현대패션에 나타난 모피디자인의 특성 -2000년 이후를 중심으로-

The purpose of this study is to observe the similarities and differences between contemporary Chinese and Korean fashion designers in understanding the concept of national identity. To achieve this objective, the literature review and in-depth interview were conducted. The results are as follows: Firstly, the model that interprets the influence factors of designers’ awareness of national identity was built. Under the social background of national identity, including governmental role, features of culture, openness of social system and the international and economic status, features of fashion and fashion designers influence on national identity expressed in designers’ fashion works. Secondly, three main similarities between fashion designers’ awareness have been found. The first is that both Chinese and Korean fashion designers emphasize broader regional concept about national identity; the second is that influence of national identity is subtle and not obvious; the third is that fashion designers have mixed consciousness of self-identity and national identity. Thirdly, there are three main differences between Chinese and Korean fashion designers’ awareness. The first is that the adoption of ethnic national identity in fashion design is more related to the traditional ethnic elements in Chinese while modern elements were favored more by Korean. The second is that Chinese designers as a whole showed a deeper comprehension of traditional ethnic culture or philosophy than Korean designers do. The third is that more solid and positive attitude toward the government caused Chinese designers to have a more intensive civic national identity.

The viewpoint of growth pursuit is changed to that of life quality's and happiness' pursuit by modern people. Modern people in digital environment, tired of fast-changing and oppressive daily life, prefer well-being trend providing tranquility and relaxation. Well-being is related to digital, because negative influences of digital lead human-oriented, environment-friendly well-being design. Therefore the purpose of this study is to research and analyze the relation of well-being fashion design and digital environment through case study in contemporary well-being fashion design. The results of this study are as follows: 1. This study shows that the attributes of digital environment make up function-intensive, interactivity, mobility & nomad, human & emotion-oriented and environment-friendly. And this study shows the design characteristics of digital environment consist of function-intensive design by digital convergence, open structure design for interactivity, modular design for mobility & nomad, emotion-oriented & multi-sensory design and environment- friendly design. 2. Function-intensive design in modem well-being fashion composed of vogue of caports style(casual+sports), practical use of multi-functional new-healthy textiles, and popularity of many style's mixture at once. Open structure design consist of wrapover design, use of transparent materials. Modular design are layered styling, practical use of zipper and velcro. Emotion-oriented & multi-sensory design are constitute of fad of wrinkle materials, application of bright & vivid tone, personal color and family look. Environment-friendly design in contemporary well-being fashion are comprised in use of natural color, re-advent of natural floral motif and eco-design.

At the turn of the twenty-first century, a new generation of Moroccan fashion designers has started to emerge that can be distinguished from their predecessors by a radical style break. These designers no longer adhere to the idea that Moroccan fashion should be limited to a characteristic set of garments and/or decorations representing Arab-Muslim identity, but aspire an artistic freedom to conceptualise and define Moroccan fashion in an innovative, distinct and critical way. They are turning to Morocco's cultural diversity for inspiration, represented in popular culture, street styles, rural cultural heritage as well as the country's heterogeneous cultural past, including its African origins. This new generation, however, finds itself widely accused of ‘not being Moroccan’ by Moroccan consumers. I argue that this is due to the hegemonic construction of Moroccan national identity based on Arab-Muslim cultural heritage, dating back to the nationalist movement during the French Protectorate. What qualifies as Moroccan fashion – and especially as opposed to European fashion – in contemporary Moroccan urban society is complex and represents political, cultural and social power struggles. This style change initiated by contemporary designers not only reflects a general desire for more individual rights in relation to religious and cultural identity, but also a direct critique of the sociocultural domination of the elite. This article aims to analyse the aesthetics and politics of contemporary Moroccan fashion design and its artistic ambitions, as a way to challenge prevailing ideas of Moroccanness imposed by the ruling elite.

Over the past decade, artificial intelligence (AI) has rapidly permeated various human activities. AI developments are utilized by professionals in design-creative processes, including art, fashion, design and so forth. Consequently, the purpose of this study is to analyse the role of neural networks in contemporary fashion design and the operations of design, marketing and advertising companies. To achieve the set goal, the following methods were employed: analytical, comparative and methods of generalization and systematization. The research determined that the use of AI in modern fashion design offers potential for creating new opportunities and transforming traditional approaches to the creation and sale of fashionable products. The experience of using AI in design, marketing and advertising campaigns also evidences the successful application of neural networks in creating innovative collections, unconventional design solutions and in the development of personalized marketing and demand forecasting and future trend analysis. However, alongside the advantages, AI application also raises ethical and social issues. Concerns about the use of personal data, copyright and AI’s impact on employment in the fashion industry require expert attention and discussion. Furthermore, against the backdrop of the rapid development of AI, threats to humanity as a whole emerge, which also need consideration. The conclusions of this article may be useful for designers, art historians, marketers, AI specialists and anyone interested in the use of neural networks in contemporary fashion design and its influence on the fashion industry.

Before the start of every season, fashion forecasting companies predict upcoming fashion colors. They cater to modern consumers, who are very sensitive to fashion trends. Therefore, to satisfy the trendy consumer with a fashion product, the fashion design must first be found, since image matters. Then the design must be followed by an analysis of each design element's effect on the total image composition. Previous studies of fashion image have found a significant correlation between fashion design elements and the fashion image. The effects of each element were studied, but few studies dealt with compound elements. In this thesis, two fashion design elements, color and fabric, are simultaneously considered to classify the fabric image. For color variables, 10 hues were selected from Munsell system of color notation, and 12 tones currently used in the domestic fashion industry were selected from PCCS color notation. Texture variables used in this survey were classified by luster, prominence‐depression of surface, thickness, and density of fabric. Graduate students ranging from 20‐ to 50 years old and specialists in fashion companies participated in the survey. The results of this survey show that: 1) Fashion fabric image is classified into 5 main descriptive image categories: ‘elegant,’ ‘comfortable,’ ‘characteristic,’ ‘light’ and ‘simple.’ 2) The influence of hue, tone, and texture are significant in fashion fabric image. Colors, such as yellow‐red and red hues, and light grayish and dark grayish tones convey an elegant image. The texture property for an elegant image is luster‐thin fabric of low density. Properties of fabric conveying a comfortable image are yellow‐red and green‐yellow hues, softness, light tones, matte finish, and high density. Hue, however, turned out to be an insignificant variable for a unique image, whereas dark grays, grayish tones, luster and prominent texture conveyed a unique image. For the light image, fabric properties are blue‐green and purple hues, light and bright tones, and thin, low‐density textures. Properties of fabric conveying a simple image are blue‐green, purple‐blue, green‐yellow hues, and strong, vivid tones, with luster and flat texture. © 2003 Wiley Periodicals, Inc. Col Res Appl, 28, 221–226, 2003; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.10147

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.

As a free creature that can fly in the sky, the bird has been an object of admiration and mystery and a mediator between human beings and the heavens. This study aims to clarify the aesthetic value of birds through study of the various expressions of the bird image on clothing and by the formative will of designers. Based on the general examination of the bird image through the study of documents, this study is composed of a case analysis, which reveals on modern fashion designs. Additionally, the forms of expression of the bird image are organized according to the stereoscopic expression of shaping, the relief expression of handicraft decoration, the flat expression of surface design, and the characteristic expression of wings and feathers. The aesthetic characteristics revealed by the expression patterns are metaphorical symbolism, surrealistic humor, lyrical naturalness, and fantastical femininity. Since antiquity, the bird image continuously recreated by artists has offered aesthetic value in terms of formativeness in the external form and symbolism in the internal form. This study would help to understand the diversity of creation in contemporary fashion design.

Nail design is a means of expressing aesthetic personality, featuring artistic, creative and functional aspects simultaneously. As it is recognized as a fashion element, consumer needs and expectations have gradually increased. With diverse expressions, nail design has led trends and evolved into attractive capital. In manicures which can make a person look clean and neat and achieve both physical and mental satisfactions in daily lives, people have become aware of the importance of nail care. This study attempted to investigate the formative aspects of fashion by combining fashion and nail and examine nail styles based on fashion design elements. In the fashion design of Christian Dior, nail works were created, using 2020-21 F/W Haute Conture design to overcome the limitations of nail design through Maria Grazia Chiuri, a creative director of Christian Dior. In terms of design elements, shape, color and modeling factors were reviewed. Based on the results, then, nail design was conceptualized. After illustration, a total of 3 works were created. A total of 10 super long square tips and super long oval tip sets were designed in three different themes such as gel nail, embossing powder, 2D/3D and painting gel.

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of 'science of emotion and sensibility' was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

Fashion Design for Living explores the positive contribution that the contemporary fashion designer can make within society. The book seeks to reveal new ways of designing and making fashion garments and products that not only enhance and enrich our lives, but also are mindful of social and sustainable issues. This book sets out to question and challenge the dominant, conventional process of fashion design that as a practice has been under-researched. While the fashion designer in industry is primarily concerned with the creation of the new seasonal collection, designed, produced and measured by economic driven factors, society increasingly expects the designer to make a positive contribution to our social, environmental and cultural life. Consequently an emergent set of designers and research-based practitioners are beginning to explore new ways to think about fashion designing. The contributors within the book argue that fashion designing should move beyond developing garments that are just aesthetically pleasing or inexpensive, but also begin to consider and respond to the wearers experiences, wellbeing, problems, desires, situations, and engagement with and use of a garment. The practitioners and researchers that have contributed to this book share different perspectives on how fashion design can support individual and social enhancement. These accounts foreground approaches to fashion design that focus on users, lived experiences, actual and everyday problems or scenarios, which traditionally have remained unfamiliar or aside from the fashion design process applied in industry or in the educational fashion design studio. Fashion Design for Living champion’s new approaches to fashion practice by uncovering a rich and diverse set of views and reflective experiences, which explore the changing role of the fashion designer and inspire fresh, innovative and creative responses to fashion and the world we live in.

Rapidly developing digital technology is exercising influence across all fields of society. This article analyses the distinctive qualities of digital art and looks into the cases of fashion design where these qualities are expressed. To investigate the theoretical concept and characteristics of digital art, and also, to examine cases of digital art and fashion, documentary research and case studies are used. As a result, the characteristics of digital art are classified into five characteristics: perfect duplicability, interactivity, networkability, variability and compositeness. These characteristics are also found in contemporary fashion although specific forms take different ways. Fashion designers, in the same manner as artists, are not only experiencing digital influence in technology and culture, but also expressing it in their works. The further advancement of digital technology will exercise more influence on contemporary fashion in the future.

The Moroccan caftan has recently occupied a large space among contemporary designers because of its great aesthetic impact in terms of shape and decoration, as well as the cultural heritage of the Arab peoples. For international designers in America, Europe and East Asia, in our research, a set of images of the traditional and contemporary caftan was used, which were analyzed visually to know the quality and size of the change that occurred in the shape of the traditional sleeve as a result of its influence on modeling and the designer's vision. In addition, the basic measurements of the sleeve were calculated to further emphasize the importance of the change in the measurements and silhouette of the contemporary sleeve. Contemporary to find out the prediction of the future shape of the kaftan, which is a kind of prediction of the shape, design, quality of fabrics and motifs used in the future fashion industry and its impact on fashion designers and the fashion industry market In our research, the study included focusing on the traditional shape of the sleeve and knowing its basic types that are known and inherited through generations, as well as studying the contemporary shapes of the sleeve through a graphic analysis of a group of contemporary costumes for fashion designers who were inspired by the Moroccan caftan as an inspiration for fashion in contemporary clothes. In front of modernity, it has changed significantly, especially in the lower sleeve area.

The global fashion industry produces a huge variety of creative goods to market. The fashion industry profits by developing creative content as in the music, film, video game, and book industries. However, unlike those industries, the fashion industry’s principal creative production lies outside the domain of intellectual property law. Fashion has not been historically protected by copyright law due to differences in the legal treatment of the fine arts, like literature, music, and art, which are accorded copyright protection, and crafts, which are generally not accorded such protection. Although fashion is meant to be functional (i.e., it must fit the human body and keep it warm and dry), it is also artistic and creative. Most would agree that fashion is rarely a fine art because it also fulfills a utilitarian function, but this should not necessarily preclude designers from being able to protect their investment in truly innovative designs, as artists and musicians are able to do. The law has traditionally treated each field of IP as an instance of discrete and mutually exclusive protection. Patents protect innovation in terms of functional design, while copyrights protect artistic expression. Finally, trademarks protect goodwill and reputation. These firm divisions between patentable and copyrightable subject matter have left the creative designers of utilitarian objects such as clothing without protection. The growth of the fashion industry has spawned an increased public awareness about fashionable designer products. In light of the popularity of certain designers or specific designs, design piracy has increased exponentially. Design piracy is the copying of a designer’s original designs, thereby enjoying the benefit of his/her artistic work at no expense. Copyists can thus free ride on the efforts of designers, thereby discouraging future investments in creative fashion design. Design piracy is not new; however, while it once took several years for a fashion to descend the price line into low-priced production, this progression is now nearly immediate. Technological advances have made it possible for design pirates to obtain another creator’s designs and manufacture duplicates overnight. Because of the pervasiveness of design piracy, the practice of copying is now considered commonplace in the fashion industry. Accordingly, the original designers of iconic fashion pieces stand to lose substantial amounts of revenue after expending the capital necessary to create them. This study compares Korea and the United States to understand the implications of Korea’s fashion design protections. This paper describes the research on fashion design protection practices in both countries, analyzes the present situation state of fashion design protection in these countries, and compares their legal principles related to fashion design protection. To this end, a literature review is presented that draws on relevant studies and national statistical data on both countries. First, the research on Korea and U.S. fashion design piracy can be summarized as follows. For fashion design in Korea, previous studies focus on the current status of counterfeit fashion goods, intellectual property protection in the fashion market and the protection of applied arts including fashion design. However, these studies have some limitations; many lack specific, concrete discussion on the current status of intellectual property and protection methods, instead providing general, comprehensive discussions. In contrast, studies in the U.S. context focus on the present situation of counterfeit goods in the fashion market, the nature of the fashion market, the essential features of design piracy and the legal protection of fashion design under the Design Piracy Prohibition Act. The breadth of studies on U.S. design piracy studies is much wider compared to those on Korea. In particular, as bills regarding the protection of design under copyright law such as DPPA or IDPPA are submitted to Congress, studies on the protection of design under legal laws are actively conducted. Fashion design protection in Korea versus the United States and the relevant legal principles can be summarized as follows. There are similarities and differences in the protection of fashion design across both countries. First, both countries are similar in terms of fashion design protection under patent law. Both countries provide some protection for fashion design under copyright law. Fashion design still lacks the criteria that have been established for literary works, but criteria are being developed to facilitate the protection of fashion design under copyright law. The most significant difference between the two countries regarding the protection of fashion design lies in the political efforts undertaken to protect fashion design. Unlike Korea, the United States has continued to enforce a separate law for the practical protection of fashion design to address two problems: first, the screening process generally takes a long time, which hinders the protection of fashion, and second, it is difficult to protect the middle area of design rights.

This study explores the application of artificial intelligence (AI) in the fashion industry, focusing on its benefits to the design process. AI is defined as the ability of a computer to mimic human intelligence, including data collection, analysis, and response using algorithms and data processing. By incorporating AI, the design process becomes more efficient, allowing fashion designers to create more innovative and complex designs. The study employs three stages of the art-making process: (1) creation, (2) design, and (3) exploration as its main method. As part of the research, a collection inspired by the traditional folk song “Bangau Oh Bangau” compares manual and computer-assisted approaches. The findings of this comparison show that using generative AI in the fashion design process speeds up the overall process, making digital approaches more effective and efficient. In addition to accelerating the process, generative AI also expands the scope of creativity by allowing designers to explore various new concepts that may be difficult to achieve through manual methods. This not only enhances the creative diversity in fashion collections but also helps the fashion industry continue to grow by introducing fresh and exciting designs to the market. In conclusion, the application of artificial intelligence in fashion design offers numerous advantages, including increased productivity and creativity. This technology gives the fashion industry powerful tools to create designs that meet market demands and push traditional creativity's boundaries.

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.