• 복식
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• 제61권2호
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• pp.116-130
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• 2011

Ethnic fashion and makeup were studied. 264 fashion designs from pret-$\`{a}$-porter collections in Milan and New York from 2001 S/S to 2005 F/W were analyzed. The major conclusions of the study are as the following: 1. The major types of ethnic fashion and makeup were Africa. American Indian. Japan, India. China and Inca. Makeup types expressed in ethnic fashion were soft smoky, smoky, retro, nature, avant-garde, eastern. 2. Makeup types expressed in ethnic fashion were used for the image for the designer's collections rather than ethnic features. Soft smoky and smoky makeup types were more used than others. 3. Soft smoky makeup types were more expressed in S/S seasons than in F/W seasons. In F/W seasons soft smoky and smoky makeup types were more expressed than other types. 4. Soft smoky and smoky makeup types were more expressed than others in Milan and New York collections commonly. 5. To emphasize the ethnic image for ethnic fashion, ethnic makeup arts like China, Japan, India, Africa, American Indian, Inca makeup arts and soft smoky, smoky makeup arts were represented.

• International Journal of Costume and Fashion
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• 제13권1호
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• pp.61-79
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• 2013

This study takes a look at the distinct and exclusive culture of Latin America, with a specific focus on Mexico, and attempts to understand its unique cultural identity by comparing, analyzing, and evaluating the characteristics of the Mexican fashion brands, Taller Flora and F$\acute{a}$brica Social, which are brands that have actively used the Latin American cultural identity in its designs. The research method was as follows: 1) performing literature research with specialty publications and thesis that dealt with the two brands 2) analyzing the contents of various articles from the Internet and interviews related to the brands. Thus, this research attempts to understand the characteristics of the fashion brands that use the cultural traits of Latin America in order to dissect its methods and find a way to apply it so that it can be used in different cultures, and in effect, lead to the advancement of the fashion industries, in general. Taller Flora and F$\acute{a}$brica Social are two brands that are able to stand out with a distinct identity by applying traditional native Latin American qualities in its products, as well as its products reflecting a respectful and balanced relationship between people and nature. The characteristics of the two brands are as follows: 1) showing the concept of "the coexistence of diversity" by expressing "the old and the new", "simplicity and flash", and "melding of the Western culture via colonialism and traditional cultures of the aboriginals and other diverse native cultures" 2) achieving "the recovery of the human dignity" by protecting the human rights of the native female artisans and building a network for equality 3) pursuing "free naturalism" by balancing the natural provision of nature and man in addition to promoting environmental protection and conservation of goods 4) becoming "the bridge between communication and exchange" by connecting the artisan, the designer and the consumers together, or the producer and the market, as well as the different cultures of markets from diverse countries.

• 패션비즈니스
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• 제1권3호
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• pp.1-18
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• 1997

The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.