• Journal of Fashion Business
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• v.8 no.5
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• pp.60-74
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• 2004

The purposes of this study are firstly to considered nudism of the sociocultural context, secondly to consider the cultural meaning of the nudism fashion expressed in the 2000's and thirdly to clarify formative characteristics of nudism fashion style in the 2000's. For these purposes, documentary studies about nudism in social science and psychology were analyzed and then objective studies with fashion magazine after the 2000 and clothes released at various collections were performed for studies about nudism fashion in the 2000's. The results of this study were as follows: 1. Nudism of the sociocultural context was divided into Naturalism, Counteracting culture, Eroticism and Narcissism. 2. Fashion, influenced by nudism, tended to express the beauty which emphasizes the functional aspects of nude and includes the decorative characters. 3. Nudism in the 2000’s fashion was summarized as Eroticism nudism fashion, Primitivism nudism fashion and Futurism nudism fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.3
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• pp.17-25
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• 2009

The purpose of this study is to help understanding of abstract patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The summary of this study's results is like followings. Formative characteristics of abstract pattern in 2000's fashion are Impromptu, Anti-mechanism, Superimposing, Disorder. First, Impromptu is rebounce against uniformity, mechanism, man-created beauty Second, Anti-mechanism represents unfinishing, unbalance, inaccuracy and relates with each traditional of nation or ethnic group. Third, Presupposing transparency Superimposing offsets each patterns. So Their images are ambiguity, ununiformity, unequality, incompletion, uncertainty and so on. Fourth, Disorder breaks and ignores physical balance, rule, order and so on. These images represent uncertainty, freedom, naturality. From this result, I can interpret that these images are representing of humanism reacting about uniformity, mechanism, man-created beauty, completeness of modernism since the Industrial Revolution.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.100-117
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• 2012

This research aims to study comparatively on the aesthetic characteristics of minimalism and maximalism in the 2000s fashion, based on the previous studies in art and design. For this purpose, literature survey and demonstrative analysis of fashion collection photographs were performed. The scope of this research is from 2000 to 2010. The results are as follows: First, the formativeness of minimalism fashion in the 2000s is analyzed as understatement, simplicity, non decorativeness. The internal meanings are reduction, purity, asceticism, transcendence and practicality. Second, the formativeness of maximalism fashion in the 2000s is analyzed as enlargement, fusion, decorativeness, luxury and avant-garde. The internal meanings are pluralism, open mind, sensibility, fun and materialism. Third, minimalism and maximalism fashion in the 2000s are opposite when compared to each other. While minimalism pursues the nature of human being by ascetic approach, maximalism does it by immersing in human affairs. Within the spectrum of these two opposing ends, there are different degrees of expressions. Also these two trends fuse with other styles. As these trends express and pursue the nature of human being, they are expected to exist incessantly in the future.

• Fashion & Textile Research Journal
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• v.10 no.1
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• pp.30-39
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• 2008

This research investigated the change of Japanese Street Fashion after the Second World War. The change were categorized into 5 terms from the late 1940s to 2000s. The first term was from the late 1940s to 1950s, when street fashion was born. The second term was from the 1960s to 1970s and counter culture of street fashion appeared. The third term was the 1980s, during which street fashion fluctuated. The forth term was the 1990s, a period of chaos in street fashion. The fifth term was after 2000 and it was a retroaction term of street fashion. Japanese street fashion was influenced by fashion magazines in those days. Various street fashions in Japan based on special society and cultural situation accomplished Japanese basic fashion quality and influenced world fashion.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.1-21
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• 2008

The purpose of this study is to typify femininity and masculinity represented in mainstream women's and men's fashion magazines in Korea since 2000 and infer sexual ideology appearing in contemporary Korean society by content analysis with the view of plural sexuality. For the content analysis total 259 editorial fashion photography was analyzed. As the result, 5 femininities and 5 masculinities were typified, and then sexual discourse was inferred out of the frequency of each type and texts with the images. On the basis of previous studies and historical considerations of this topic, the types of sexuality represented in mainstream fashion magazines in Korea since 2000 were classified as follow.: in women's fashion magazines Traditional Femininity and Androgynous Femininity were almost similarily dominant sexuality, and Glamor Femininity, Babydoll Femininity, and Genderless sexuality were alternative. Meanwhile, in men's fashion magazines Traditional Masculinity formed clear dominant sexuality, and Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity, and Genderless sexuality were alternatives. In addition, Androgynous Masculinity in women's fashion magazines occupied the highest frequency, while Glamor Femininity in men's fashion magazines did so. From this sexual discourses represented in mainstream fashion magazines in Korea since 2000 are as follow.: First, mainstream fashion in Korea sticks to the modern values preserving traditional sexual ideology even in this postmodern period of the former 21C. Second, Androgynous Femininity as another dominant femininity with Traditional Femininity connotes the change of conception of femininity in Korean society. Third, Androgynous Masculinity to females is preferred, while femininity to males is still regarded as fetish or adorned object. Fourth, the appearance of various alternative sexualities leads to pluralization of sexuality, and then fashion gradually codifies youthfulness and feminine values, such as body and sexual desire more than before.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.145-159
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• 2008

This study has examined the shift in fashion styles in Korea by analyzing trends in fashion environment and fashion image by seasons in Korea to understand the domestic fashion flow from 2000 to 2006. Since 2000, with the well-being trend, polarization of consumption, preference in luxury orientation, and digital revolution, consumers became individualized and detail oriented. They also became smart consumers equipped with information and knowledge in making choice and purchasing products suiting their taste. To satisfy the consumer trend, fashion market also saw changes such as expansion of advanced distribution, totalization of brands, growing of on-line shopping mall, expansion of outdoor-wear market, and formation of masstage(mass+prestage) market. Fashion images in domestic women's wear since 2000 are analyzed as classic, elegant, minimalism, romantic, bohemian & vintage, ethnic, glam, girlish, kidult, sportive, femiculine, military, and lingerie image. Classic, romantic, and bohemian & vintage are the images that were popular throughout 2000 to 2006. Fashion images of domestic women's wear showed changes in three periods: Sportive image was popular in FW 2002; military image in SS 2003 to SS 2005; and femiculine, glam, and minimalism images in FW 2005 to FW 2006. Through information and detail-oriented emotion, the wide-ranging acceptance of global trends, the consumer tendency towards purchasing products quickly and conveniently, the speedy supply of trendy products both on-line and in-store, and the evolution of the fashion market towards providing one-stop shopping and a cultural space, different fashion images have all emerged at the same time in Korea. It looks like this phenomenon is set to continue for a while.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.38-50
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• 2009

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in 2000s fashion. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for 2000s fashion. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the similarity and the representation mimesis, the symbol mimesis and the abstraction mimesis. In fashion, the representation mimesis included a natural and a folk, a period that of 1900s and ancient representation mimesis. The symbol mimesis included psychology and fear symbol mimesis. The abstraction mimesis included hard color, a geometric simplification and distortion mimesis. Analysis on the mimesis expressed in 2000s modern fashion may provide an excellent method for understanding human aesthetic in costume.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.133-144
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• 2000

The purpose of this study is to examine a distinctive feature and meaning of Reggae fashion and to establish a form of design on the basis of the Reggae style appeared in the 1990s. For the study, we review a formative background and stream of the Reggae fashion. And then, characteristics of the Reggae fashion is clarified through analyzing street fashion and High-fashion. The result of the analysis demonstrates that the Reggae fashion as a general term of the fashion style is connected to the Reggae musci emerged from Such socio-cultural changes as the tendency of the anti-fashion , the influence of the Afro-fashion , and the popularity of the Reggae music. The reggae fashion has been altered in terms of its style with the lapse of time-Rastafaran style, Raggnuffins and Bhangra style, Hip-hop Reggae style. The Reggae fashion emerged in the 1990s falls into three styles ; Afro-Reggae style, Feminine Reggae style, and Sporty Reggae style. The above mentioned results demonstrate that the design of Reggae fashion targets fro a youth in one's early 20s following a tendency in the 1990s and the 2000s. The design concept represents Romantic Reggae.

• Journal of Fashion Business
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• v.4 no.4
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• pp.55-70
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• 2000

The purpose of this thesis is to suggest the new orientalism fashion through the comprehensive approach to analyze the art of the Tang dynasty, China. Tang dynasty has high culture, economy, polity and art. Also the character of Tang's culture is very international. Therefore that point is coincide with fusion culture in the early 2000's. As a method of accomplishing this research, the documents and fashion magazines related to the art and fashion were examined. Through analyzing the art in the Tang's related to fusion culture, reach a conclusion that the modern fashion has four characters. 1. The cause of high culture and economy, the trend of fashion was decorative 2. The cause of realism, the trend of fashion were modern and simple. 3. The cause of rhythmical line, the trend of fashion had natural drape. 4. The cause of globalism, the trend of fashion mixed east with west This research keep going for showing new orientalism and coinciding with 21th century's trend.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.110-122
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• 2010

The purpose of this study is to analyze the expressional traits and internal meanings of fake design in the 2000s' fashion, based on study of art and design area. For achieving the purpose, this study performed related research works and a demonstrative analysis of fashion collection photographs. The scope of this study is from 2000 to 2009. The results are as follows. Fake design uses trompe-l'oeil which is an art technique related to the meanings of 'deceive or fool the eye'. This eye-deceiving technique has been used for a long time in the art, and particularly noticed as one of techniques of Surrealism. Art works using trompe-l'oeil express familiar and unreasonable world at the same time, and also the fusion of reality and fabrication. Fake design in design area of the 2000s makes people take daily life in unfamiliar way by unusualness and breaking the boundary between real and fake. By fake design, people can enjoy fun and a sense of freedom with amusement rather than unpleasant of being deceived. Fake design in the fashion of the 2000s uses eye-deceiving technique and also focuses on the concept of 'fake'. The expressional traits were categorized as realistic expression, surrealistic expression and fake value expression. The internal meanings were analyzed as breaking boundary between real and fake, rediscover dailiness, new attitude to traditional thinking. In conclusion, fake design in the fashion of the 2000s gives playfulness, fun, feeling of release and will be pursued continually.