Development of hanbok design using deconstruction fashion features

This study aims to determine the acceptance of users, in this case, students majoring in Fashion Education at Jakarta State University, to the 3D Digital Design application, which is used in making the final project of the Fashion Design 2 course. The respondents in this study were Fashion Design Education students who had taken the Applied Computer and Fashion Design 2 courses. This study used quantitative research methods with quantitative descriptive data analysis techniques. The result of this study showed that media and technology could increase productivity, performance, and process efficiency in making 3D fashion designs for students.

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 paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.

A challenge facing the clothing and fashion industry is the need to integrate different perspectives of visionary innovation. Within current circumstances of the industry and contemporary trends, there are many examples of fashion products and ideas being inspired by, or developed from interdisciplinary and technically oriented components. Based on this direction, curricula in fashion design related departments are being revised to take into account different perspectives of innovations and new technologies related with fashion products. In addition, the interaction between university and industry is an important parameter for the dissemination of the innovation concept from different perspectives, a process in which higher education institutes play a critical role.Within this context, a case project was conducted in the Department of Fashion and Textile Design in a university in Turkey. The aim of the project was to promote a new approach to combining material knowhow with the creative process, and thus draw attention to the intersection of fashion design, technology and innovation. Other investigation issues in this study were the necessity of taking an interdisciplinary approach (and research) for innovation and the contribution of university-industry collaborations.A group of students from different design disciplines were given topics related with technically enhanced fabrics, such as high-visible fabrics, thermal range fabrics, industrial launderable fabrics, flame retardant fabrics and microencapsulated fabrics. Creating a design concept embracing these technical areas was seen as presenting a suitable level of challenge for students. A knitwear production company provided the fabrics for use in student products. At the end of the project, student projects were assessed by university instructors and company representatives. Student comments were also evaluated through survey analyses. Therefore, evaluation of projects was based on three main pillars: the instructors, the company and the students themselves. As a result, it was seen that this project was a new approach for students, and helped them to work with different restrictions in design to find innovative solutions. Students were able to improve their understanding of the effects of technology in fashion design issues, and to extend the boundaries of their creativity by working in an interdisciplinary manner.Such a university-industry project with students from different disciplines could be suggested as representing an important challenge, with the potential for promoting the development of fashion industry and academic growth, especially in countries like Turkey, where industry faces an extremely-competitive environment.Keywords: Innovation, Fashion design education, Interdisciplinary, Creativity, Turkey, University-industry collaboration

Background and Aim: Fashion design is a highly creative, interdisciplinary field that covers many aspects such as clothing, accessories, and textiles. Through creative design, material selection, process technology, etc., provide people with unique, beautiful, and practical fashion products and services. There has been a significant surge in research activity in the field of fashion design over the past decade, and by reviewing the data it was found that there is an academic gap in the bibliometrics of Fashion Design. The purpose of this study is 1) To study the research overview of Fashion Design. 2) To analyze the research frontiers of Fashion Design. 3) To analyze the evolution Path of Research Frontiers of Fashion Design. Materials and Methods: The key steps in retrieval: (1) Select database; (2) Enter "Topic"; (3) Select Document Type; (4) Select Document Language; (5) Enter Document Release Time Scope. Enter Topic="Fashion Design". Document types are article, proceeding paper, and English review from 2014-01-01 to 2022-12-31 for recent research. Book Citation Index-Science and Book Citation Index-Social Science & Humanities were excluded, leaving 1,049 documents. Common scientometric software includes CiteSpace, HistCite, Loet Tools, SciMAT, and VOSviewer. This study uses VOSviewer (version 1.6.19) for visualizing and analyzing scientific literature, helping researchers identify patterns, trends, and relationships in data. Results: The result of this research is that there are many prolific authors, Countries, and Publishers in this research field. There are three research fronts: "Impact", "Consumption" and "Industry". The evolution path of the research fronts starts from "Clothing Design" in 2014-2018. and "Arts", to "Innovation" in 2018-2019, to "Creativity" in 2019-2020, then to "Technology" and "Sustainability" in 2020-2021. Conclusion: The quality of articles in the "Fashion Design" research field is generally higher, with more research and very active. Research Frontiers: There are three research fronts: "Impact", "Consumption" and "Industry" The fashion design field’s focus on influence, consumption, and industry reflects its increasing emphasis on business and social impact. Evolution Path of Research Frontiers: The evolutionary path of the research frontier ranges from “Costume Design” and “art” in 2014-2018, to “Innovation” in 2018-2019, to “Creativity” in 2019-2020, and then to “technology” in 2020-2021 and “Sustainable development”. After 2021, it will be "Impact ", "Consumption" and "Industry". The evolution path of the research frontier reflects the shift in the development direction of the field of fashion design from single design and art to more design and art: diversification and comprehensiveness. From focusing on innovative ideas to technology and sustainable development to market, consumer, and industry development, it reveals the changes and evolution in the field of fashion design in the pursuit of excellence, sustainable development, and social impact.

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.

Creatively harnessing the zeitgeist, or spirit of the times, and translating its influence into unique, timely, and marketable merchandise has been the key to survival of fashion-focused companies since the dawn of the twentieth century. We combined a cognitive perspective on creativity with cultural materialism to develop probing questions for a grounded theory study of the question: How does the creative process for design and development function in the global fashion industry of the twenty-first century? A typology for creativity in fashion design and development emerged from data gathered in a series of in-depth interviews in an international context. We defined Leadership Creativity and Adaptive Creativity at extreme ends of a continuum. Leadership Creativity overrules current archetypes and shifts the sector in a new direction while Adaptive Creativity integrates existing paradigms into a direction the sector is already trending. This typology outlines eight descriptive attributes relating to the environment in which fashion design and development functions, and designates distinct components of those attributes that categorize the creative type. The majority of work in fashion design and development today reflects Adaptive Creativity. Specifically naming and describing these attributes and the interplay between Leadership Creativity and Adaptive Creativity, the typology lends structure to otherwise ambiguous parameters related to creativity in fashion design and development.

The history of human clothing art is a history of mankind social productivity. Technological innovation promotes the development of the modern clothing design industry. At present, the effect on fashion design brought by computer has become increasingly prominent and fashion design industry gradually realized the transformation from the “traditional” design to the “technological, informationized, digital and efficient” design. Fashion design based on the digital technology platform has long been a trend in the industry. This paper explores the transformation and innovations of traditional fashion design based on the digital technology platform, and puts forward that human's thinking is flexible and the designing style will change when the design thinking changes. The paper makes an in-depth exploration on the potential driving force of digital information technology behind the change of fashion design thinking, finding that the changes of fashion design methods depend on the constantly updated digital technology platform. This paper also proposes that changes in fashion design promote the appearance of the new design concept. The formation of new design concept is mainly reflected in the fact that the designers' values are changed due to the changes of creation way, which leads to new creative concept, aesthetic concept and visual expectation.

Recently fashion brands and designers have been developing clothing having into account particular consumers, including individuals with some kind of disability. This paper has the main purpose of analysing fashion design product development through the research of elements, aspects, and concepts that can be useful for common and inclusive products. During the research, scientific papers, informative articles, and reports were found to address inclusive design as a useful tool for the development of inclusive products for disabled individuals. However, specific guidelines, foundations or models that could help fashion designers to develop products for visually impaired (VI) consumers are non-existent on inclusive design. Regarding the methods, from the literature review contends, were considered Inclusive Design concepts and user experience methods. These two main aspects were the foundation for the creation of the necessary questions of study, propositions, and units of analysis used in the case study. The study offers an original approach considering fashion designers and inclusive concepts, unfortunately, the number of cases is too small. Due to online research, aspects related to the designers’ products were not possible to comprehend, so in further studies could be important to interview these designers and understand the real product. Despite all the effort by designers and deserved merit the cases here presented are indeed specific projects with no projection within the global market. The contents and the findings will be an asset for the scientific community and the development of inclusive products in a fashion directed to VI consumers on a national and international perspective.

This article proposes that a new generation of designers is needed within the UK fashion industry with a combined skill-set of designer-led innovation, a critical approach to new technology and an understanding of new engineering, digital and scientific paradigms. The training of a new type of fashion student/researcher/designer is focused necessarily towards one who is able to work in a transdicsiplinary structure, and who also has a deep academic understanding of the field, able to question and hold to account emerging new industrial models. The machinery and techniques commonly used, practiced and taught within the UK fashion industry and academia have not significantly changed in the past 100 years. However, recent manufacturing innovation and other technological advances including Additive Manufacture, nanotechnology, bio-engineering, electronics enhanced fabrics and digital design processes are enabling the fashion industry to reinvent itself at an international level. Led by a newly developing confidence in practice-based and practice-led research methods for fashion, this collection of technologies and capabilities could fundamentally change the future of the UK fashion design industry, therefore radical change is needed in the training of fashion designers in UK design schools.

The purpose of this study is to develop 3D dynamic fashion garments with changeable styles, colors and textile patterns, especially using a 3D virtual simulation system, and to examine their potential possibilities in online fashion platforms. For designing and developing 3D dynamic fashion garments, CLO3D and Aftereffects were used with a design collaboration between a fashion designer and a motion graphic artist group. Ten samples of a ready-to-wear collection were developed to visualize aesthetic and technological explorations of 3D dynamic fashion garments, composed of short videos. This study also evaluated the potential of 3D dynamic fashion garments along with 3D virtual simulation systems through focus group interview with professional fashion designers and digital experts, which indicated social and industrial possibilities toward them. This survey showed a list of findings in terms of current status of 3D virtual simulation systems and their impact on companies, discourses on the uncanny valley surrounding avatars, changes in fashion design process derived from 3D virtual simulation systems, co-design and customization in online platforms, and future prospects of 3D virtual garments in the fashion and gaming industries. Finally, this study led to discussions on future possible digital fashion design with several implications, based on design criteria, including digital technology, dynamic range, wearability, expressivity, interactivity, sustainability, and context.

The presence of technology is inevitable is several fields, including in fashion design. This paper identifies technology-based virtual fitting rooms. All types of technology-based virtual rooms were identified; offline, online, web-based, mobile-based. It has been found that some of the most commonly used virtual rooms in fashion design involves such technologies as 2D fashion design, 3D fashion design, digital communication, e-commerce, internet-based, ICT-based, e-magazines, and e-books. It has also been inferred that virtual fitting rooms are starting to change conventional ones.

<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:normal"><span style="font-size: 16px;">This study aims to present the substantial and customizable potential of 3D dynamic fashion design, simulated with avatars in a virtual space, exploring a collaborative design process between a fashion designer and digital textile designers through online social platforms. For this, as theoretical backgrounds, the meaning of dynamic fashion design and its aesthetic, expressive, and communicative effects were identified, and an online collaborative design process and its effects on creative fashion design practices were also examined. In the technical process to develop 3D dynamic fashion garments, the researchers used 'CLO3D' and 'Aftereffects' to develop virtual avatars, wearing conceptual fashion garments of dynamic styles, and also tried an online collaboration with a motion graphic artist group by social network services to create digital textiles, including moving graphic imagery. Finally, sustainable and customized possibilities of 3D dynamic fashion design were inferred for a digitalized everyday lifestyle.</span><br>

The profession of fashion designer varies among the main fashion cities, and therefore has an eminently geographical rationale. Different conceptions of vestimentary creativity are usually tied to the affiliation of the creator with one of the fashion capitals. In this article, the main variables determining the specific features of how the profession is exercised in one city or another are illustrated. The case of Milan is then considered, in order to describe distinctive aspects of the profession of local fashion designers. The discussion is not based on information pertaining to the most successful designers, since it is not the most famous cases that furnish reliable information on the profession. Rather, it draws on twenty-one in-depth interviews with “ordinary” fashion designers conducted as part of an empirical research project carried out over recent years. It concludes that Milanese designers cultivate a “culture of wearability” based on an array of values including respect for the body, creative prudence, attention to the consumer's needs, conservatism, and business profit. In such a culture priority is given, not so much to radical innovation and visual aesthetic quality, as to incremental innovation and functionality with respect to the use made of garments in everyday life.

This study analyzed the characteristics of morphing in fashion design through the documentaries on morphing and fashion. The characteristics of morphing in fine art, media, and design area were categorized as reversible metamorphosis, sequential dissolve and blurring of interpolation boundaries. The results were as follow in fashion design. Reversible metamorphosis showed an automatic silhouette transformation by remote control, the metamorphosis of folding method by wearer`s own movements and the automatic silhouette transformation by the air pressurizing method. It represented the thoughts of omnipotence as in the feeling of the magical world, the human desire for control in life, the rationalization of magical thinking and imaginative power, the creation of a new dress space and the extension of dress function. Sequential dissolve showed juxtaposition in the same area by the time order, juxtaposition in virtual space through the computer graphics, the series of fashion photography by steel cut of the dress making process and the blending of digital film and fashion design. It represented the approach for the storytelling of fashion show, implication of creative fashion design process and the creation of organic forms and the feeling of fantasy through artificial technology. The blurring of interpolation boundary showed an overlay of different fabrics with transparent boundaries, an overlay of different patterns with transparent boundaries and the blending of fabrics through the visual mixing of color. It represented the obfuscation of the object, the connotation of the space order, the connotation of the extensive and various meanings and the integrative property of objects.