• 복식문화연구
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• 제14권5호
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• pp.790-801
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• 2006

This study analyzed features of elements that compose a logo of inner wear brands to get the following results: First, it was found that "elegance" was the most frequently used word to express the concept of inner wear brands to be followed by words like dignity, high-end and aristocratic, words emphasizing femininity, such as feminine, romantic and sexy, words emphasizing practicality, such as convenient, practical, modern, functional and reasonable, and words emphasizing hygiene, such as clean, healthy and hygienic. This suggests that consumers nowadays pursue image more than functional aspects in the shopping of inner wear and consumers' pursuit of such values is reflected in the concept of inner wear brands. Second, unlike logos for outerwear brands that generally used initials of brand name, word-type logos for inner wear brands used the full name of brands, thus suggesting that they put more emphasis on delivery of information rather than on the symbolic aspect. In case of combining characters with concrete objects, they were found generally to use objects that give an soft, elegant and feminine image, such as flowers, woman's head and ribbons. Third, colors in the series of pink and red seemed to be used to convey the concept of inner wear brands that pursue such images as romanticism, femininity, elegance and sensibility, while colors in the series of blue, black and grey for such concepts as functionality, practicality, simplicity, health, hygiene and refinement. With reference to typeface used in the design of logos, unlike outerwear brands of which 83% use sans serif typeface for logos, relatively high percentage of inner wear was found to use typefaces of serif series to stress feminine flexibility and delicacy and give the image of elegance and classical tenderness. With reference to language used in logo naming for inner wear brands, 33 brands were found to use English and only three brands used Korean among the 36 brands surveyed. Even with inner wear brand logos that have Korean name, it was found that they used English in the use of logo marks. Like the result of previous studies, the result of this study indicates that methods to design brand logos for clothing should be incessantly sought in a way to build brand power as an important component to represent concept or function of brands and reinforce brand image.

• 한국의류학회지
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• 제30권4호
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• pp.655-661
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• 2006

The purpose of this study was to investigate the make-up preference images influenced by the clothing preference images group, and importance orders among the make-up preference images. The questionnaires were given to female residents in the ages between $20{\sim}45$ in Seoul and Kyung-gi province during October 2004. 322 questionnaires were used for data analysis. The collected data were analyzed by using SPSS 10.0 software with various techniques such as ANOVA test, Duncan test and paired t-test. The results of this study as follows; 1. It was found out that the graceful, chic, and modern make-up image had significant differences. The graceful make-up preference image was preferred by the graceful clothing preference image group. The chic and modern make-up preference image were preferred by modern clothing preference image group. It was confirmed that the categories with significant differences were those with the same clothing and make-up preference image groups, which indicate people prefer unified image coordination. 2. As the results of the analysis of the difference in importance of make-up preference images, it was found out that the natural make-up preference image was the most preferred by people, and followed by the youthful make-up preference image. On the other hand, the romantic make-up preference was preferred the least. This study on relationships between clothing images and make-up images found that the costume culture is becoming more of 'total fashion' and that it would be beneficial for clothing brands to incorporate cosmetics in their business strategies and expand their businesses.

• 복식
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• 제32권
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• pp.293-312
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• 1997

Deconstructionism is a philosophical stream in the latter half of 20'th century which goes against western metaphysics and tries to deconstruct the dualism e.g. eastern/west-ern man/woman. Its main concepts are 'indi-vidual' 'other' 'difference' 'restoration of the repressed' 'decentralization' 'Today it shows strong influences in literature art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida's theory in order to re-search modes of deconstruction in is. And it compared clothing with architecture among other genres of art in order to discover similarities between through and modes of art in a certain period. For illuminating concept of deconstruction I referred to the literatures of preceding studies and for deconstruction's characteristics in both clothing and architec-ture I referred work's collection book $\ulcorner$collec-tions$\lrcorner$ and other related books dealing from 1960's to this point. As a rsult there are four modes of decons-truction in both clothing and architecture as follows; 1) Differenance which is a concept of the dif-ference in time and space as being trace. 2) In termeaning of meanings which is not present in reality but re-interpreted a new in the future. 3) Interxtuality in which a texte is not alone but with others 4) Dis.De phenomenon in which distortion and fragmentation forms occur as the result of the denial of perfection and reson. There are characteristics of modes of de-construction in clothing as follows; 1) Differance; R.Gigli, P. Rabanne. G.Bersace, V.Westwood are representatives of the cloth-ing which is combined with the past the pres-ent and the future or is re-viewed as the clothing of the past in the present point of view. J. Watanabe R. Dawakubo I miyake are representatives of the clothing which is out-date but re-viewed in the sense of recollec-tion and re-usage. 2) Intermeaning of meanings: R. kawakubo I, Miyake Y,Yamamoto are representatives of the clothing which is incomplete but re-interpreted in the future and appears to be new-fashioned according to ways of bnding wearing throwing on and tying J.C. Castel-bajac K.Hamnett S.Sprouse are representa-tives of the clothing which is made up of ab -stract forms scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ;J.P.Gaultier K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the 여-ality of man/woman J.P Gaultier G,Versace J. galliano are representatives of the intertex-tuality of time place and occasion which mixes temporality extensity and purposiveness. J.P Gaultier G,Versace are representatives of the intertextuality of coordination which combines items different in image purpose and use. P.Rabanne A,Courr ges R,Gernreic I,Miyake are representatives of the intertextuality of mat-ter which uses heterogeneous matter different from cloth. 4) Dis.De-phenomenon: R, Kawakubo I.Mi-yake J.P.Gaultier are representatives of the de-composition which discloses distortion and exag-geration of form through destructing the estab-lished way of construction J.Galliano R.Kawa-kubo Devota Y Lomba arte representatives of the decentring which restores the repressed and the alienated on the one hane and shows front-centrality on the other. Comme des Gar ones is representative of the discontinuity because of which right and left up and down are not in har-mony with one another. J,Galliano J.P,Gaultier T,Mugler are representatives of the disruption by way of which one makes one's body exposed through intentional slashes or holes. As a consequence deconstructionism enabled us to investigate similarities between through of deconstruction and modes of art interms of diffrance Intermeaning of meanings intertextuality and Dis De-phenomenon. And we found that deconstruction was a phase of development in that it as a all-comprising and multiple concept tries to pursue the new through deconstruction.