• 복식
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• 제63권4호
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• pp.17-29
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• 2013

The purpose of this study is to analyze the factors of action and reaction through the examples of luminescence digital fashion design, which is a part of the interactive digital paradigm in 21st century, and to classify types of interaction expressed in luminescence digital fashion design. The significance of this study is to provide an effective database for researches on new ideas and expression methods of fashion design using luminescence digital device. The contents are as follows. First, identifying the concepts of interaction, digital fashion, and luminescence digital device. Second, analyzing the factors that put the luminescence digital device into effect through materials such as the collected photos and the stimulus behind the materials. Third, analyzing and classifying types of reaction according to the types of stimulus in luminescence digital fashion design. Detailed use of luminescence digital devices in Fashion designs did not start until after 2000 so the scope of this study starts from 2000 and on. The methods of this study are as follows. The theoretical frameworks of digital fashion and interaction were setup by using information from various related books, papers, and internet sites. In addition, the empirical analysis was performed using collected photos and explanations through related Internet sites of digital fashion. Through the study, the interaction types in 21st century's luminescence digital fashion design can be expressed variously according to the current input type, biometric recognition type, environment recognition type.

• 한국의류산업학회지
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• 제7권2호
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• pp.153-161
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of goth image which have had influence on literature, film, music and art, in modern fashion. The method of this study is to analyze the documentary about gothic and goth, and the fashion magazines since 2000. The results of this study are as follows: First, sensuality shows the excessive exposure of body and inner wear, and emphasizes a resistance of sexual consciousness and a image of independent, active, powerful woman. Second, androgyny shows the goth women wearing a men's cloth and encourages a person to have a perfect being and satisfaction. Third, horror shows the symbol of death and suggests a substance of desire hidden in our mind. Fourth, historicity shows victorian fashion which have a romance of gothic and baroque, not a cult but a modern image. In conclusion, goth image in modern fashion does not show a substance negative and horrorful, but a substance positive as a perfection, satisfaction, a sense of freedom, obliteration of a feeling of uneasiness and powerful woman's image.

• 복식
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• 제57권4호
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• pp.159-172
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• 2007

For the study on the Latin American culture reflected in fashion designs since 2000, the applications of Latin American culture shown in the four major collections from 2000 S/S to 2005 F/W (110 pieces) and some African designers' collections (157 pieces) have been analyzed and compared in three categories - forms, patterns and accessories. First, in the formal application of traditional clothes, the traditional elements of Indio culture are utilized in both the four major collections (76.8%) and the Latin American designers' collection (77.1%). Quechquemitl, the traditional Indio clothes are utilized in various forms in the four major collections, while the Latin American designers adopt various forms of traditional clothes, such as quechquemitl, camisa and pollera. Second, in the textile design, the patterns from Indio's traditional textile design are utilized in both the four major collections (68.7%) and the Latin American designers's collections (5.6%). The remarkable difference between the Latin American designers and the western designers is that the former like to mix the simple and primitive Indio culture with the colorful Iberian culture, and to utilize various patterns of feather, which is an important symbol in the traditional culture, expressing tradition in the modern touch. On the other hand, the western designers change the primitive and handcraft feel of Indio patterns into colorful ones, or mix the colorful Spanish-style flower patterns with primitive and passionate feel. Third, simple and handcraft feel of Indio accessories are utilized in modern fashion in both the four major collections and the Latin American designers' collections. The most remarkable difference between the two group of designers' collections is that various feather patterns are used in Latin American designers' collection, while the accessories reminding of relics of Maya and Inca are widely used in the four major collections.

• 복식
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• 제65권3호
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• pp.47-61
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• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• 복식
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• 제61권8호
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• pp.100-113
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• 2011

The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

• 복식문화연구
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• 제19권4호
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• pp.661-673
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• 2011

This study aimed to identify the intrinsic characteristics of camouflage patterns by reviewing their origin, transitions and types from a theoretical background and analyzing their forms of expression in contemporary fashion. For a literature review and an empirical analysis of the camouflage patterns used in contemporary fashion, the study referred to domestic and foreign fashion magazines published between 2000 S/S and 2010 S/S, including Gap Press, Fashion News, Vogue and Harper's Bazaar, and other related data available on the internet. The findings of this study show that the forms of camouflage patterns used in contemporary fashion can be divided into four types: abstract patterns, plant patterns of flowers or leaves, animal patterns and dotted patterns. In terms of coloration, the camouflage patterns work to refresh the design, breaking from the image of military uniforms through the use of a wide range of color variation and combinations as well as the traditional camouflage colors based on khaki and beige. In terms of expression, most of them utilize printing. However, other techniques of expression, such as embroidery, beading, knitting, and collages are used to emphasize the beauty of handcrafted decorations along with the aesthetic value of reliefs. Through these tendencies of expression, the characteristics of contemporary fashion using camouflage are explained with an emphasis on feminine beauty, the expression of neutrality, and the use as decorative factors.

• 복식
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• 제50권3호
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• pp.117-131
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• 2000

The purpose of this study is for affirmation about fashion and film industry has very important relationship through the image of film fashion in 1990. To this processing , films in 1990 were analyzed by the back ground, time place, persons's status are expressed in period movie but the person's characters, development of story mood in contemporary movies. The contents of this study are as follows : First, film fashion which was related mass fashion design and concept development and fashion designers as constume services were considered. Second, the change of star image through the 20th century. The roles and new image of film fashion in period movies and contemporary movies in 1990 were searched. Third, proposal and results were confirmed for expansion of fashion industry and film industry together. Finally, from the latter of 20th century, a lot of fashion designers have participated in film works than before, So the images of films were sued and reflected as new mass trend . Especially retro-romantic mood was expressed in fashion trend due to period movie fashion. Also minimal city look and elegance glamourous look are represented cause of contemporary movie fashion. Therefore, the cooperation between film productions and fashion professionals is very important for promotion of Korean culture development in 21st century, 'the century of image'.

• 한국콘텐츠학회논문지
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• 제12권2호
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• pp.196-207
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• 2012

본 연구는 패션디자이너들의 작품에 표현된 문양에 있어서 기초조형 요소를 응용한 사례 및 경향을 연구분석함으로써 패션디자인교육 분야에서 기초조형의 중요성에 대한 인식을 제고하기 위해 수행 되었다. 이 목적을 수행하기 위하여 2000년대 이후 2010까지 패션디자이너들의 작품들 중에서 기초조형의 요소인 점 선 면에서 직접적으로 영감을 얻었다고 볼 수 있는 주요 작품의 경향과 특성을 조사하고 대표적인 작품들을 기초조형의 개념 및 원리를 바탕으로 분석하였다. 조사결과 특히 2000년 s/s콜렉션 이후 2004 s/s를 까지를 중심으로 기초조형의 기본요소를 기본 모티브로 한 다양한 작품들이 유행하였다. 디자이너 Jil Sander, Bill Blass 등은 점 구성을 위주로 공간감과 중량감, 질감을 변화한 작품을 보여주었다. I.S. Sunao Kuwahara, 등은 다양한 질감의 선과 선구성을 응용한 디자인을 보여주었다. Vestium Officina, Loewe, 등은 선을 통한 면 분할이나 다양한 색채를 사용한 면 구성을 위주로 한 작품들을 발표하였다.

• 한국의류산업학회지
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• 제9권1호
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• pp.72-80
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• 2007

The purpose of this study is to identify the latest trend and type of retail space, and the features according to type of retail space of global prestige brand. To do this, literature analysis was executed by related books, articles, and theses. As a result, the latest trend of fashion retail space which has appeared after 2000 is as follows: 1) The differentiation of fashion brand through collaboration between fashion designers and architects, 2) retail space extension strategy, 3) retail space as a cultural space, 4) bold investment for retail space. The type of fashion retail space which has appeared after 2000 is as follows: 1) Spectacular flagship retail space of monumental scale, 2) global type retail space which exhibits common features through the whole world, 3) localization retail space which shows different features according to store location 4) innovative retail space out of traditional store form. The result of this study will be utilized when a domestic fashion brand establishes global marketing strategy of retail space.

• 복식
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• 제55권2호
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• pp.129-142
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• 2005

As more our society express their interests in strong and independent women on the onset of the 21st century when source of power shifts to knowledge and information, women with economic power are increasing in number, which is because demands for delicacy and objective Judgment known as unique qualities of woman who was deemed to be inferior to man in the past century are now in the rise in many professional sectors. The shift in public awareness of female image and capability is also being manifested recently by a new fashion style named New Women Power Dressing. Comparing the so-called new power dressing style with the female yuppie fashion of the 80s known to have marked the beginning of female power dressing, this study aims to define the uniqueness of women power dressing style of today, reanalyze the fashion style of today in reference to its predecessors and predict new fashion trend for the futurr. As a conclusion, both of the female yuppie style of the 80s and the new power dressing trend of the 2000s were found to stress manliness and showoff. Such characteristics were expressed in terms of focuses on both fitness and fashion style. However, the female yuppie look of the 80s and its successor of the 2000s showed significant difference in what they were intended to signify internally and how they were displayed externally.