• 복식
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• 제59권3호
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• pp.27-41
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• 2009

Interpreting the phenomenon of Fast fashion that is prevalent these days, this research is meaningful in that it prepares the frame which suggests the vision to read the trend of 2000s and analyzes the property of phenomenon of Fast Fashion in the connection with society and culture. The so[io-cultural property can be largely characterized by consumption orientation, change orientation, efficiency, moment and multiculturism. Analyzing the phenomenon of fast fashion that emerged after 2000 on the basis of such sociocultural background, it is largely classified into imitation, fashionability, disposability, portability, transformation and convergence. Due to the hi-polarization of consumption, people tend to select imitated goods, and people accustomed to speed get interested in the fashionability of all Phenomena. Further, society that is transient and changing rapidly makes the habit of purchasing in disposability. The property of nomad society encourages to keep the habit of portability. Such change-oriented society and rapidly changing life pattern make them adapt in diverse transformation modes of Fast Fashion. Further, multi-cultural world integrates enterprises through combination of all cultures and the convergence of all factors.

• 복식
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• 제50권8호
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• pp.165-175
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• 2000

The Purposes of this study are to analyze fashion trading area's conditions of Busan area to establish fashion marketing strategies for the conditions of location in choosing the new retailers and to propose the most efficient, optimum fashion trading area(FTA) under the management mind of low cost and high efficiency according to the changes of 21C management paradigm. The subjects of investigation for this study were 1083 women visited FTA in Busan. The data were analyzed by using MANOVA, ANOVA, frequency and trend analysis, and the Cronabach $\alpha$ and Turkey HSD were also applied. The results of this study were summarized as follows. 1 The characteristics of consumer spatial behavior according to fashion trading area show significant difference in starling position, movement means, movement time, visit purpose and visit frequency. 2 The buying behavior of fashion items according to fashion trading area shows difference in fashion trading area shows difference in fashion trading area, store and buying behavior.

• 복식
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• 제55권1호
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• pp.13-24
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• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.

• 복식
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• 제57권3호
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• 복식문화연구
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• 제8권3호
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• pp.360-373
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• 2000

The purpose of this thesis is to analyze the present conditions and problems of the Internet Fashion Shopping-Mall, grope for as active plan to the Internet Fashion Shopping-Mall as a strategic method of fashion industry. The fashion industry of Internet Electronic Commerce has good prospect, and I propose the following some strategic plans of Internet Fashion Shopping-Mall. On the basis of my study, as a means of technology supplement, Virtual Reality System, such as 3D System or the newest Electronic Dressing Room System to solve the problem of products'an actual feeling, should be needed for consumers to feel as they really put the clothes on. Second, to offer more diversity programs, such as consumer sensitivity program, additional service, fashion news, life information and so on, are needed for companies to come over again the consumers to connect to the shopping-mall site. And, to build more perfect security terms of payment systems, such as ICash, Disital Cash, Net Check, Internet Insurance and so on, should be introduced for consumers to pay and furnish their personal information. If these technological developments are realized, Internet Fashion Shopping-Mall products will be a great success.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2000년도 International Costume Culture Conference
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• pp.65-65
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• 2000

• 한국의류산업학회지
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• 제21권6호
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• pp.717-729
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• 2019

This study defines critical fashion designs and investigate its critical messages on fashion itself. The critical messages on fashion are categorized into two major issues of a fashion industry system and fashion consumer culture. This study contributes to the understanding of meaning and value for critical fashion messages that match critical art. As the research method, this study combines a literature review and case studies and the research scope focuses on cases that have appeared in fashion media since the 2000s when social critical messages in fashion began to emerge. The results of the study are as follows. Critical designers such as Viktor & Rolf, Elisa van Joolen, Issey Miyake, and Mary Ping have delivered messages challenging the nature of fashion industry system that criticize the cycle and limitation of a fashion system and pursues changes in perception of sustainability. The critical message on fashion consumer culture articulated by designers such as Alexander McQueen, Vivienne Westwood, Hussein Chalayan, and Ricarda Bigolin & Nella Themelios insist on the formation of community while delivering a critical message on social, political, and cultural problems that raise the mechanism of social awareness through fashion design.

• 한국의류산업학회지
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• 제21권5호
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• pp.540-551
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• 2019

This study analyzes a new fashion phenomenon for critical fashion. Critical fashion is a message-centered fashion that delivers consciousness and sociocultural issues for contemporary society. The research method for this study combined literature reviews and case studies along with a research scope, that reviewed aspects of critical fashion through works, presentations, and images of collections, various media, and joint projects from the 2000s to the present day. This study indicates that critical fashion exhibits a conceptual pattern that metaphorically expresses the message of designers' perspectives on society and the fashion system. Critical fashion designers' socially critical messages began to emerge in avant-garde fashion influenced by avant-garde art movement that then developed into a conceptual fashion heavily influenced by conceptual art movement before it evolves into concepts of critical fashion. Critical fashion has been influenced by community-oriented critical art, which signifies that the characteristic of criticism of an art system is expressed through the language of fashion. In conclusion, critical fashion resists the idea of the integration of a cultural industry whose homogeneity is continuously collapsing the differences for the purpose of consumption and challenges to the established fashion system.

• 복식문화연구
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• 제11권4호
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• pp.578-590
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• 2003

The purpose of this study was to analyze the formative characteristics appeared in modem Kitsch fashion which has been shown through the empirical data photogrphes from the 2000's to 2003 and the formative characteristics of Kitsch were divided into the material, ornament, color, pattern to understand the modem Kitsch fashion. The findings of this study could be summarized as follows: First, the modem Kitsch fashion in the material was used cheap, counterfeit materials like vinyl, artificial leather, immitation fur, beads and non-artistic materials like metal, plastic, paper and voluptuous material like seethrough to express eroticism and superficiality as the characteristic of Kitsch. Second, Kitsch fashion in the ornament was shown over-decoration by using the various accessories like bracelet, metal belt, gloves, etc to express as childish and coarse mixtures as the characteristic of Kitsch. Third, the modem Kitsch fashion was using splendid and bright, primary colors to express the image of complicated accumulation. Fourth, the modern Kitsch fashion mainly in the pattern was using ethnic, folklore and pop art pattern or print used hippies and pop art fashion to express the primitive purity as bounding of civilized society.

• 복식
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• 제50권8호
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• pp.87-97
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• 2000

The purposes of this study are to classify the male consumers in new generation by evaluating the fashion mania elements and to examine the differences among consumer groups in product attributes, benefits, dressing for self and others, and sensation seeking tendency. Fashion mania elements are compose of purchase frequency, the storage of clothes, the affection toward clothes and fashion knowledge. Data were obtained from 492 adult male living in Seoul and Kyunggi Do. Statistics used for data analysis were frequency, means, one-way Anova, Duncan's multiple range test, factor analysis, cluster analysis using Spss 9.0. The results can be summarized as follows: There consumer groups are identified based on the fashion mania elements: fashion mania, fashion interests, non-fashion mania. The fashion mania group has positive fashion behavior and high fashion attitude, the fashion interests group has high fashion attitude and light fashion behavior, non fashion mania group has light fashion attitude and behavior. Fashion mania group regard intrinsic attributes very highly in order to express individuality, shows the tendency to dress for self strongly rather than to dress for others. And fashion mania group shows a high sensation seeking tendency compared with the remaining groups.