• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.46-54
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• 2004

In this paper, It is examined the patterns of fashion style in the history of subcultural clothing from 1930s to 1960s, focusing on the way each generation resisted the main stream through its styles. The subcultural styles examined and classified in this study are mainly British and American, with a few European and Western Indian styles included. This study understands subcultural style as a way of deviate or resistant expression within a society. The patterns of subcultural styles presented in this study are based on their form of resistance, and they are classified as follows: The pattern is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Zoot, caribbean, western, teddy boy, rockabilly style are included here. As minimal dressing, there are hipster, beatnik, modernist, mod, rude boy style. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. The new and significant development can be found in the fact that subcultural style emerges as a dominating force in our culture. This implies that the energy of a subculture is essential as a formative force of a fashion world.

• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.755-773
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• 2010

The purpose of the study was to examine concept of subculture and style of subculture by each age and to analyze internal meaning of hairstyle in subculture. The study carried out literary review on the basis of books related to subculture and hairstyle focused on the cradle of subculture and preceding researches of subculture style, and strived to find internal meaning of hairstyle by describing in-depth descriptive methods of qualitative research. And the study limited its range in the hairstyle in style of subculture from 1930s to early 1990s commonly described in subculture related books. As a result, there were natural pattern, cutting pattern, exaggerated pattern, set pattern, braid pattern, color pattern and addition pattern in types of hairstyle in subculture. The hairstyle in subculture symbolizes their internal value and ideology and hairstyle is a kind of language to express identity of subculture.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.159-170
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• 2005

In this paper we examine the patterns of the subcultural fashion styles in the 20th century in terms of various subcultures in the period. First, we define the concept of the subcultural fashion styles and in turn, examine the subcultural fashion styles from 1950s to 1990s while focusing on the way each generation resisted against the mainstream through its styles. The subcultural fashion styles examined and analyzed in this study are mainly British and American styles. some of European and Western Indian styles are also included. In this paper, a subcultural fashion style is understood as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity. And as a result, it is realized in a form of a fashion with its repressed subconsciousness, with resistance to the alienation from the society, and with deviation from the normative ethics and the morality of a society. In conclusion, we classify the subcultural fashion styles into two patterns based on their form of resistance which tries to distance itself from the ritual code of the day: the dressing of the escape from time and the dressing of the escape from space. The first pattern is characterized by nostalgia or futurism, and includes psychedelic, rastafarian, raver, techno style. The second Pattern includes surfer, folky, hippy, new age traveller, cyberpunk style. Especially, an emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space.

• Archives of design research
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• v.18 no.1 s.59
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• pp.233-244
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• 2005

Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.33-45
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• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.