The purpose of this study is to analyze the formative characteristics of women’s costumes among the Regency era’s elite in the television drama Bridgerton (2020). Its methodology investigates the socio-cultural background and literature on clothing in the Regency era. It also analyzes the formative elements of Daphne’s costumes (of the Bridgerton family) and Penelope’s costumes (of the Featherington family) representing the upper class. The study reveals that women’s costumes had a tubular silhouette consisting of a low neckline, high waistline, and short puffed sleeves. The series expressed well the Regency-era costumes, which were influenced by Neoclassicism and characterized by silk materials, shawls, gloves, belts, a reticule, and hairstyles. Among the formative elements, the Bridgerton and Featherington families’ costumes showed distinct differences in color, materials, patterns, accessories, and hairstyles. Daphne’s costumes were intelligent and elegant in pastel-toned blues and had small patterns. She carried small accessories and had a natural curled hairstyle. In contrast, Penelope wore decorative and splendid styles in intense colors and large patterns. Her accessories were large and colorful, and she had a strong curled hairstyle. These costumes express the Bridgerton family as aristocratic and the Petringer family as flashy, thereby distinguishing the two families. These research results will be presented as basic data for producing drama costumes in the 19th century to help complete the drama.

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 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 develop a knitwear design with the potential for practical use through a combination of science and design by examining the concept and formative characteristics of fractal geometry and applying them to the development of 3D virtual clothing knitwear design. This study produced five main conclusions. First, the sub-concepts of “Repeatability,” “Scale variability,” and “complexity,” which are based on self-similarity, appear together with simple regularity in the fractal formative characteristics shown in fashion design. Second, fashion fields apply fractal geometry in three-dimensional surface textures and optical textile patterns as a method of expression. Third, it was confirmed that various expressions can be created with fractal patterns by using the SDS-ONE APEX 3-4 design system; moreover, fractal patterns are a suitable design source for the development of Jacquard knitwear patterns. Fourth, in the development of knitted jacquard fractal patterns, by arranging the patterns in perspective, the effect of emphasizing or reducing the human body by optical illusion was shown. Fifth, a knit Jacquard structure with a pattern that exhibits fractal modeling characteristics and applying it to a 3D virtual clothing sample design reduces the time required for sample production while expanding the knit design’s expression area and reducing costs. Thus, the clothing sample confirmed the effectiveness of practical knitwear design development.

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.

본 연구에서는 로봇디자인에 대한 선호 반응의 결과를 바탕으로 로봇 얼굴을 구성하는 조형요소의 조합 관계에 대한 특성을 분석하는 것이 기본적인 목적이다. 아울러 분석 결과로부터 선호도를 향상시키기 위한 디자인가이드의 제시 가능성을 고찰하고자 하였다. 이를 위하여 27가지의 로봇 얼굴 사진을 실험자극으로 선정하고, 선호 반응 및 연상 반응에 관한 실험을 진행하였다. 실험 로봇 얼굴의 형태 보다는 눈의 형태가 선호 반응에 많은 영향을 미치는 등 다양한 특성이 나타났다. 이러한 결과를 바탕으로 로봇 얼굴에 대한 선호반응에 긍정적 영향을 미칠 수 있는 각 조형요소의 특성 도출 및 기본적 디자인가이드라인을 제시할 수 있었다. 구체적으로 먼저, 눈의 형태는 세로의 길이가 가로 길이 보다는 긴(167%) 타원형을 적용하는 것이 필요하다. 그리고 눈 사이의 거리는 얼굴 폭의 35% 정도를 유지해야 한다. 또한 눈의 위치는 얼굴의 중심축으로부터 상향에 배치하여 시각적으로 안정감을 주는 것이 중요하다. 머리 전체의 형태는 원형을 이용한 구 타입이 바람직하다. 머리의 형태와 눈과의 조화는 로봇으로서 기본적으로 갖추어야 할 귀엽고 깜찍한 이미지를 구현하는 것이 필요하다.