성 및 재활용성이 낮은 단점을 가지고 있다. 또한 다양한 데이터 포맷을 사용하면서 생성되는 Texture의 용량과 출력되는 Animation 파일들의 크기가 커서 최종 결과물의 용량이 비대 해지는 단점도 있다. 본 논문에서는 기존 선행 연구된 시 스템을 Legacy Virtual Fashion System으로 정의하고 해당 시스템에서 사용하던 자원들을 효율적으로 재활용 하고 프로세스 단축 및 Texture과 Animation의 용량을 축소시키기 위하여 공통으로 사용할 수 있는 게임 엔 진 기반의 Virtual Fashion 프레임워크를 제안하고 구현했다. 게임엔진 기반의 Virtual Fashion 프레임워크를 이용하여 Virtual Show Room, 3D Runway 및 Virtual Fashion Sample을 제작하고 또한 해당 프레임워크의 성능 을 측정하기 위하여 실험을 구성했다. 구성된 실험으로 최대 50%의 용량 감소의 효과를 확인했다. 또한 본 연구의 결과물을 이용하여 다양한 형태의 출력물을 개발 확대 적용하는 것 기대해 본다.

This study explores the possibility of creating new experimental hanbok designs by accommodating the latest world fashion trends and the changing needs of consumers, in order to attempt to overcome the limitations of traditional Korean fashion design. To do so, We analyze works by contemporary Korean fashion designers to investigate current developments in Korean fashion design and to identify areas of improvement within hanbok design. The results show that most contemporary hanbok designs repeat stereotypes of traditional hanbok with minor modifications. So there arises a need to create new hanbok designs that are clearly distinct from traditional hanbok but also maintain its core features. To develop such designs, I apply the techniques of deconstruction fashion, which allow making experiments with form, composition, and materials use to realize new aesthetics. The use of CLO 3D fashion design software also proves to be very efficient for developing experimental designs. The study results make meaningful contributions to the development of virtual clothing and 3D fashion for hanbok, particularly as metaBUS, a cloud-based research synthesis platform, is rapidly gaining ground, and reality and virtual reality are increasingly mixed in everyday life. This attempt at 3D design of hanbok is expected to trigger more creative experimentation in hanbok design.

In the intensely competitive global fashion market, the use of cultural elements to enhance design has become increasingly widespread. However, there is a lack of research on challenges and opportunities associated with integrating cultural elements of Minhwa into fashion design. Moreover, diverse approaches to incorporate Korean cultural elements into contemporary fashion designs are still needed. This study aims to reveal the real-world challenges relating to the incorporation of Korean cultural elements, including Minhwa, into fashion design and to clarify the possibility of applying Lin’s cultural levels to cultural aspects in accordance with experts’ views. To establish a theoretical foundation, the literature review on cultural design and Minhwa studies was conducted. It analyzes Minhwa to gain an understanding of the characteristics associated with different cultural levels. In-depth interviews with fashion industry professionals and Minhwa artists were conducted to ascertain their attitudes toward Minhwa use. The study’s major findings were threefold. First, the cultural design facilitates the introduction, promotion, understanding, and maintenance of the culture. Since Minhwa offers rich inspiration linked to Korean culture, Minhwa-related designs can provide new perspectives while still having commercial potential. Second, however, the limitations of existing cultural designs included their being outdated, superficial without interpretation, unsophisticated, or limited. Furthermore, the use of Minhwa is limited since it is difficult to avoid creating superficial and unsophisticated designs in the real world. Third, approaching Minhwa at different cultural levels can promote diverse thinking and reduce the challenges of Minhwa use in design, but the major challenge remains visual expression.

Indonesian women have emerged as global consumers, and various studies are needed to expand the global fashion market targeting their needs. In this study, a survey was conducted to determine the fashion design preferences of Indonesian Muslim women according to demographic characteristics and religious variables. In this study, Indonesian women aged from their teens to their 40s were surveyed by questionnaire during June 2020. This yielded 301 survey responses, which were analyzed using χ2-test, t-test, ANOVA, and Duncan's multiple range test using SPSS23. The results of the study are as follows: Analysis of the demographic characteristics of Indonesian Muslim women and the degree of acceptance of fashion trends according to religious variables showed significant differences according to age, monthly income, and the extent to which they wore a hijab. Analysis of the demographic characteristics of the women and the degree of acceptance of the fitted garment according to religious variables showed significant differences depending on their age, whether they were married, their monthly income, religious faithfulness, the extent to which they wore a hijab, and the degree of acceptance of Islamic discipline. After examining the difference in Muslim women’s preferred fashion images (according to demographic characteristics and religious variables), significant differences were identified according to their age, income, extent to which they wore a hijab, and the degree of Islamic discipline with regard to clothing.