• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.171-187
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• 2002

The purpose of this study is to grasp the meanings of retro-fashion, to research the design characteristics and background on the birth of repro-fashion. It can help to confirm the importance of aesthetic marketing which is based on human feelings, the roles and cultural and industrial meanings. Reto-fashion Is one of the mediums between the expression of Post-modern fashion and emotional sympath of human beings as consumer and fashion creators. So this inspiration is the way of fashion creativities. The backgrounds of appearance repro-fashion are reflection about materialism and technique and 20th century, the sense of instability and finding new ideas from the past. The characteristics of retro-fashion designs are as follows : First, the styles have been come from 50's. 60's, 70's, and 80\`s. It means that the styles not just expressed to return to the past simply but an expression the emotional state for missing the past. Second, the colors and materials are various also as like styles. Third, the decorations of repro-fashion are more crafts by human. The roles of retro-fashion are for creation of high valued product in fashion design, expression of individuality with disharmonized coordination and application as a fusion style. The cultural and industrial meaning of repro-fashion are endowment of aesthetic marketing using human feeling in fashion marketing area and pursuing of the Renaissance of fashion culture and industry. Therefore it is needed that design critics and analysis going side by culture and industry condition for fashion study with human feelings in 21th century.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.513-524
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• 2003

The purpose of this study was to trace the development of Chintz pattern design through fashion history, and to focus on its application in modern times with special emphasis on filtered Chintz patterns. Chintz patterns use such motives as tree, animal, bird, and geometrical shapes, etc.. It reached the peak of its popularity with William Morris. His influence continued from the end of the 19th century through to the 20th century. Modern Chintz designs have been modified and diversified in different cultures through time, and such diversification & changes can be easily found in modern fashion. From previous studies and other related sources, we found that Chintz patterns were revived in modern fashion trends with some modification. We also discovered the importance of chintz pattern designs in ethnic and retro trends. Thus in conclusion, this study revealed the significance, flexibility, and lasting popularity of Chintz pattern designs in fashion history.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.164-179
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• 2008

The Purposes of this study are to analyze the couture-like design characteristics expressed in modern fashion and to grasp its sociocultural meaning. For this, the documentary study and practical case study have been executed. Fashion writings and visual sources in Gap Pret-a-porter Collection, www.style.com, www.firstviewkorea.com are used. The results are as follows. First, couture ran be featured as a luxurious made-to-order design for individual clients with high quality fabrics, hand-craftsmanship, painstakingly perfect details and finishing. It is valued on authentic originality, uniqueness, aestheticism, and luxury. As the relationship between couture and mass fashion has changed, there appeared not only traditional couture for few privileged people, but also demi-couture which bridges the gap between luxurious couture and pret-a-porter. Second, couture-like designs in modern fashion are classified as (1)the adaption of house archive (2)retro with couture-like silhouette (3)hand-craftsmanship in details and finishing (4)individualization for only one client. They have sociocultural meanings, which are the reaction to the crisis of originality, new luxury for differentiation, the pursuit of new individualism thinking. Ultimately, it ran be thought that couture-like design in modern fashion results from the mutual needs between elitism fashion designer struggling in the hegemony of originality and reproduction, and modern consumer seeking for luxury, individualization.

• Archives of design research
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• v.15 no.1
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• pp.257-266
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• 2002

Modern Society is tuning to the wide organized social structure with highly varieties. To the cultural aspects in these days of the late-indusoial society, due to the post-modernism. This kind of trend was found in overall fields of studies. Therefore, the post-modernism is to be a kind of a modern spirit ruling over the late 20th century. Post-modernism is a vague expression, that was begun to appear in various artistic intellectual, ideologic trends with a repulsion of modern design after the World War II. The present age as a modern society slews a distinguished mark of undifferentiation disorganization and relaxation, disassembling of social structure. With the study on the background of occurrence, character and philosophy for the post-modernism, the theoretical background of post-modernism could be seen. According to the influence of post-modernism, the minimalism, retro-design, kitsch-design, deconstructionism-design deconstructionism-design, new materia1-design and cyber-design shown on each trend of modern industrial design were studied.

• Journal of Fashion Business
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• v.11 no.2
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• pp.14-31
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• 2007

The Vivienne Westwood's design is divided into four eras : The 'Punk and Ethnic Style' era, The 'Feminine Style' era, The 'Eclectic Style' era and The 'Retrospective Style' era. The aesthetic characteristics of Vivienne Westwood's design vastly divided into Parody and the Punk Couture. Westwood's parody is exprssed by british materials, that is traditional British tailoring, dressmaking techniques, traditional british fabrics and her debt to the past. Also Westwood has presented the special characteristics of Punk Couture showing Punk-Style clothes by applying Couture sense to her own Pret a Porter Collection. She pursued newness breaking the conventional aesthetic consciousness through her cutting, mix and match of fabrics and cordy of punk details. Westwood pursued new aesthetics by deconstruction and destruction regulated existing ideas that had been systematized, conventionalized and standardized by history and culture. She had shown pluralistic fashion through her design that exactly reflected characteristics of the modern society demanding variety.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.69-78
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• 2008

A new coinage which calls a modern was appeared variously by values, taste, feature of lifestyle and the meaning of a new coinage has influence in the change of lifestyle. Particularly a popular star is a person who situates in the center of a new coinage, his role, behavior, and appearance have great influence in the birth of a new coinage. He is a fashion leader as well as the object of fashion imitation to the new generation being sensitive for fashion. As his fashion is appeared with important fashion icon in fashion market, fashion companies have developed actively star marketing marking him as an advertising model. Therefore, because the fashion trends of a popular star introduce season's fashion trends and can be important factor forecasting fashion behavior of consumer, this study aims at analysis for fashion trends of a popular star including a public entertainer. The dates of this study were collected by TV drama, internet, and magazines, etc. The fashion trends were divided into feminine fashion trend, sexy fashion trend, tomboy fashion trend, and retro fashion trend. Feminine fashion trend was based on feminity but it was classified in masculine look, simple look, chic look, and natural & romantic look according to the standard of a transformation of feminine image. Sexy fashion trend was divided into two sexy images according to the method wrapping oneself in a dress and the method exposing a specific body part. Tomboy fashion trend could be the immature boyish style which concealed bust or hip or pelvis symbolizing feminity. Retro fashion trend could be style being based on 1980's style and Y line. Fashion items as leggings, baby doll dress, tunic style, dot pattern, garsonne look were come into fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.137-147
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• 2019

The purpose of this study, I investigate the new trend, 'new-tro', through the music video costumes of young generations, and analyze the meaning and characteristics of 'new-tro'. The research method is, select 30 music video with new-tro fashion style on the music sites, and the fashion styles were analyzed in 11 music videos checked and selected by 100 students. As a definition of the term, 'retro' refers to a phenomenon in which the past reappears in modern time, and 'new-tro' is a new retro trend, a social phenomenon that enjoys the old with a modern sense, and is a compound word of 'new' and 'retro'. 'new-tro' is a modern reinterpretation and rebirth of the past style, and 'fu-tro' is a style of coexistence between the past and the future. In the music video, fashion is a media language and cultural code, and it creates trend or new fashion, that communicates with the public, stimulating emotions. As a result of the research, the common trend phenomenon expressed in the music video costume of 'new-tro' trend which appeared in 2000s is as follows. 1. New-tro style starts with items that were famous in the past. 2. It is one of postmodern marketing using color, print and logo. 3. It spreads quickly by the influence of culture that is characteristic of the Internet and SNS world. 4. It is bottom up propagation phenomenon of street fashion. 5. It is a time game where modern people connect the past with the present. 6. "new-tro" continues to evolve for that time, based on 'retro'. New-tro, an evolutionary version of the 21st century retro wave. and it is a key to marketing effectiveness as a sympathetic elements of 1020 generations with the reproduction of memories.

• Journal of Ginseng Culture
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• v.2
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• pp.71-83
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• 2020

College students are the potential income classes preparing for income activities and are the main consumers of the future that are very important. In order to understand the current state of ginseng-related consumption culture of young consumers, this study wanted to examine university students' attitudes toward ginseng-related products and services in the future, and to find out their purchasing status, satisfaction, and intent to purchase them. In doing so, we looked at the relative influence of the relevant variables that affect the intent of the purchase. As a result, the variables that affect college student consumers' intention to purchase ginseng-related products were shown in the order of their reliability, economy, purchasing experience, subjective interest, monthly income, monthly allowance, pride in ginseng, and age. Of these, most of the variables had positive effects, but the average monthly income, monthly allowance, and age had negative effects. In other words, the higher the reliability, economy, and self-esteem of ginseng, the higher the willingness to buy ginseng, the higher the subjective interest in ginseng, the higher the age, the lower the monthly allowance, and the lower the income, the lower the willingness to buy ginseng. To promote college students' consumption of ginseng products, it is necessary to cut prices for the younger generation, enhance the quality of the products for the younger generation, improve the taste to overcome the negative aspects of rejecting the bitter and bitter taste, and, above all, induce consumers' attention. It is also necessary to expand accessibility through the development of convenient and easy-to-eat products for young people and the expansion of sales outlets. Recently, young consumers are interested in new products they have never experienced before, products that are good to certify because of their unique design or packaging, and retro products that stimulate nostalgia in the past, so they need to promote and provide information related to consumption of ginseng products in this regard. Considering the practicality and convenience of consumers, we propose consideration of personal consumers' taste curation services, which reflect their preference for products that are convenient to carry with them in line with various living environments, and can have synergy with other products.