Three-Dimensional Printing Fashion Product Design with Emotional Durability Based on Korean Aesthetics

Given the potentially significant environmental impacts of fashion design, various design approaches are required to extend product lifespan. Digital design methods may play an essential role in reducing the environmental impact of products and production processes. In addition, a design approach inspired by nature, where humans have long lived, is valid for sustainable design innovation. The purpose of this study is to examine the aesthetics of Koreans, who prefer nature, and to find a sustainable fashion design approach by using it as a knowledge database. In this study, a parametric design methodology that can reflect knowledge-based data in the process of producing 3D printing sustainable fashion products, considering the emotional durability of consumers, was used. The study results are as follows. From the aesthetic point of view of Korea, sustainable design characteristics represent unique Korean folk art, resilience to nature, and simplicity that resembles nature. The properties of the form represented to “forms resembling nature”, “changeable forms”, “organic forms”, and “minimal forms”. Materials were “nature inspired textures”, “rustic natural materials”, and “regional materials”. Colors were “the colors of nature” and “indigenous colors”. The parametric controls variables used for 3D printing the fashion products were size, assembly style, and sustainable material. These control parameters were used to create designs according to the individual taste of users. In the 3D printing fashion product design process, pieces were printed in different shapes and sizes by controlling the parameters to create designs according to users’ tastes and Korean aesthetics. It was determined that this process could extend the lifespan of products, and that it is possible to modify sustainable fashion products according to personal taste by adjusting numerical values and extracting visual images based on knowledge of art and culture.

THE INTERRELATIONSHIP BETWEEN ARCHITECTURE AND FASHION

The researchers studied the interplay between architecture and fashion and highlighted the common ground between architecture and fashion design. To enhance visual communication and interest. The study consisted of four chapters, the first of which focused on its methodological framework, in which its problem was determined by the following question: And what's the relationship between them? The purpose of the study was to uncover the relationship between architecture and fashion design and their mutual influence. The second focused on the relationship between fashion design and architectural design characteristics, while the third concerned fashion designers affected by architecture in their work either. (Research procedures) The research methods adopted by the researchers included: By describing the forms of architecture and analyzing the relationship between architecture and fashion design, being a suitable methodology for studying them and completing the study, the researchers identified a set of results that were consistent with the importance, purpose and purpose of the study. 1. The characteristics of architecture and costumes, whether parallel or interrelated or based on a mutual relationship, were originally established for the comfort and beauty of man depending on the dimensions of his body. The study was then concluded with conclusions, recommendations and a list of sources‎.

Ola Skanks: Delayed Recognition of a Dance Artist Ahead of Her Time

This essay chronicles my research relationship with choreographer, teacher, educator, and activist Ola Skanks. Canadian-born and of West Indian (St. Lucia and Barbados) descent, Skanks was a groundbreaking dance and fashion design artist who combined modern, Western art forms with traditional dances of the Africa diaspora. I share excerpts from my work to date, including my archival exhibition, It’s About Time: Dancing Black in Canada 1900–1970, to provide context for the circumstances that Black people danced in, socially and/or as performers. This is followed by a selection of photos from Skanks’s archival collection that illustrate the scope of her creative and community contributions. In conclusion, I offer a transcription of a speech I gave when Skanks was inducted into the Dance Collection Danse’s 2018 Encore! Dance Hall of Fame, alongside some of Canada’s most well-known dance artists and community builders. I detail some of the highlights of my meetings with her and also the profundity of the delayed recognition of a woman so far ahead of her time.