• 패션비즈니스
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• 제4권3호
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• pp.47-65
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• 2000

The movie costume's function and the role can be defined by reflection of the society and the times, character portrayal, conveyance of image, and creation of fashion. Korean movie costumes have been differentiated from 1950s till 1990s in time period and the results of comparison between the times as follow : Movie and fashion hold same period in common so that sense of fashion is naturally contained in the movie costume. Therefore, excluding special movie that costumes are selected by designer, such kind of trend is notable in the times when costumes mostly selected by actors themselves. Most movie costumes are not designed after predicting up coming fashion by considering movie producing time so that notation between current fashion and fashion in the movie and mostly we see about one year behind fashion style. For FAD, fashion that quickly passes in each season can use costumes in fashion, considering movie producing time and time background, that it lack of trend of fashion in the movie. Korean movie industry lack of having perception of people who are in charge of taking care of movie so that costumes are not properly taken care of and uses only 5% of total movie producing cost. Such that kind having lack of preception and treatment of movie costumes can't expect development of movie costumes.

• 한국의상디자인학회지
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• 제2권1호
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• pp.37-49
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• 2000

Korean sports fashion began after 1990. after 1960, using vinyl, leather, plastic ＆ metal material, Yve st. Laurent, Pierre Cardin, Andre Courrges, they lead sportive look. Head of 20th century, fashion was lead by haute­couture, after 60s. It was changed to pret­a poter. Now it can be called of american casual ＆ sports fashion. This study would be a view of modem fashion trend and process of visualization in the future. I studied in reproduction of view ＆ age of hyper media with visual circumstance ＆ artistic background and mordern fashion trend ＆ sports fashion image in korea. In conclusion, sports fashion image as visualizing aesthetic concept of modern fashion be defined as technology for man, for instance comfort, function, flexibility, simplicity and minimalism. Specically, Sports fashion was began satisfied for function after 90s, we can see variety of easy wear, hip-hop casual, entertainment sports wear, new street sports wear, luxury sports wear.

• 복식
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• 제50권
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• 한국의류산업학회지
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• 제24권2호
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• pp.249-259
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• 2022

To analyze recent changes in designer-specific garment composition, detail, and design elements of jackets, we classified jackets from the Paris Haute Couture Collection from 2000 S/S to 2019 F/W according to their designers and examined their characteristics. Our analysis of the jackets by Armani, Chanel, Dior, Jean-Paul Gaultier, and Valentino shows that the hour-glass silhouette was most common in Armani, Chanel, Dior, Jean-Paul Gaultier and Valentino jackets; Chanel used more straight silhouettes compared to other designers. Most jackets, regardless of the designer, had midlength waist-to-bottom, tight sleeves fitted to the body, natural shoulder shape, and solid color. Moreover, woven fabric was the most common material. Jackets with no collar were the most common for Armani, tailored collars for Dior and Jean-Paul Gaultier, and standing collars for Chanel and Valentino. For the closure method, Armani used hook-and-eye, Chanel, Jean-Paul Gaultier, Valentino used button closures, and Dior used snap closures the most. New design attempts by designers are bringing details and design elements together. In an era characterized by an abundance of designs and frequent replacement of each brand's creative designers, it is important to create and maintain a brand's unique design identity and philosophy that can meet consumers' elevated standards, which tend to be biased towards new and stimulating designs due to the development of the IT industry.

• 한국의상디자인학회지
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• 제9권3호
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• pp.167-180
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• 2007

This study analyzes the Asian, African and Latin American cultural hybrids in modem fashion, and offers a direction for desirable cultural hybrids in modem fashion. First, the cultural hybrids have been considered in two aspect: global hybrids and structural hybrids. Second, the trends of Asian, African and Latin American cultural hybrids have been interpreted differently depending on the cultural backgrounds of each area. However, the cultural hybrid representing the change of tradition in Asia, Africa and Latin America is a common trend, and is used to describe the social changes. Third, this study examines the global hybrid trend in modem fashion based on the hybrid trend of Asian, African and Latin American culture found in the four major collections from 2000 S/S to 2005 F/W. Until recently, the exotic images have been determined in the viewpoint of Western world, and utilization by the world-renowned designers in the four major collections plays the major role in converting the regional cultural elements into global ones. Fourth, this study also examines the structural hybrids in modem fashion based on the hybrid trend found in Asian, African and Latin American designer collections between 2000 S/S and 2005 F/W. The works which are connected to the world trend, but are also rooted from the cultural and regional traditions demonstrate the globalization of the Asian, African and Latin American fashion. Fashion is a messenger of a culture, and its importance as a symbol of a cultural trend is growing.

• 복식
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• 제64권1호
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• 패션비즈니스
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• 제4권1호
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• pp.113-123
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• 2000

The purpose of this study is firstly to have the grasp of the tendency of animality represented in modern fashion. The second purpose is to analyze the form modeling of animality represented in modern fashion and the third one is to examine into an aesthetic character of animality represented in modern fashion. The method we adopt for this study is to analyze the designers' work which shows the fashion animality. The result of this study is follows. The tendency of animality represented in modern fashion presented in a printed form which patterned the animals' cuticle, a shape of animals, a symbolic image, and a future suggestive expression. The form modeling of animality is a reality and the aesthetic character is the vigorous beauty and the gorgeousness of original colors. So, animality represented in modern fashion is to offer the various ideas as well as to lead the curiosity about the fashion in the future and the coexistence into the fashion.

• 한국의상디자인학회지
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• 제2권2호
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• pp.19-40
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• 2000

It is supposed that the future fashion could be made by the scientist instead of fashion designer. Because it is so intellectual and avantguard. In addition to this the practical value and a certain identity is needed in this future fashion. Especially, the intention of no acceptance of categorization could be explained through the fashion clud of young people and the extremeness in the street. Paul Hedmus has insited that Tokyo club is closely related the fashion styles depended on the western historical street fashions. Fashion is mixeded contrasted, modified, resembled, reversed and finally it includes the new neaning. Instead of distinguishable logo there are lots of messages in the fashion. There are a few thousand of young people who wear silver max metal shoes. And they craze the neon picture and advertisement implies meaning the drug. It could be applied to the people of 90's. The difference between sex from the stone age is induced basically from the fashion and the part of discussion of sex. In this study we research the images of future fashion showed in SF Movie, Star Wars, Episode, The 5th Elements, Nirvana. Those were geometric and natural, technological expansion of space, corset fashion acessoruy image and geometric expression and these characteristics implied in modern fashion trend and future fashion images. Because it is supposed to the future image of current fashion. The millenium fashion is more realistic, practical, and natural instinct realization of ideal. but it is not the unrealistic, the vague of the regendary image.

• 한국의상디자인학회지
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• 제8권3호
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• pp.49-58
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• 2006

In the 21st century, fashion design trend is focused on 'retro'. 'Retro' is the one of the important trends in this century. In the rapidly changing present, the more people want to find a clue to the hope and happiness from the past nostalgia. Reflecting such people's desire, retro fashion has boomed again from 2000 as one of powerful trends. This research conforms the meaning of retro fashion and characteristic of retro fashion design. And through this processing, it was find that retro fashion design had lost century retro romantic fahion image. Therefore, in this research, the processing about development of retro dress design of retro romantic fashion image was showed by using CAD. The results of this study are as followings. First, Retro fashion is worth the high value of good producr of new and creative for consumers who pursuit tranquil mood in the midist of dailly change Second, Nostalgia and revival of style for each 10 years after 1920's is well brought out in Retro trend of modernt fashion. Also decorative and elegant style are marked by retro romantic fashion mood. Third, fashion design using the computer graphics was presented by application retro romatic image. It is mixed with elegance and modernity based on retro feeling, It is suggested that computer graphics was effectively used in fashion design development to the newly romantic and modern style through 1950'-1960'intimate retro fashion image.

• International Journal of Costume and Fashion
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• 제5권1호
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• pp.26-41
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• 2005

In this study homosexuality as a discourse represented in contemporary fashion magazines is explored in context. The main concerns are the contemporary construction of homosexuality, fashion symbols to identify homosexuals, and relationships between homosexuality and heterosexual masculinity in fashion images today. After elaborating homosexuality conceptualized historically, an analytical framework from Foucault's discursive approach was made up to interpret the fashion spreads since 2000. As a result, as it is assumed that the concept of homosexuality is constructed by historical specificity, homosexual fashion styles are dynamic. So, it should be recognized that they are formed by power relationships with heterosexuality, and other social factors such as class, race, age, and consumer culture and market trends. On the basis of photographic themes and fashion looks homosexual images are classified into 3 kinds of versions, the effeminate trend setter, the masculine athlete or biker, and the neo camp. However, most of contemporary homosexual photographs are not also so conspicuously different from heterosexual ones. Therefore, in the contemporary structure at least from fashion images, homosexuals can be recognized equally with heterosexual people only except for sexual preference. Thus, homosexual fashion also shares a lot of fashionable products with heterosexual one, with often homosexuals' role as trend -setter.