지속 가능한 느린 디자인 특성과 현대 패션의 상관성에 관한 연구

Traditional fashion design relies on the designer's experience, and there are limitations in fashion trend analysis and user demand response. Combining the characteristics of fashion design with Deep Learning, this paper constructs a multi-module intelligent model integrating trend prediction, key point detection, and design generation. The results show that Convolutional Neural Networks are superior to other models in the task of trend prediction on two fashion image data sets. Back Propagation Neural Networks combined with Principal Component Analysis dimension reduction significantly improves the training efficiency and model generalization ability. The model proposed in this study improves the scientificity of fashion trend analysis and design decision-making. It also provides technical support for a personalized clothing customization system based on communication networks and intelligent terminals, which embodies the deep integration of Artificial Intelligence, fashion design, and information technology and has a good interdisciplinary application prospect.

Fashion design with ecology orientation has become a trend because of the environmental crisis. In recent years, ecological and environmental crisis has become a big issue. With our social and economical activities development, human beings have consumed so many natural resources that it has created the crisis on ecology and environment. In 21 century, ecological fashion industry has become a booming industry. The fashion design has entered a new era of putting people first and going green design. The consciousness of cost effectively consumption has been recognized all over the world. Compared with that in developed countries, the development of ecological design is relatively late and slow in China. China has a big room in developing ecological fashion industry. This paper would analyze the issues of Going Green Fashion Design by making research on ecological materials and fabrics, virtual efforts, and wearing method. Ecological fashion design has created a new room for both fashion designers and fashion enterprises. Fashion industry has confronted a Going Green Reform, which makes us better health and better life. Efficiently using limited nature resources is most important concept for all designers. Fashion designers should take this as their duties and responsibilities.

This study is about the expression types and characteristics of Trompe l`oeil in modern fashion. The study defines the concept of Trompe l`oeil, examines the Trompe l`oeil in the surrealist works from which the Trompe l`oeil derives from, and analyzes the works that have emerged since 2000. The study used a collection of magazines such as Vogue, Gap, Fashion News, and the Internet. According to the findings, the expression types of Trompe l`oeil in modern fashion were seen in the human body, the wearing style, the details, and accessory effects of clothes. The modern fashion design using the Trompe l`oeil based on such external expressions was characterized by the following: first, the fashion design destroyed the concept of common sense and expressed the purity of the human spirit by revealing the human body hidden in clothes from the combination of clothes and the human body with surrealism. Second, the details or accessories of clothes were printed or painted as if they existed. Pleasure was expressed by applying Trompe l`oeil to the wearing methods and forms of clothes through the optical illusion of materials or colors. Third, the effects of an optical illusion were displayed by transforming and distorting the wearing style and reversing the front, back, exterior and interior of clothes; this optical illusion characterized the deconstruction expressed through the transformation of ideas.

This paper explores the potential for co-design to link sustainable consumption and production in the fashion industry. We review relevant research and perspectives and propose a co-design platform and an ideation toolkit in which users are encouraged to explore sustainability as a way of thinking at the early stages of the fashion design development process. We explain the rationale behind the ideation toolkit, its structure and demonstrate how to apply the toolkit to fashion design through a case study. Finally, we discuss both opportunities and challenges of co-designing the fashion system and its implementation in sustainable fashion and textile design education.

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and threedimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer’s imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

This study analyzed the trends and aesthetic characteristics of fur design found in the contemporary fashion to examine the status of fur material in the contemporary fashion design, and through an analysis of the meaning it attempted to come up with a new viewpoint and form on material for the future fashion design. A literature review was used to explore the kinds and properties of furs. In addition, an empirical analysis of works that have appeared in fashion collections since the year 2000 was conducted with local and foreign fashion magazines such as Gap, Vogue, and Mode & Mode and other publications related to fashion collections. In the contemporary fashion, the trends of fur design are represented by use of various items, material combinations, application to decorative purposes(like trimmings, details, or accessories), and a wide range of colors and textures available by advanced dyeing and finishing techniques. The aesthetic values intrinsic to fur design are that the expression of conspicuous luxury covers even the qualitative aspect of luxury and adds fashionable images to casual items, contributing to the popularization of fur fashion, by using a variety of artificial furs; the expression of sensual feminine beauty allows the animal and primitive feel characteristic of furs to convert a feminine body into a sensual image of more than a simple biological impulse; and the expression of hybridity presents a new viewpoint through distortions, exaggerations, deviations from the existing constituent forms, or futuristic sensibilities in all elements of fashion design.

The purpose of this study is to analyze by analyzing the aesthetic characteristics of Korean costume design in the works of Lee Young-hee, who is a representative of Korean designers, to contribute to the development of Korean costume design in modern fashion. This research method was a literature study, conducted in theoretical and experimental studies focusing on literature and prior study. The subjects of the data were collected photos from Lee Young-hee to 2001S/S-2012F/W on the Internet site Firstview and photos of Lee Young-hee

With the development of society, people’s aesthetic needs for clothing are also changing. The emergence of national style has become a new trend in the field of clothing design. Yao costume language and modern fashion elements have many common features. Yao costume can be integrated from the details of costume elements, costume color matching, decorative techniques and costume elements. Modern fashion design is carried out in style and other aspects. Virtual reality technology is a technology of human-computer interaction using virtual technology. Modern virtual clothing design is that clothing designers use virtual reality design technology through vision, hearing and touch to design clothing under the virtual reality environment displayed by computer. A comprehensive technology integrating computer graphics, artificial intelligence, concurrent engineering, network technology, multimedia technology and virtual reality technology. Retain and develop the essence of national costume and apply it in modern society, which reflects the artistic expression and national cultural charm in modern costume design, improves the position of national costume elements in modern costume design, and plays an important role in promoting the excellent costume culture of ethnic minorities.

In the process of "modern society", waterfront landscapes were born with the rapid development of society. With the improvement of people's material living standards, people's demand for innovative concepts has become increasingly strong. Today's waterfront landscapes should not stick to traditional landscape models, should fully tap imagination and creativity to meet people's spiritual and cultural needs Give landscape design greater sensibility as well as freedom of creation in order to better express fashionable sexual elements. Fernand Braudel believes that the change of fashion not only represents the sublation of the old, but also reveals the creation of the new. This article mainly explains the problems existing in today's waterfront landscape spatial interface design, and explains the interesting expression and displayed characteristics of fashionable elements in waterfront landscapes, or the design techniques for interpreting popular waterfront landscapes. At the same time, it shows that if a fashionable design is recognized in a certain period of time, it will have multiple communication paths. Especially in the information age, the most fashionable design style will usher in the fastest imitation. Finally, it is proposed that the new era should continue to use new ideas, new technologies, and new materials create more "fashionable" waterfront landscape design paradigms.

This study studied fashion design characteristics of Muslim women in Indonesian street fashion and analyzed fashion images, items wearing, patterns and silhouettes, and colors and styling of each image through local street fashion photos. Fashion image analysis was carried out by a group of experts (masters and PhDs in fashion design including these researchers). For street fashion, image classification (multiple choice possible) was performed based on 8 fashion images referenced in previous studies. For the characteristics of fashion design, the researcher first analyzed top and bottom clothing items, accessories, patterns and silhouettes, and styling by image, and secondly classified them after verification by two experts (fashion design doctors). The survey results were analyzed for frequency through the SPSS Statistics 27 program. As a result of analyzing fashion images, they were often found to be modern, sportive, and romantic, and clothing items such as T-shirts, shirts & blouses, long pants and long skirts were mostly found. For accessory items, the veil was most of them wore short hijabs that covers up to their necks. For shoes, casual items including sneakers and running shoes as well as sandals were frequently found, and for bags, shoulder bags were found the most. For hats, they created fashionability by wearing brimmed bucket hats or knit caps over hijabs. It was identified that non-pattern clothing and veil predominated and if there were patterns, geometric patterns were preferred. For silhouettes, H-line silhouette was predominant. In the modern images, the street fashion was characterized by straight silhouettes and unity of veil and clothing colors. In the sportive images, the street fashion featured outstanding coordination of casual items, and in the romantic images, pastel-tone A-line silhouettes was the most striking feature.

This study aims to develop a hanbok design method in response to recent changes in consumption trends that emphasize new aesthetic and cultural values, which contrast with the existing cultural order and repetitive normative styles in fashion designing. With this in mind, our study explores the main features of deconstruction fashion design as a theoretical guide for developing a methodology for deconstruction hanbok design, on the basis of which new, experimental and creative hanbok design works can be produced. To do this, we first investigate current trends in hanbok design and changing concepts of Korean fashion design through literature review of previous studies. Secondly, we explore deconstructionism and analyze its features to lay down the foundation for a post-modern approach in hanbok design. As the result of analysis, the main features of deconstruction fashion design are summarized as the following: 1) non-finishing, 2) decomposing and recomposing, 3) recycling, 4) transparent, 5) grunge, 6) flattening, and 7) exaggeration. Based on the identified core features of deconstruction fashion design, we develop a creative method of hanbok design in the context of modern Korean fashion design. Finally, we show five design outputs via a 3D digital fashion design process using the CLO3D software program.

The production and consumption of clothing products is characterised by rapid and continuous cycles of purchase, use and disposal of clothes, which leads to several environmental and social impacts. In order to change this reality and promote sustainability, this sector has to undergo deep transformations (Fletcher & Grose, 2011). In this context, designers play a significant role. In addition to being in the position of decision-making about materials and methods used in the productive process, the questions raised by sustainability demand design skills (Brown, 2010; Gwilt & Rissanen, 2011; Fletcher & Grose, 2011). However, the role reserved to fashion designers in this context is “more complex than traditional design activities” (Fletcher & Grose, 2011, p. 162). Design practice for sustainability demands different competences from the designer. In view of that, this paper explores the competences in design and fashion design for sustainability, and aims at verifying similarities and differences between them, in order to analyse the knowledge inherent to sustainability through design thinking. The methodology used for the study was deductive, conducted through qualitative exploratory research, outlined by bibliographic research and developed based on several books about design, fashion and sustainability. The identification of the competences took four aspects into account: types of thinking, types of knowledge (know what to do and why), skills (know-how) and attitudes (be willing to do). Design and fashion design competences for sustainability were compiled separately and then compared for similarities and differences. As a result, we found that great part of design competences are important for sustainable practices: approximately 58% of attitudes, 36% of thinking, 58% of knowledges and 41% of design skills are common to sustainable fashion design competences. The comparison shows the importance of attitudes to the work with sustainability – once its addition was significant –, and the need of acquiring specific knowledge of fashion design for sustainability. Research also shows that, for a professional with design competence, the development of thinking and skills needed for working with fashion design for sustainability is easier.DOI: http://dx.doi.org/10.4995/IFDP.2016.3266

Incorporating cultural history into current fashion design is critical for sustaining traditional values while encouraging innovation, especially at educational institutions like Takoradi Technical University (TTU). This research examines how TTU's fashion design students blend Ghanaian cultural components into modern fashion, ensuring that traditional textiles, patterns, and motifs stay relevant in today's globalised market. The study emphasises the significance of cultural sustainability, ethical issues, and the role of fashion education in bridging the gap between tradition and modernity. Despite Ghana's rich legacy, issues such as reconciling tradition with modern aesthetics, the possibility of cultural appropriation, and restricted access to traditional materials remain. This study employs a qualitative research technique, with data collected from case studies, interviews with educators and students, and reviews of fashion show documents and fashion industry publications. The findings show that TTU incorporates cultural heritage into its curriculum through historical contextualisation, hands-on workshops, interdisciplinary learning, collaborative projects, and fashion shows. These techniques provide students with practical experience and help them grasp traditional design's sociopolitical and economic relevance. However, commercialisation pressures, dwindling availability of indigenous materials, and the need for more established ethical criteria all present significant challenges. The study indicates that an education approach that strategically blends cultural history into modern fashion processes can help to create a more sustainable, inclusive, and ethical sector. Institutions like TTU help to establish a fashion sector that values and celebrates diversity by providing designers with the knowledge they need to innovate while maintaining their cultural identity.

The purpose of this study is to identify the characteristics of cosmopolitan modernism found in contemporary fashion design by analyzing how modernist and Bauhaus principles have been applied to fashion. The research methods used for this study are a literary review and content analysis. The results suggest that cosmopolitan modernism is a narrow interpretation of modernism along with ideational modernism, abstract modernism, functional modernism, pre-conscious modernism, symbolic modernism and idealistic modernism. It is a complex design style that captures reason and emotion in harmony by symbolizing the individual’s ideas through an inquiry of forms, colors, and material attributes. The basic design style of cosmopolitan modernism is based on Bauhaus’s preliminary course, a weaving workshop, and an architecture workshop. It has the following aesthetic characteristics: conceptual universality, perpetual simplicity, functional artistry, visual relativity, and integrative autonomy. After the middle of the 20th century fashion design has the following attributes of cosmopolitan modernism: ‘geometrical module’, ‘subversion and reconstruction of modernistic color’, and ‘conceptual material’—by applying the study of the forms, colors, and materials of basic design style. The design characteristics of cosmopolitan modernism identified through analyzing the work of representative designers—Paco Rabanne, Sonia Rykiel, Issey Miyake, Missoni, Emilio Pucci, and Pierre Cardin—are the following: (1) planar playfulness created by the planar composition of different color and material modules, (2) relative dynamics established through overlay and penetration of planar and three-dimensional modules, (3) convergent artistry realized by the harmony of planar and three-dimensional materials, (4) three-dimensional visual depth built by the repetition of shapes and color contrasts, and (5) conceptual functionality realized by the functional application of geometric modules. In conclusion, cosmopolitan modernism offers a framework for a design practice that reflects the nature and emotions of the individual.

This creative research aims to produce deluxe ready-to-wear fashion by elevating local culture into modern fashion designs that have aesthetic and exclusive value. The main focus of the creation is to enrich the variety of Indonesian culture-based fashion designs through a practice-led research approach. The traditional house of the Tengger Tribe was chosen as the main source of ideas because of its unique architectural form and the philosophical values contained therein, which are still rarely explored in the fashion world. The creation process consists of four stages, namely: exploration of the source of ideas, design, realization of the work, and presentation of the work. In the exploration stage, visual studies and literature studies were conducted regarding the visual characteristics and philosophy of the traditional house of the Tengger Tribe. Next, these ideas were translated into fashion designs with an artistic and functional approach. The resulting works are three ready-to-wear deluxe characters, consisting of two women's outfits and one men's outfit. The techniques used in the realization process include semi-couture and fabric manipulation with stylized embroidery applications that represent the architectural elements of the traditional Tengger house. The results of the work were presented in a theatrical fashion show with the theme "BHUMIBRAMA" held in the courtyard of the Rectorate of Surabaya State University. This performance showcases the synergy between fashion, local culture, and artistic expression, which not only presents visual aesthetics but also builds a cultural narrative about the cultural heritage of the Tengger Tribe through the medium of fashion.