• The Research Journal of the Costume Culture
• /
• v.15 no.5
• /
• pp.796-809
• /
• 2007

The viewpoint of growth pursuit is changed to that of life quality's and happiness' pursuit by modern people. Modern people in digital environment, tired of fast-changing and oppressive daily life, prefer well-being trend providing tranquility and relaxation. Well-being is related to digital, because negative influences of digital lead human-oriented, environment-friendly well-being design. Therefore the purpose of this study is to research and analyze the relation of well-being fashion design and digital environment through case study in contemporary well-being fashion design. The results of this study are as follows: 1. This study shows that the attributes of digital environment make up function-intensive, interactivity, mobility & nomad, human & emotion-oriented and environment-friendly. And this study shows the design characteristics of digital environment consist of function-intensive design by digital convergence, open structure design for interactivity, modular design for mobility & nomad, emotion-oriented & multi-sensory design and environment- friendly design. 2. Function-intensive design in modem well-being fashion composed of vogue of caports style(casual+sports), practical use of multi-functional new-healthy textiles, and popularity of many style's mixture at once. Open structure design consist of wrapover design, use of transparent materials. Modular design are layered styling, practical use of zipper and velcro. Emotion-oriented & multi-sensory design are constitute of fad of wrinkle materials, application of bright & vivid tone, personal color and family look. Environment-friendly design in contemporary well-being fashion are comprised in use of natural color, re-advent of natural floral motif and eco-design.

• Journal of the Korean Society of Costume
• /
• v.50 no.7
• /
• pp.165-179
• /
• 2000

This research centers on studying the function and characteristic of fashion illustration for advertisement and publication which is, among plenty of fashion illustration's functions, the commercial one. Here are some purposes of the research. First, it presents the function of fashion illustration. Second, under the contemporary circumstance of specialization and subdivision. It givers people the better understanding of fashion illustration by providing a variety of its classification bases other than the typical, simple grouping of style drawing and fashion illustration. Third, this research helps fashion illustration establish itself as commercial art by showing how fashion illustration is utilized in the field as a part of the fashion industry. The methods and contents of the research are described that the concept of fashion illustration, characteristic, classification bases and commercial function are presented and than the data of fashion illustration which hale been used as goods since 1990 in the nation are selected in order to analyze the media for the application of fashion illustration. its expression methods, factors and images. By doing so, advertising fashion illustration are much less than those of published fashion illustration and even most cases of advertising fashion illustration are related just to poster advertisement such as magazines, fashion events or public subscription. The published fashion illustration isn't also attracting the public since it focuses on fashion information books, fashion magazines or fashion -clothing books. Another finding is that the expression style of fashion illustration is not various or distinctive. The expression remains in the trends of painting, figurative drawing, sometimes adopts post-modernism which is reflected in popular cartoon and figures exaggerates or simplifies the human body. The image of fashion illustration is simple. casual or feminine in the rough. For the development of commercial fashion illustration, it is required to produce fashion illustrators, not works but goody, with various concepts appealing to the public.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.27 no.8
• /
• pp.924-934
• /
• 2003

The aim of the present study was to measure intra-individual consistency in clothing style evaluation and to examine its relation to the ratings. For this study, a pilot test was conducted to 50 clothing majored university students to explore the stimulus of‘cute’,‘casual’,‘sexy’,‘elegant’,‘intelligent’,‘formal’,‘romantic’,‘individual’,‘refined’for the 9 each image styles from the 32 spring wears in fashion magazine$\boxDr$FARBE$\boxUl$(March, 2000). On the basis of the preliminary survey, the question items explored the 15 pairs of bipolar adjectives as seven-point Likert type. The main survey was preceded 94 female and 111 men of university students from March 13 to 24 in 2000, twice for 7-days interval. As a result of analyzing of correlation coefficients between the two ratings for each subjects, intra-individual consistency in the evaluation, ranged from -.11 to .87 and mean coefficient was .64 of female and .20 to .76 and mean coefficient was .57 of male. Female had higher intra-individual consistency in the evaluation than male. Based on the coefficients, the subjects were classified into three groups: high, medium, and low intra-individual consistency. Analysis of variance of mean ratings by the three groups revealed that significant difference existed in 42% of female and 25% of male in 135 combinations of 9 clothing and 15 semantic differential scales. There was an apparent tendency that subjects of female with high intra-individual consistency were mostly definitely to evaluate clothing, whereas the ones with low were least. But male shows opposit trend compare to each groups of female. The result of this study, it was found that female rated higher intra-individual consistency and definition in the two times evaluations than male and among the semantic differential scales'consistency differ depending on style and gender. It is believed that the result of this study is helpful clothing image evaluation, and clothing image selection tendency.

• The Research Journal of the Costume Culture
• /
• v.19 no.3
• /
• pp.542-555
• /
• 2011

Internet shopping malls have rapidly developed within the economic recession due to changed lifestyle according to digitalization. Furthermore, customers in the 20~30s, the main consumer base of internet shopping malls in Korea, have begun to enjoy the new cultural trend of party culture, thus creating a new fashion market combining party and fashion. Therefore, the purpose of this study is to analyze design characteristics of internet party-wear shopping malls to provide guidelines and to present basic data for design development of party-wear in internet shopping malls. Research method was used by combining literary research with empirical research of analyzing design by capturing pictures of internet party-wear shopping malls. The following conclusion was drawn from research results. First, Party-wear consumption of internet shopping malls is increasing along with the increased sales of clothing fashion products of internet shopping malls. Second, design analysis results regarding 11 internet shopping malls selling party-wear was presented that consumer emotion and trend were combined according to distinct characteristics to display romantic style, romantic style mixed with modern or casual characteristics, sexy, and etc. Third, dress was presented as the most common item with 52.3% in item analysis executed on 588 pictures captured in 11 shopping malls. Ribbon was shown as the most common detail and trimming item, with 28.7%, and corsage and frills were each presented as 13%.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.18 no.3
• /
• pp.129-144
• /
• 2016

The purpose of this study is to identify current trends in hip-hop fashion in korea and how they are influenced by musical characteristics of female hip-hop. This study considers the relationship between female hip-hop music and their fashion through the history of hip-hop. Data has been collected and analyzed from broadcastings, performances, music videos, and album jackets of female musicians who appeared in the cable television program 'Unpretty Rapstar' by MNET during two seasons in 2015. "Unpretty Rapstar" is the first program to focus on the music and fashion of female Korean hip-hop musicians. For the theoretical review, this article examines books and journal articles, which provide insight into the history and formation of hip-hop. It also analyzes the hip-hop styles of female musicians in Korea through Hiphopplaya.com, an Internet site specializing in hip-hop. the results of the analysis of the fashion of female Korean hip hop musicians is as follows: The characteristics of the styles of female hip-hop artists come out of Glam Style, which emphasizes femininity, but is also composed of a practical and dynamic street casual style. Most of the clothes are skinny jeans and sweat suits with vertical and slim-fit silhouettes or stadium jackets and jersey jackets with oversized silhouettes. The main colors of these outfits are prominently yellow and red with darker grayish tones, but also include natural achromatic colors.

• Journal of Fashion Business
• /
• v.12 no.4
• /
• pp.88-98
• /
• 2008

In order to improve the problems with obese women's ready-to-wear by age range, this study surveyed the actual clothing purchase and wearing of women in their 20s and 30s with normal and obese body types, and compared and analyzed their satisfaction with ready-to-wear by age and body type. First, for normal body types, both women in their 20s and 30s use department stores the most. Meanwhile, obese women in their 20s make most of their purchases at internet shopping malls, while those in their 30s mostly go to department stores. For criteria for purchasing clothing, normal women both in their 20s and 30s value design most whereas, obese women put size and fit before design regardless of their age. Normal women in their 20s and 30s both were most unsatisfied with standardized design because they could not find designs they wanted. Obese women in their 20s and 30s also showed disapproval of unvaried sizes, indicating a distinct difference in body types and age. As well, the study found that both normal and obese women wear casual style the most, followed by semi-formal style. Also, regarding the images they were seeking when wearing clothing, the normal women wanted to look fashionable, while obese women wanted to look slim, regardless of age. Both body-type groups generally like preferred semi loose-fits the most, followed by tight-fit. They however, dislike relaxed loose-fitting.

• Journal of the Korean Society of Costume
• /
• v.59 no.1
• /
• pp.106-118
• /
• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• Journal of the Korean Society of Costume
• /
• v.57 no.2 s.111
• /
• pp.29-44
• /
• 2007

The purpose of this study was to classify male consumer groups according to the fashion lifestyle, to examine characteristics, needs and wants of each group, and to find out differences of cosmetics purchasing behavior among each group segment. After surveying 19-50 year old males by making a visit to college, company and home, 584 samples were analyzed by using SPSS(7.0) package program. Factor analysis, cluster analysis, ANOVA, crosstabs and $X^2-test$ were used to analyse collected data. The results of this study were as follows; 1. Twenty-two questionnaires using AIO fashion lifestyle variables produced seven factors; oriented fashion, flaunting brand preference, active preference, information intention, strong personality, reasonable economy and others directivity. Three groups based on oriented seven factors: personality, fashion and economy. 2. The Personality group had strong personal characters in their fashion. Men in this group prefer casual style and were represented by singles and professionals in their 30's. The fashion group pursued fashion trends, formal wears, and high-priced fashions. They were represented by singles with high-income managerial positions in their 19-29 age group. The economy group represented the largest sample in this study(54.5%). Men in this group tended to purchase fashion goods during of good fabrics at discount stores. This group represented married man with average incomes in their 40's. 3. Each of these three groups showed significant differences in cosmetics purchasing behavior. The personality group mainly purchased cosmetics on-line market because of price. The Internet tended to be their primary source of informations. They spent under 10,000won and pursued a simple and clear image. The fashion group purchased cosmetics at department stores to benefit from the knowledge of sales personal and their source of informations in the mass media. They spent over 70,000won monthly and pursued also a simple and clear image. The economy group purchased cosmetics at discount stores because of their wide assortment of products. They spent under 30,000won monthly and pursued a simple and clear image. Each of these groups currently consume different products and have a different concept of future cosmetic products.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.8 no.3
• /
• pp.19-30
• /
• 1984

There is a symbolic term which has realized custom of an era and has eome into fashion since the middle of 1920's. That is Garconne. This paper studied the image and costume of Garconne expressed in literary works, the form of art made it to come into being, and costume of a group of women played a role of pioneers of Garconne. Garconne attempted simple, casual, and mannish costume instead of usual elegance. It was the boiysh style($\`{a}$, la Garconne) which did not stress on the bust and waist like chanel suits used wool jersey by a designer, Chanel ana short skirts of low waist line. They got short haircut and wore low heel shoes. Garconne meant women who were free of convention, were familiar with love a d profession, and lived for themselves in the same manner of young men. They yieled new mode of 1920's. Though their lives were only a period, they manifested the symbol of the period though their figure and designation was not disappeared at the age but was settled as a mark of fixed image. There were several reasons why the Garconne was born. Rapid changes in politics, economics, and society in Europe were occurred from the First World War to 1920 and the trend of custom and art was a turning point. Especially, the entry of women into the society and the mode of Art Deco influenced it directly. The role of a pioneer of Garconne was appeared from the French Revolution. As Merveilleuse, Lionne, and Bloomers wore peculiar clothings ana had life style being irrelevant to tradition, they were talked about. They informed in advance the appearance of new women who were different from romantic ladies and were more modern and active. The pioneer design of Paul Poiret which were over whelming throughout a period and functional design of Chanel were increasingly accelerated.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.1
• /
• pp.26-39
• /
• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.