• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.93-109
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• 2012

The purpose of this study is to examine the modern men's fashion coordination to see the image in the center of TV dramas in terms of Habitu that is formed within hierarchy and class. The subjects range is included fashion style, color, accessories, hairstyle and appearance. 950 pictures used in the analysis sheet. In research methods, content analysis and basic statistics were used. The results of this study were as follows. First, the hierarchy image formed by Habitus is significant difference. The upper layer is coordinating elite luxurious and prestigious image of the fashion styles. The middle layer is coordinating neat and capable image. The lower layer does not care about the appearance and image appearing weary life is coordinating. Second, the class image formed by Habitus, CEO often interests in fashion image coordination. Senior executive is represented clean and luxurious image. General white color dresses in a suite such as office look. Blue color does not care about the fashion coordination and is expressed an easy dress for labor. Architects of the unstructured free-spirited image is represented. Physician and resident physician dress in shirts, no pattern tie, pants, robe. And they is coordinating neat and tidy attire to represent professional and reliable image.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.7 no.5
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• pp.934-940
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• 2003

In this paper, hair beauty fashion design feature points detection system is proposed. A hair models and hair face is represented as a graph where the nodes are placed at facial feature points labeled by their Gabor features and the edges are describes their spatial relations. An innovative flexible feature matching is proposed to perform features correspondence between hair models and the input image. This matching hair model works like random diffusion process in the image space by employing the locally competitive and globally corporative mechanism. The system works nicely on the face images under complicated background. pose variations and distorted by accessories. We demonstrate the benefits of our approach by its implementation on the face identification system.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.23-31
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• 2008

Rapid change of the era has caused change to consumption. New concept of consumer means not consumer who is simply provided a product, but a consumer who lays emphasis on value. That is to say, it indicates a consumer who values both on service and information as well as a product itself when they purchase. Therefore, the purpose of this research is to analyze the changes of POPs and objets at domestic and foreign fashion lingerie shops in different periods, and to encourage the effective introduction of POPs and objets for display at fashion lingerie shops in the future. I have used 100 pictures of 6 domestic brands and 80 of 6 foreign brands to analyze, and the periods were divided into 2000-2003, 2004-2007, and after 2008. The result of analyzing is as follows. First, give much information and great satisfaction to customers through the various types of POP, which convey the image and the concept of the products. If current POP was used only for sales, there ! should be various kinds and types of POPs to present not only basic information of products but also the value beyond it. Second, advance the products value by the presentation of diverse object. Furniture, fixtures, Lighting, Gift Box, Poster and mannequins should be used not to show simple props and presentation of product in the past, but to show brand images and Design concept of products.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.12
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• pp.1939-1949
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• 2008

The purpose of this study was to identify differences or similarities across the ensembles of 2006 F/W fashion trends in the big fashion centers such as Paris, London, New York, and Seoul, by street fashion research. The study focuses on understanding of localized fashion trend in the marketplace. We used photograph observation and analyzed data by SPSS program. We found there is a significant difference in winter outfits at these different global fashion mega cities. Most Korean women were wearing light colored outer jackets and blue jeans were dominant style for pants. The majority of Paris/London, New York and Seoul people on the street were wearing wool/wool like coat. Padded coats were worn more by New Yorkers than by people in Seoul. For the bottom, there is a similarity between Paris/London, and New York City, in that skinny pants were popular. Koreans were wearing skinny pants mostly, but the percentage of mini skirts/shorts was also higher than any other cities. We found that the cross-cultural fashion mega trend is similar in clusters, but there is a slight difference of trend in clothing color, style and design details, and accessories by localized fashion cities. Not only direct observation but also identification of cultural characteristics and consumer behavior through the years will bring much more contributions to apparel industries.

• Journal of the Korean Home Economics Association
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• v.49 no.3
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• pp.1-10
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• 2011

This paper reports on a study of the morphological design trends and characteristics of vests in contemporary fashion for women. A review of the relevant literature was conducted, and visual images found in various collections displayed in local and foreign papers and on internet web sites over the period 2001 to 2009 were analysed. The analysis of the vest designs showed that 78% had no collar, 41.8% were waist-length, 70.5% used general fabrics of various colors and patterns, 98.2% had a single fastening system, 69.8% used buttons for fastening, and 67.4% were intended to be worn as outwear over inner wear items such as a shirt or blouse. The trends in vest design were characterized by the expression of an androgynous image, by creative diversity and by an escape from traditional forms.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.5 s.142
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• pp.703-714
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• 2005

The purpose of this study is to acquire various methods for the fashion image coordination and to examine common features of variation of coordination methods according to the trend. It has attained by investigating Men's fashion image coordination through trend analysis in terms of its coordination features and its variety aspects. For this study, it has classified into twelve typical Men's fashion images in collecting 1,291 pieces of photographs on the subject of jackets and pants from Men's fashion collection$(1995\~2002)$. The study has examined methods and features of fashion image coordination by year according to design elements and the harmony between items. In addition, it has drawn common factors in the image coordination. The summary and conclusion are as follows. A year of 1995, it has presented as the essential code of the variation that morphologic aspects of a design in the fashion image coordination. Various designs have developed through the variation of shapes such as shoulder width, shoulder pad, jacket width and its length and so on. In the initial stage, the width of shoulder and jacket has fitted into large pattern and then adjusted elegantly to make fit the body that indicates a dissolution according to an avant-garde image. At the time that over-measurement of the shape has reduced and high quality and variation of materials has gradually become significant. Those are often used that high-quality glossy materials or other materials which are opposite to the basic code of the original fashion image materials and qualities regardless of images. On the pattern and color, in addition, have represented neat and elegant impression with moderate applications rather than quantitative abundance that have used opposite elements to the basic code f3r the change code like materials. Furthermore, before and after 1999, ' it shows that a concept of the total coordination has arisen that increased coordination methods to strengthen and affluent its images for the whole with wearing accessaries such as hats, gloves, sunglasses, mufflers, bags, belts and so on.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.98-109
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• 2013

This study aims to discuss the image making of K-pop girl groups to provide an outlook on the necessary fashion components in order to express certain concepts by analyzing the fashion styles. The fashion styles of the representative girl groups from 2007 to 2011 were classified into five types: retro style, schoolgirl style, chic style, sporty style and marine style. The following are the features and elements of image making by style. The retro style pursued going back to the past. It used stripes, dots, leopard patterns, spangles and denim. It reproduced the style of the past to the trendy style using big sunglasses, retro makeup, girlish hair and gold wigs. The schoolgirl style created the sexy or cute image by using school uniforms as the motif including shirts, short pants and knee socks. It included having natural makeup and straight hair and differentiated colors, patterns and designs. The chic style was classified into rock chic look and sexy look. Both looks had common elements including smoky pop active makeup while the fashion concepts and hair styles were different. The sporty style took the concept of cheer girls. It used plaid shirts, baseball jackets, short pants, thigh high boots, vivid hair accessories, romantic makeup and straight, wave hair. The marine style took the naval uniform as the motif. It expressed the image using short pants, stripe patterns, wappens, naval caps and smoky sexy makeup, straight hair. K-pop girl group fashion is the driving force for the growth of Korean fashion industry as well as its cultural trends and hope that it have a growing influence on the global market and trend through continuing research and support.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1163-1176
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• 2011

The purposes of this study was to identify characteristics of total coordination in the pursuit fashion sensibility among women their 20's. A self-administered questionnaire was used for data collection from 410 women in their 20's. Data collection was conducted Aug. 5 to Aug. 15, 2009. Most women emphasized on clothing for total coordination and utilized clothing color and style as a selection criteria. They tried to match makeup and clothing, and spent more time considering makeup, hair styles, and fashion accessaries than clothing for their total coordination. Factors of fashion sensibility included luxury and fashion, casualness and ethnicity, modernity, sociality, activity, and sexual attractiveness and women were segmented into fashionably sensible intermediate, low, and high groups according to their fashion sensibility. The fashionably sensible intermediate group predominantly encompassed women who were unmarried or in their late 20's, unemployed, highly educated, or of low economic status, preferred to mixing and matching colors, and who utilized their individuality or makeup color for total coordination. The fashionably sensible low group encompassed homemakers, in their early 20's, high school graduates or university students, who utilized their clothing or hair color within their total coordination criteria. The fashionably sensible high group encompassed unmarried career women in their mid 20's or of high economic status, who spent much money on their clothing, makeup, hair styles, and fashion accessaries, who preferred achromatic, warm or cool colors, and utilized their individuality or fashion color.

• Journal of the Korean Society of Fashion and Beauty
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• v.1 no.1 s.1
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• pp.105-118
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• 2003

The purpose of this study was to analyze entertainer Byeon Jeong-su's hair styles and thereby, apply the results to models. For the applications, models' hair styles were bisected into two sections, and thereby, the edges of the outsides were cut into solid points, and thereupon, into diverse bases by using vertical section, Perpendicular direction and square angles. On the other hand, the insides were cut in the same way of the outside bases by using radial section, varied combing and $45{\sim}90$ degree head angles. In addition, tops and sides were arranged in their corners, while a graduation technique was used to express a natural difference of levels. The fringes were cut by using free-hand and slicing techniques. furthermore, the quantity and mass of the hairs were treated with such techniques as thinning, swing, effect, rolling, slide and slicing, while a bridge product was used for coloring together with a highlight technique. The hair styles were rendered for straight and wave by using an magic iron machine. It was confirmed through this study that the same cutting techniques would result in different images depending on individuals' physical shapes, facial shapes, head skeletons and types of hairs. Thus, it is required of the hair designers to suggest their own custom hair designs adequate to individuals' images through continued image-wise hair design practices.

• 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.