길상문양을 응용한 자카드 직물 패션상품 개발 연구

Abstract

The 21st century is becoming more global through information and openness. As culture and lifestyles becomes unified throughout the world, creating a new image based on the identity of the nation has become recognized as an important method for procuring national competitiveness. This trend is not an exemption in the fashion industry. In order to become competitive in global fashion, each designer must present a reliable and creative design based on the unique traditions of their countries, which exists deep within the designer and is distinctive from other nations yet acceptable worldwide. Among many things that represent the image of Korea, patterns have their own unique and distinctive form depending on the nature and environment of a nation in the same way language and letters do. Moreover, it is the most honest expression of the sentiment and emotions of a nation that symbolizes and represents the country. In addition, there are many different types of patterns in which can be applied in a variety of ways for expressions, and therefore I believe that it can be re-expressed by adding a modern touch to it. Use of traditional patterns in fashion today appears in designer collections, Hanbok (traditional Korean clothing) and other conceptual items. However, they commonly stop short as only part of the designer's works and comes with the problem that it loses its competitiveness as a product in the international society. This study focuses on the trend of modern society that places importance on health and happiness. By using gilsang (signs that brings good fortunes) patterns that wishes for fortune and health, the objective of this study is to design a distinct but universal fashion good that is unique to Korea and is used not only as a piece of artwork, but as part of development of new and assorted cultural products that is competitive in the international society. This study was conducted first by studying related documents for the theoretical background. In addition, in order to satisfy consumer demands, a jacquard that can procure international competitiveness was designed and fashion goods fitting to this was planned. Through this, the various possibilities of using the jacquard designs were suggested. Furthermore, based on the 2007 F/W color trends, eight Oriental Korean patterns were selected and applied to different fabrics and colors to produce various cultural products. In this study the CX880 Staubli weaving machine from Staubli Company was used for the jacquard prints. In addition, two per motif for a total of 16 sheets with 100 different color ways were printed. In production for this, the apparels were composed of four sleeveless one-piece dresses, two pants and jacket suits and two skirt and jacket suits, while accessories included 80 neckties, eight bags, eight pairs of shoes, eight belts, eight jacquard cases and eight chaos buttons as one set. In addition, two neckties for children and one necktie for women were made in order to make a comparative analysis with the men's neckties. In order to perfect the piece, labels were produced and attached on each item. The contents of this study include: First, by studying the features of jacquards, an examination on the concept, features, use and patterns of jacquards was made, and the current status of the textile industry was investigated. Secondly, by studying the features and types of jacquard looms, its development process and production system was investigated and the Staubli weaving machines were examined. Thirdly, through general studies of patterns, the types and features of traditional Korean patterns, as well as its meaning, types and the symbolic formative aesthetics of gilsang patterns were analyzed. Fourthly, using preceding studies on fashion goods using jacquards, fashion trends and types were examined. Fifthly, design planning was conducted through production and analysis of the goods, while product designs were made for the fashion goods. In addition, the parts production process of the fashion item was listed and production for the fashion good per use was conducted. Among the many different patterns, this study focuses on gilsang (signs that bring good fortunes) patterns and eight patterns that wishes for fortune and health was selected as the motif. The first motif is that of yeobjeon (Korean brass coin) patterns in which money symbolizes fortune. The yeobjeon is round and has four holes in it. This is called cheonweonjibang (天圓地方) and means that the heavens are round and the land is square. When this is repeated and connected for decoration, it is called shibjeondo (十錢圖) and has the hidden meaning of hopes for making all things work out as one plans. The second motif is that of the yeonhwamun (lotus patterns), which originated from India. It is also called 'hahwa (荷花)', 'buyong (芙蓉)' and 'suhwa(水花)'. It represents the sun and symbolizes rebirth because it blooms when the sun is up and withers when the sun goes down. As an object of religion, it was treated as if it was sacred and sketched as decorative patterns for various artworks. In the Buddhist faith, it represents transcendence and purification in its doctrine because its elegant flower always blossoms even in the mud of ponds and swamps. In folk beliefs, it represented longevity, health, fame, success and luck, and is especially used frequently in the textiles of the Choseon Dynasty. The third motif is that of butterfly patterns. Its appearance is beautiful and elegant and its design was used frequently in various ornamental patterns. Because of their tendency to fly in search of flowers, it is commonly said to be the symbol for love and beautiful marriages. The fourth motif is the carp pattern and symbolizes fame, wealth and fertility for women. The carp's strength for swimming upstream and its vivacious character was used by young men wishing for successful careers and promotions. The fifth motif is cloud patterns. In the farming society of the past, the strength to bring rain and its ability to move made the cloud a subject for mysticism and awe. Rain was something that revived nature from droughts, while it also was had the terrible strength to swallow everything in its path with floods. This mystical power that can move around freely was a pattern used in gwanbok (official uniforms) that revealed a person's position or status. The sixth motif is also referred to as a peony. In the Samgukyusa and Samguksagi of Korea, records show that "The king of Tang sent a painting and seeds for red, purple and white peony blossoms" to the Seondeok Dynasty. This evidence makes it safe to presume that peony was brought into the country during the Shilla kingdom. Because of its beautiful and brilliant petals, it was called the 'king of flowers' and was called also called 'bugweehwa (富貴花: flower of riches and fame)' to symbolize wealth, fame and prosperity. It also represented riches, many sons, long life and happiness, as well as other good omens such as karma, a full home, harmony and prosperity. The seventh motif is pomegranate patterns, which is a pattern that originated in the countries bordering on western China. This fruit contains abundant seeds and symbolized abundance in children and was used as a gilsang pattern in hopes for fertility. The eighth motif is the grape and squirrel pattern. The numerous grapes on a single grapevine represented abundance of children. In addition, because vines filled with fruits stretched outward, it symbolized rich harvests of the five grains and prayed for riches, fame, longevity and many sons. Meanwhile, the squirrel represented children, making the grape and squirrel pattern used for wishing for riches, fame and fertility. Using the above mentioned eight patterns as the motif, the designs of the jacquard production process is as shown below. After laying out the design to be made to fit the jacquard loom specs, the design was selected and prepared for the design and equipment to be put together. The designs of each of the eight motifs were grouped as Design I and Design II to make a total number of designs at 16. Staubli Company's Staubli Weaving Machine CX880 and Germany's E.A.T (CAD) program was used as the designing program. After converging to a mechanical file, it was simulated in the main program in order to pre-detect problems that could occur while sewing, while also reconfirming whether or not the design could be made as intended. The development process of fashion goods using jacquard was divided into 10 stages: theme setting, gilsang pattern setting, sketching, textile plan, design organization, input, simulation process, perforation and sewing, selection of design for the fashion good and goods production. Like other formative arts, the fashion industry pursues new shapes and formative beauty. In particular, fashion materials are a very important element in creating variations and uniqueness in the fashion industry. Creative design developments have a major effect on the product's national competitiveness. Development of new materials has made the aesthetic and ornamental elements, together with the practical and functional aspects of textiles possible. A major issue today is rising out of the past mass production method of OEM (Original Equipment Manufacturing), and developing various artistic patterns that can be used in mass-produced products and assorted production in small quantities in order to develop specialized fashion goods. I hope that new and unique ideas targeting the dynamic global market according to the general trend of the fashion industry are developed in order to design creative patterns unique to traditional Korea. In addition, through long-term and continuous research and development of a higher value-added industry compared to simply manufacturing products will play an important role in creating high value add-ons that can compete with imports while expanding its exports.