• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.123-130
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• 2008

Symbolizing holiness, wealth and power, golden color was most effective to express the absolute power of royal family and aristocratic society as well as the beauty of magnificent and brilliant authority. Such golden color was understood as the artistic color formed in the dictatorial society as well as the society under the rule of absolute monarch. Thus, it has been used in the costume that symbolizes nobleness, holiness, brilliancy, ethnicity and future-oriented property. In this sense, the image of golden color shown in contemporary fashion was analyzed as follows in this research: First, showing the future-oriented image, golden color expresses avant-garde, cyber and cosmic future-oriented image by using diverse new materials which introduce the state-of-the-art technology sense in addition to metallic textile. Second, getting hint from the ethnic costume of many countries around the world such as brilliant embroidery using golden-thread, ornament with exaggerated technique such as gold foil, mark and character in peculiar tint, the ethnic image of golden color expressed the peculiar color or materials of ethnic costume, handicraft details, etc in golden color. Third, since golden color is expressed in ostentatious image to which elegance and luxuriousness that looks like the work of haute-couture costume of royal family or sensuality that voluptuously expresses the beautiful body line of women are added, the viewers are enchanted or attracted.

• Journal of the Korean Society of Costume
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• v.44
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• pp.215-233
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• 1999

The Miaos have their own peculiar and luxurious transtional culture a they have experienced repeated fusion into and resistance againt the Han Race or the chinese in their long and old history. And the traditional culture of the Miaos is abundant and diverse in several respects. Because it has taken root in foundation of their simple and native environment. it is embracing abundant and diverse contents. They largely used as the theme of patterns factual materials such as natural objects easily accessible in the natural environment. those related to marratives reflective of ethnicity, animals and plants symbolic of auspicious omen, peace, happiness and good harrest with prosperity and abundance. And they not only crossornamented natural patterns and geometrical patterns by combining them but also geometric patterns alone. It can be seen that Miaos represented patterns with exaggerated formation, overlapping and modification and the comprehensive, fomation of natural forms, abstract formation etc. Seeing the ethnic costume of Miaos investigated in these several respects by the standard of contemporary beauty it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristic of almost perfect costume.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.1-15
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• 2016

Within globalization of fashion business Korean culture is affecting fashion business. Although Korean culture is creating new content and economic value presently, the research on Korean fashion culture has been limited. Therefore, this study has identified attributes influencing cognitive, affective response as well as consumer preference and purchase towards contemporary Korean culture clothing. This study aims to do the following: (1) examine the effect of the identified contemporary cultural apparel product attributes on cognitive, affective response (2) Analyze the effect of cognitive, affective response on preference and purchase intention (3) Determine the relationship between preference and purchase intention. This study result defines the importance of studying contemporary cultural apparel product attributes for better fashion marketing business in the fashion and cultural field to attract consumers.

• Journal of the Korean Society of Costume
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• v.45
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• pp.161-178
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• 1999

In contemporary fashion metal have used which is as the material with a sufficient potentiality of expression which is displayed by an unique characteristic involved only in metal. In this paper metal expressed in contemporary fashion is researched. The first thing the formative characteristic of metal is researched under the consideration of type technique and color of metal used in contemporary fashion. Metals such as gold silver bronze aluminum thin lead and iron are usually used in fashion and those metals are used in various types such a thread fabric board leaf a and cable. Those types of metal as above are applied to the clothing by the techniques of weaving embroidering metal leaf printing or moulding which gives the formative characteristic to the clothing. In color metal has an effect on the colors of surroundings by its smooth and unique luster and its effect of reflection and produces the visual formative characteristic through the effects of contrast. The esthetic will of metal expressed in modern fashion is researched in this study under the facts studied as above. first metal expresses the future oriented esthetic Second metal has the characteristic of attracting the attention Third metal is used as valid techniques to express the artistic formation for clothing escaping from the idea that the clothing is only for wearing. Finally metal is used as an anti-cultural tool of fighting against the existing order or spirit.

• Journal of the Korean Society of Costume
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• v.61 no.8
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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.

• The Research Journal of the Costume Culture
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• v.19 no.4
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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.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.299-320
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• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer's brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer's name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.77-95
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• 1997

The purpose of this is to investigate the relation between Graffiti techniques and the contemporary dress. Graffiti is the internal expression of human potential desires which is composed of informative signs. As Graffiti have become the cross-cultural condition under the Hiphop culture, it makes the meaningless space into the characteristic space, and proposes the identities of graffiti ‘writes’. In the contemporary dress, Graffiti look has become means of communication and playfulness. Through the external forms like icon, index, and symbol, graffiti look expresses individual, social, and political identities, and aesthetic values of satirement and playfulness. It would be define graffiti look as postmodern characteristics, as it wee, which has collapsed between the mainstream, and anti-mainstream, and it contributes to spread streetstyle to catwalk.

• International Journal of Costume and Fashion
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• v.15 no.2
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• pp.1-17
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• 2015

This paper examines the contemporary relationship between fashion brands and celebrities. Noting the historic role of celebrities in fashion and their current prevalence in the industry, the paper moves beyond discussion of the motives and effectiveness of celebrity endorsement, and instead explores its nature and practice in the fashion sector. The paper proposes a new definition of celebrity endorsement in fashion, offers a classification of celebrities involved in fashion brand endorsement, and presents a typology examining the contemporary means by which a fashion brand may collaborate with celebrities. The typology is defined in context of the nature, length and cost to the brand of the relationship between it and the celebrity. The methodology uses secondary sources and qualitative primary research in an exploratory agenda in order to propose conclusions and suggest ideas for further research.