• 복식문화연구
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• 제17권3호
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• pp.523-534
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• 2009

The purpose of this study is to categorize the dimensions of the visual evaluation of the costume details of the retro romantic fashion and to research on the costume details and the visual evaluation by evaluators' gender, age, and major, and on their preferences. Quantitative research were conducted for this study. Based on the pictures, 10 costume details were selected for the survey questions and data were collected. All 446 subjects who participated in this research were college students(males and females) residing in or near Seoul. Data were collected in September, 2008. The collected data were statistically analyzed using SPSS which included: factor analysis, Cronbach's $\alpha$ reliability analysis, three-way ANOVA, two-way ANOVA, one-way ANOVA, Duncan's multiple range tests, and the t-test. The results of visual evaluation of retro romantic fashion are as follows: First, as a result of the factor analysis of the costume detail evaluation, five factors including attractiveness, decorativeness, cuteness, retro, and femininity surfaced. Second, the gender difference in the results of the research revealed that women rated decorative, cute, retro, and feminine characteristics higher than men did. Third, there were significant interactive effects in attractiveness and femininity depending on costume details and evaluators' gender. Fourth, subjects majoring in fashion valued attractiveness and femininity of the stimulus over non-fashion majoring subjects. Fifth, there were significant differences in the preferences of costume details depending on gender.

• 복식
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• 제45권
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• pp.55-70
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• 1999

The purpose of this study is to offer a new inspiration for fashion design relating the "Romanticism" in art to one in fasion-examining the circumstance expressionad the latest trend which is involved with it. Since. 1990. Romanticism is motivated and represented in the middle of aridity in this age which is going on the end (of age). To say the details Romanticism in fashion is represented modernly in the compound of social grounds cultures and new techniques. Romanticism in fashion is represented modernly in the compound of social grounds cultures and new techniques. Romanticism in fashion is classified in four categories : Retro Avantgarde, Minimal and Ethnic. First Retro mood in Romanticism is represented by reappearing the costumes in medieval Renaissance Baroque Rococo, Romantic era Specially corsets crinolines bustle decorative ribbons frills and Medieval symbols in religion are important factors in intuitional symbolic Romanticism. Second Avantgrde mood in Romanticism is mainly represented in the oriental patterns colors items being motivated by Eastern customs images and cultures. Today they appear in modern concept reinterpreting 'fusion" "hybrid" and "cross-over". Romanticism in fashion is creating new forms and beauties absorbing the past and the present. In addition it is motivated by the nostalgic mood. the expectation for the future and the refineent. Romanticism would be an important fashion theme to offer new inspirations for the fashion in 21th century rather than remain at the reappearance.er than remain at the reappearance.

• 복식
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• 제55권1호
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• pp.1-12
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• 2005

The modern society which is going through the big turbulence of civilization experiences the lost of humanity and the phenomenon that the standard of our thoughts, like those for good and evil, truth and false is not clear anymore as the technology is being improved. This makes us miss the past when everything is simple and the standards are very clear and being attracted by the metaphorical culture symbolizing something from the past, like memories of youth, fantasies, fairy tales or myths and we are now having a great interest in the joy of life and the affluent life. Influenced by this kind of tendency in modern society, the minimalism, which had the great influence in the nineties, went out of fashion and at last the romantic susceptibility seems to be the trend forming the major mood of the late 20th century - the early 21st century. This study focus is: (1) the theoretical aspects of romantic images such as the concept, the historical tendency and the character are considered. (2) the variety and multiplicity of the romantic images is discussed after the romantic image is classified into four types of retro character, natural character, ethnic character, erotic character according to major trends in our modern. The purpose of this study is to understand the romantic images in modern fashion, by analyzing the fashion trends together with the various features of romantic images.

• 한국의류학회지
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• 제29권12호
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• pp.1554-1561
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• 2005

본 연구는 과거의 것으로부터 영감을 얻어 재창조되어지는 경향이 짙은 현대 패션 경향 중 1960년대 미술의 중요 쟁점으로 떠오르는 미니멀리즘의 개념과 특성을 중심으로 1990년대 후반의 컬렉션에 나타난 현대 헤어스타일과 의상을 분석하고자 하며, 이를 통하여 오늘날 다양하고 개성화 된 현대 헤어스타일과 의상을 이해하는데 그 목적과 의의를 둔다. 본 연구의 방법은 질적 연구로서 먼저 미니멀리즘에 관한 국내외 저서, 논문 등의 문헌연구를 통하여 분석틀을 제시한 후, 세부적으로 인터넷 즉 시각적 이미지를 분석틀에 적용하여 분석하는 방법을 사용하였다. 그 결과 현대 헤어스타일과 의상에 표현된 미니멀리즘적 디자인의 특성은 다음과 같다. 첫째, 단순성의 특성이 나타났다. 의상에 있어서 장식의 배제와 계절에 상관없이 형태의 최소화로 나타났으며, 헤어스타일에 있어서 모발의 은폐로 물체성 즉 인체 본성으로의 환원을 강조하였다 둘째, 단일성의 특성이 나타났다. 조각영역에 회화의 특징을 도입하여 조각영역의 확장을 가져오듯이 의상에 있어서 모노크롬한 색상의 의상을 사용함으로써 세련미을 표현하였고, 헤어스타일에 있어서도 의상과 동일한 색상으로 머리염색을 사용하였다. 셋째, 반복성의 특성이 나타났다. 의상에 있어서 내부적 외부적 패턴의 반복으로 나타났으며, 헤어스타일에 있어서도 염색기법을 활용한 모발 내 패턴의 반복과 외부적 첨가를 통한 모발 외 패턴의 반복이 나타났다. 넷째, 공간성의 특성이 나타났다. 의상에 있어서 신소재 개발에 따른 다앙한 소재를 차용하였고, 헤어스타일에 있어서는 철망, 유리 등의 공업용 소재를 사용해 두상과 장식과의 사이의 공간을 형성해서 관람자로 하여금 더욱 디자인에 몰입하도록 하는 적극적이고 활동적 참여를 유도한다고 볼 수 있겠다. 이처림 미술양식의 하나인 미니멀리즘은 현대 헤어스타일과 의상 디자인에 새로움을 더해주는 중요한 요소로 독특한 아이디어 발상으로의 변화를 가능하게 하였다. 또한 과거의 미술양식의 재등장은 단순히 한 시기의 패션 트랜드의 제시에 만 그치는 것이 아닌 앞으로 다가올 우리의 미래에 대한 전망도 함께 내포한다고 볼 수 있겠다.

• 복식
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• 제57권6호
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• pp.101-111
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• 2007

The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.

• 복식
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• 제64권3호
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• 복식문화연구
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• 제4권2호
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.