• 한국의류학회지
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• 제31권6호
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• pp.879-891
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• 2007

빠른 유행변화와 긴 제조과정으로 인하여 패션업계에서 유행예측은 매우 중요한 과업이며,성공의 열쇠가 된다. 따라서 예측된 스타일이 소비자들에게 수용되어 유행되는 과정은 학문적으로나 산업적으로 매우 중요한 주제이다. 이 연구는 해외 콜렉션에서 예측된 유행스타일들이 한국시장에서 어떻게 수용되는지를 알아보고자 여성복 해외 콜렉션 자료와 서울의 스트리트패션 자료를 02 s/s 시즌부터 05 s/s 시즌까지 7시즌에 걸쳐 비교하였다. 해외 콜렉션 자료는 전문 패션잡지인 Fashion Show에서 수집하였으며, 스트리트 패션자료는 서울패션디자인센터의 자료를 사용하였다. 그 결과 우리나라는 해외 콜렉션에서 나타난 전반적인 트렌드를 잘 수용하고 있으며 특히 이 기간 동안은 스포티 스타일과 페미닌 스타일이 크게 유행하였던 것으로 나타났다. 그러나 해외 콜렉션에서 나타난 스타일이 그대로 수용되기보다는 변형되거나, 일부만이 수용되는 경우가 더 많았으며 이것은 한국사회의 특성과 대량생산에 기인한 것으로 사료된다. 또한 해외 콜렉션에서 제시된 스타일들 중 한국에서는 거의 수용되지 않은 경우도 있었으며, 한편 한국에서만 나타난 스타일과 아이템들도 있었다. 이 연구는 해외 콜렉션 자료를 주 정보원으로 사용하는 국내 의류업체들의 상품기획에 좋은 가이드라인을 제공하고 있으며, 또한 한국 패션시장의 특성을 이해하는데 도움이 되는 실증적인 연구로 의의가 있다.

• 패션비즈니스
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• 제13권4호
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• pp.163-177
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• 2009

In this study, the characteristics of headwear design by John Galliano's collections had been placed under the interpreting the immanent characteristics of presented in external things. His headwear design was found to have following characteristics; ethnic forms, historical forms, natural modeling forms, artifical forms, false hair forms and abstract forms. And his headwear design was found to have folling immanent characteristics; expaned exaggeration, introduced into existing form and reconstruction, mixed with different motives, change of texture, introducing and parody by natural and artifical form, pure abstacted construction. Furthermore, it can be identified that immanent characteristics and external things are mutually linked.

• 한국의류학회지
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• 제24권8호
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• pp.1155-1166
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• 2000

The purpose of this study is to investigate deconstructive trends of the street fashion in the 1990s spring/summer(S/S) Collections. This study was carried out by both the qualitative analysis and the quantitative analysis. In the qualitative analysis, the important street fashion was grouped and deconstruction was sampling of category. In the quantitative analysis, it took frequency, percentage and $\chi$$^2$-test. The results of the quantitative analysis are as follows: 1. \"N대-Hippie/Grunge\" has been most popular street fashion through the 1990s. The next is \"Sportive Casual\". 2. According to \"deconstructive inner meanings\", there are significant differences between the S/S street fashion in the 1990s. In \"N대-Mods/Jazz\" style, \"Sportive Casual style\" and \"Technos/Cyber-punk\" style, \"Intertextuality\" is high. In \"N대-Hippie/Grunge\" style, \"Exhibition of Otherness\" is high. 3. According to the \"deconstructive outer description\", there are also significant differences between the S/S street fashion in the 1990s. But, In \"Neo-Mods/Jazz\" style, \"Not Included\" is high, which means the \"N대-Mods/Jazz\" isnt related to the \"deconstructive outer description\". In \"N대-Hippie/Grunge\" style, \"Poverty.outworn\" is high. In \"Sportive Casual\", \"Exposure\" is high. In the \"Technos/Cyber-punk\", \"Destruction.Division\" is high.

• 복식문화연구
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• 제14권3호
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• pp.457-468
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• 2006

The purpose of this study was to understand fashion trend and characteristics by finding out the influences of crossover on modern fashion coordination through the identification of crossover coordination trend and characteristics. With a review of the literature, this study analyzed crossover coordination according to the types of expression methodology, periodical changes and designer's tastes that appeared through the collections of the six representative designers from 1996 to 2004. The results of this study were as follows. As a result of analysis of our sources, we realized that crossover coordination was shown most frequently in 1997 and Christian Dior was the designer who used crossover coordination most frequently. Among lots of crossover coordination cases, most of the cases are the coordination with different materials. In our results, trends of crossover coordination in materials appeared again about every five years cycle. Christian Dior combined different elements through silhouette and material, Dolce & Gabbana combined images and Jean Paul Gaultier combined different elements in the aspect of purpose and wearing configuration.

• 패션비즈니스
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• 제28권2호
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• pp.50-63
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• 2024

Chinese traditional wedding dress is a unique cultural symbol. It had a deep historical background as it went through different productions in each dynasty. However, with the introduction of Western ideas, an increasing number of people are wearing Western-style wedding dresses when they are getting married. Recently, traditional Chinese culture has been increasingly valued. Demand for traditional Chinese wedding dresses among modern Chinese people is increasing. Following this trend, Chinese designer Guo Pei(1967~) is actively innovating elements of traditional Chinese wedding dresses. This study aimed to analyze changes in traditional wedding dress styles by dynasty in China from 1046 B.C. to 1911 A.D. based on museum data and previous research. Changes in traditional wedding dress styles by Chinese dynasty were analyzed and organized. The meaning of wedding dress patterns was analyzed by type using traditional Chinese patterns. This study focused on Guo Pei's 2012 "Chinese bride" series and "Legend of the dragon" series. Starting from the development and characteristics of traditional Chinese wedding dresses, this study analyzed fashion characteristics of Guo Pei's wedding dress series. Goals of this study were to preserve the essence of traditional Chinese wedding dresses; and to determine how to apply the fusion of traditional Chinese design elements into fashion and modern design to wedding dresses.

• 복식
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• 제64권6호
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• pp.131-147
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• 2014

Purpose of this study is to analyze the meaning of the hybrid digital culture and to find out the features of digital fashion shows appearing in the period of the hybrid digital culture as there have been almost no studies on the hybrid cultural values in the fashion shows and on the diachronic socio-cultural viewpoint of fashion show. The characteristics of hybrid digital culture were identified through the analysis of cases, and they were organized into three for this study; 'non-economic creativity', 'interactive communication' and 'transcendence'. Based on these characteristics, the features of hybrid digital cultures in the modern digital fashion shows were classified into the digitalization of presentation form and the acceptance by audience of digitalization using case studies. The features of digital fashion shows which appear through the presentation form in the digital fashion shows are as follows; 'Expansion of presentation media of runway' and 'Destruction of component factors of runway'. The features of digital fashion show in the perspective of audience's acceptance of digitalization are as follows; 'Audience's field experience through the live video', 'Participation by audience in interactive manner' and, 'Immersion in the virtual reality by the audiences'.

• 복식
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• 제57권3호
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• pp.63-77
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• 2007

The purpose of this study is to apply fashion design to developing dress design of mobile-phone game characters. As for the research methodology, first, market research has been carried out to extract main images from dress designs of game characters and to understand their socio-cultural meanings. Second, the fashion design, which ran be compared to the extracted images of game characters were selected. Third, analyses were done to find out the gap between the game character's dress designs and the fashion designs. The main images of game characters are revealed as erotic, romantic, heroic, grotesque. These images have been formed by psychological and socio-cultural effects such as stimulation, empathy, compensation, increase of female game player. The differences between the game character's dresses and the fashion designs are as follows; With regard to style, game dresses have silhouette distinguished from background, but fashion collection have blurred silhouette. In the aspect of color, while strong colors are mainly used in game dress, neutral rotors are preferred in fashion collection. As for texture, the expression of 'textures in game character's dress is so far limited due to the insufficient level of the concerned technology. However, the fashion design applying drape of fabrics are well-developed. Mobile-phone game players want reality in game design. Therefore, the effort to overcome the gaps between game dress and fashion design can contribute to the growth of game character design.