• Journal of Fashion Business
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• v.14 no.1
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• pp.163-175
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• 2010

This study is a part of the integrated investigation of the design of Yves Saint Laurent, and aims at examining the background of the appearance of art inspiration which the artistic quality and originality are particularly seen. And also, I would like to examine the source of the power that transcends periods, dealing with issues in the design. From the mid 1960 to 1970, Yves Saint Laurent who leaded the global fashion trend, displayed the Art Inspiration works with the innovation of fashion in Paris, rediscovery of the trends and colors in Modern Art, and background of Entourage and so forth. He brought in the various artistic genres to the fashion, and his Haute Couture collections which were created by the passion for the movie and theater art, expressed the freedom through his strong identity in the Modern Art & Culture and the atmosphere of that period. Eventually his works are reappeared transcending the generations as the fundamental power of Modernity, through the restricted line of his own, strong contrast of colors, and insight for the future.

• Journal of Fashion Business
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• v.20 no.2
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• pp.59-77
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• 2016

The purpose of this study is to use data from studies of headdresses which might be helpful for creating new fashion styles. Headdresses in 2010 S/S-2015 S/S Paris haute couture collections were analyzed in the following categories: years, season, brand, type, color, material, and image. The types of headdresses were categorized as hat, hood, decorative or complex types. The hat type was elegant with a modern style, and coexisted with an exaggerated avant garde style. The hood type wrapped around the head with many examples having a distinctive sculpture on top of the knot. The decorative type varied dramatically in form and materials. The complex type was a blend of all the other types with the designer's individuality being outstanding. The characteristics of headdresses were revealed first, as an enlargement of the materials category, second, as an expression of dramatic forms, and third, as complete coordination of the creative fashion image. The headdresses illustrate the designer's creativity in producing a variety of images. Henceforth they will be important as fashion items and independent designs in fashion styling.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.

• Journal of the Korean Society of Costume
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• v.55 no.3 s.93
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• pp.108-121
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• 2005

The purposes of this study were to analyze hat design with the focus on the period from the 1990's to 2004 and to find out the development direction of next hat design. To do these purposes, the focus of theoretical approach was literature research, and hat design was attempted on the basis of the research. The focus of theoretical background was on previous research and fashion-related literature. Fashion Photos were picked up from all kinds of fashion magazines containing Haute Couture collection in Paris from the 1990's to 2004 S/S and some designers' collections. Then 1,381 photos were selected through two screenings. At first time, 1,500 photos were selected to have the relationship between clothes and hats, and finally 1,381 photos were picked.

• Journal of Fashion Business
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• v.9 no.1
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• pp.34-56
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• 2005

This study analyzed the formative relationship between clothes and hat, and to find out the development direction of next hat design. To do these purposes, Fashion photos were picked up from all kinds of fashion magazines containing in Paris from the 1990's to 2004 S/S and some designers' collections. Then 1,381 photos were selected through two screenings. At first time, 1,500 photos were selected to have the relationship between clothes and hats, and finally 1,381 photos were picked. The method to analyze was the formative analysis by Marian L. Davis and Marilyn R. Delong. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.296-312
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• 2018

In this study, we analyzed the whole design of the necklace in detail, which reflects the artistic sense of handicraft in couture. The purpose of the study was to identify the characteristics of the design based on the analysis findings and to provide basic data to help fashion designers. The research method entailed analyzing trends in necklace design - viewed in fashion magazines and on websites - by year, season, brand, kind, material, color, and image. The identified necklace design characteristics were as follows. First, artistry and originality are dramatically expressed through the use of a broad range of materials. Second, due to the necklace's role as an object of perfect beauty, in a number of images, the necklaces were presented in convergence and contrast with overall costumes. Third, the dramatic effects of layering revealed a strong presence and individualized styling. Necklaces are created with diverse sculptures by realizing the creative imagination of fashion designers. Even though they looked a little different every year, there were designs in the collections constantly. Round shape and princess length were preferred. In particular, the mix type was used to express dramatic effect by focusing neck part in entire styling which different length of necklaces were layered and worn. As a result, it meets the needs of consumers who emphasize brand differentiation and diversity, and it is believed that the role of necessities in fashion will continue and it creates economic demand in the fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.483-503
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• 1995

The purpose of this study was to clarify the origin which have misused terms, analyze Its meanings and suggest the unified terms. The content of this study are as follows. The origin of the terms in western dress is different with the areas of cultural influence. Japanese occupied much more than other languages in the apparel industry after the civilization. and English has dominated in the educational filed since 1945 the Liberalization. French, German, Portuguese, Spanish, Dutch are added. These languages came to the clothing field via Japanese and English or directly from the countries. 망토(manteau프), 메리야스(medias스), 러닝셔츠(일) 라사(raxa네), 오트 쿠튀르(Haute Couture 프), 비로드(veludo 포), etc. However the words of foreign origin have misused or corrupted until now a days. 마이 (재킷, 상의), 노 슬립, 소데나시 (슬리브리스, 민소매) 넌라쟈(브래지어), 노타이, 노타이샤쓰(오픈칼라 셔츠, 넥타이를 매지 않은 셔츠) 와이샤쓰(드레스 ttu츠), etc. And also these terms are confused in using because of the word's diversity, the different nationality, change of the marking rules, and the difference between the education and production field terms. On the others hand, this study explained the differences between western costume and Korean costume as the clothing manufacture terms were translated to Korean. bodice-길, collar, neckline-깃, belt, sash-(허리)띠 And then the untied terms were suggested through the comparison production field and educational area (including schools and institutes). lapel, 라펠(학교용어) (학원용어), 가에리 (일) (의류산업 현장용어), 아랫깃(통일어) By the way, this study involved the origin of and misused teams in sewing and presented the unified terms. 미까시 (X)-미 카에시(일) - 안단($\bigcirc$), 이새(X)―홈줄임 ($\bigcirc$) As the above , the characteristics of clothing terms which have misused are Japans,;e, corrupt Japanese, false reports foreign words via Korean, Japanese, compound words of Korean and Japanese, compound words of English and Japanese. And also the words of foreign origin in clothing had the following tendency in the marking system. There are ellipsis of form, sex, timber, grammatical case '-ing', '-ed' in adjective and long vowels express to short vowels. We can see this phenomena as the rule of curtailment labor.