• Journal of the Korean Society of Costume
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• v.38
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• pp.233-244
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• 1998

This research wants to find the possibility for new paradigm of modern Korean dress by accepting and harmonizing the tradition and the modernization of Korean design when Korean designers enter into Paris collection and express identity of Korean fashion, and investigates the characteristics of Korean design with concentrating on the works of Young-hee Lee, Shin-woo Lee, Tae-ok Jin who have exhibited their works at Paris Collection. For one of the above characteristics Young-hee Lee, a designer of Korean clothes, emphasized to build up image of Korean fashion as a form of Korea without any modification, and expressed universal western-style silhouette as Korean image by using traditional technique including dyeing and silk made by herself, quil-t and decorative saddle stitching. In the as-pect that a chain of work has made not by westernization of Korean clothes but by re-creation of Korean clothes, it suggested a new way of modern Korean fashion with harmonizing tradition with modernizations as of present based on our own dress tradition and have got good reputation from the press and the field in Paris as well. Therefore the tradition and the modernization of Korean design is not confronted or compromised in form, color, material, motif and decoration but has to be harmonized and reconciled independently in order that visual characteristics of dress can be made as one of Korean image.

• Journal of Fashion Business
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• v.18 no.2
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• pp.14-28
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• 2014

This study analyzed the group of experts who were related to cubism, selected among the works of 2010~2013 Paris Collection based on F.G.R.(Focus Group Research). According to the results of this study, there were appeared first, 'a one-piece dress' second, 'H silhouette' third, 'cotton', in case of item distribution and frequency. The analysis was done by using the manner of expression, cubical expression, exaggeration, distortion, dismantlement, geometrical division of face, mix-match look, wraparound repetition, asymmetric structure, etc. Based on the outcomes of the analysis on figurative design elements, this study adjusted three manners appearing on cubism fashion style. First, it was 'avant garde manner' of constitution or 'dismantlement' which was compiled into multi-view representations of overlaps and viewpoints by repetitive use of color tone trimming detail. Second, it was 'geomagnetic block placement' which expresses cubism with geometric partitioning of surface and separation of panel by cutting disintegration. Finally, it was 'distortion and simplification of silhouette' which is a distortion created by constitution-line pressed thin with silhouette. It maximizes the beauty of human body outline, which was distorted by three-dimensional-manipulation, and simplified by ellipsis for another shape for the extension or expansion of detail trimming.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.361-370
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• 2005

This study was intended to investigate intertextuality expressed in fashion; intertextuality within fashion as sex, T.P.O., texture, and coordination and intertextuality between fashion and other genre like animation, music, film and technology. Intertextuality obtained by mixing the masculine and feminine text, coordinating various element without regarding T.P.O., texture has contributed to expending aesthetic realm and redefining the aesthetic value of traditional fashion design. The influence of animation, music, film on fashion and the interaction between these genre and fashion integrated high-class fashion and street-fashion, created the multicultural hybrid. Moreover according to the change of lifestyle the fashionable technical clothing was needed and developed. The intertextual tendency in the 21st-century fashion has given the new possibility of fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.1
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• pp.91-109
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• 2013

The main objective of this research was to understand the latest trends of natural print design through the quantitative & qualitative analysis of fashion appeared in contemporary female collections. The research criteria was defined as 3 seasons from 2011 S/S to 2012 S/S. Data collection of 726 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency with chi-square test was conducted. Also qualitative interpretation of natural print design' characteristics was completed. The main findings were as follows.; The average occurrence rate of natural print design from 2011SS to 2012 SS in three collections were 6.4% in Milan 6.4%, 5.5% in Paris and 6.8% in N.Y. The five source types of natural prints in contemporary women's fashion collections were identified and the order of their appearance were as follows: flowers, plants, animals, insects & marine organisms and compound one. The plant prints were expressed by stylized or realistic touch. Flower patterns showed more variables than plants, however, there were no big difference in their image and major characteristics. The animal prints demonstrated two aspects. First one used typical animal print of fur or skin, but the other one draw the animal figure like paintings. The compound source type presented the most interesting and fresh pattern design ideas. In the insects & marine organisms, mainly butterfly and seashell & starfish, etc. appeared as real shapes or sometimes were stylized.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.343-353
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• 2003

In this research, the fashion images, which expressed the same theme during the same season in four different fashion collections, were interpreted as emotional characteristics stemming from different factors according to the emotions and images of the regions where the collections were held. The theme, futurism appeared to be hackneyed and oppressive in Paris fashion which emphasized artistic representation of the theme. And futurism appeared to be expressed to be dazzling, unnatural in London fashion which was innovative and avant-garde. And the New York fashion, which accentuated practical, sportive, and elegant styles created active and graceful image about the futurism and the Milan fashion showed the balanced mixture of the three cities' images above. It is interpreted that our domestic fashion consumers think artistic, formative, original, and emotional images as hackneyed and oppressive. On the other hand, they feel comfortable, cheerful, unaffected and graceful about the images that are functional (rather than artistic), sportive, and moderately elegant. And the innovative and avant-garde images like the ones in London collection seem to make people feel unnatural, dazzled, and even depressed. In short, domestic fashion consumers think that the excessive, innovative, original, and formative fashion images appeared I London and Paris are hackneyed and dark rather than artistic, original, or dynamic. On the contrary, the moderate, practical, sportive and elegant New York images and the Milan's which equally showed the three cities' characteristics are regarded as comfortable, elegant, bright, and positive. This result indicates that the fashion market in certain regions seek shared fashion trends and the difference between the regions reflects the different interpretation of fashion themes.

• Journal of Fashion Business
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• v.16 no.5
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• pp.57-73
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• 2012

The main objective of this research was to understand the characteristics of pleats design through the analysis of modern female fashion as they appear in the 'Collections' from '09 A/W to '12 S/S. Data collection of 1027 was done through the review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three cities; Milan, New York, Paris. Along with the qualitative interpretation of pleats design, statistical analysis of frequency and ${\chi}^2$-test were completed for data analysis. The main findings were as follows; 1. The five types of pleats design were founded in the order of accordion, knife, box, inverted, and sunburst pleats. The frequency and ratio of pleats design occurency showed significant difference between collections. 2. There were significant difference between the types of pleats and their line characteristics of thickness, continuity, length, direction. = Thin fabrics with delicate fine folds were mainly appeared in accordion and sunburst pleats. On the other hand, midium thickness fabrics were used for knife, box & inverted pleats, however, the different images were projected according to the width and the number of folds, characteristics of fabrics and textures. = In all the type of pleats but sunburst, continuity line was appeared the most. The discontinuous lines were appeared the most in the layered types and, sometimes, at some construction lines to add some decorative details or design variations. = The long line were the most frequently appeared in long one-pieces or long skirts of knife, accordion, sunburst pleats. While, the shorter lines showed the most frequently in box and inverted pleats, which mainly used for skirts or the lower part of one-piece. = For the line directions, the vertical lines were the most frequently appeared, and followed by mixed and diagonal line. In mixed or diagonal lines, same type of pleat was repeated in one design. For diagonal lines, one direction was mainly used, however, the symmetrical arrangements or repeated diagonal pleats in various directions also used. In mixed lines, the type of one or two diagonal and one vertical line was the most frequently appeared.

• Journal of Fashion Business
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• v.9 no.1
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• pp.21-33
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• 2005

The main objective of this research was to understand the characteristics of identical color coordination through the analysis of modern female fashion color coordination as they appear in the 'Collections'. Data collection of 2026 was done through review of '$pr\hat{e}t-\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Lastly, statistical analysis of frequency and $X^2$-test and also qualitative interpretation of identical color coordination characteristics were completed. The main findings were; The color coordination of modern women's fashion produces a unified theme, or monochromatic harmony, through the use and coordination of identical colors. The clear contrast of tones portrays a strong image especially in achromatic color coordination, and through the use of texture variation, monochromatic color coordination becomes even more compelling. The tone variation, observed most often in monochromatic color coordination was the black and white contrast, which enhances the simplicity and clarity. Within chromatic color combinations, tone on tone color coordination was achieved by varying brightness. Furthermore, the observation of Faux Camaeu indicates that the coordination of different textures is used often in identical color coordination. While achromatic colors can lead to a hard and rough feeling, it also is compensated through the use of varying textures. In addition, adding variety of textures can add subtle interests to the simplicity of white. Lastly, in all four collections, the chromatic identical color coordination was found more frequently than the achromatic. In Paris, N.Y. & London, the chromatic identical coordination was used more often than chromatic. Milan showed most use of achromatic coordination. The use of the tones showed similar trends in all four collections, with contrasting tone being used most often, followed by similar and identical tones.

• Journal of Fashion Business
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• v.12 no.4
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• pp.73-87
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• 2008

The main objective of this research was to investigate the characteristics of achromatic & chromatic color coordination of contemporary female fashion by reviewing 'pre-a-porter Collections' of four collections (i. e. cities) - Paris, Milan, New York, London - from the periods of 2002 S/S to 2006/7 A/W. The data was collected by reviewing 'pre-a-porter Collections' magazine and total 677 observations were made. Statistical analysis of frequency and also qualitative interpretation of achromatic & chromatic color coordination characteristics were completed. The main findings were; (1) The achromatic & chromatic color coordination was identified as one of most used color coordination in contmeporary women's fashion collections. (2) Black and white mainly used for achromatic color, and brown used the most often, then followed by blue, red, yellow, green and the others for chromatic color in achromatic & chromatic coordination of contmeporary women's fashion collections. (3) The characteristics of achromatic & chromatic color coordination of modern women's fashion collections from 2002 S/S to 2006/07 A/W showed various images according to chromatic colors and tone variation. The combination of achromaticand brown color variations produced an intelligent and sophisticated image. The soft or light chromatic color and chromatic color combination projected soft, feminine and subtle feeling, while the combination of vivid or strong chromatic color and achromatic color projected a clean and strong feeling through contrasting tones of clear and bright colors. The chromatic color of deep or dark tone and black combination demonstrated supernatural and gloomy image. (4)In all four collections, Paris showed most use of two color coordination and then followed by Milan, N.Y, and London. N.Y showed higher rate of using achromatic & chromatic color coordination, and then followed by Paris, London and Milan.