• 패션비즈니스
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• 제3권2호
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• pp.19-29
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• 1999

The purpose of this study is for consideration of John Galliano's fashion design works. Galliano, young British designer, became the chief designer of Givenchy in 1995 and of Christian Dior in 1996. Through fashion information from WWD, High Fashion, Mode et Mode, Collezioni, Vogue, Internet sites and video tapes from 1995 to 1999, his works were concerned for this study. The results are as followed; First, we can find dynamics in Galliano's works. The dynamic mood came from his study about historic costume. Second, new beauty from dismantling and reconstruction was expressed on his designs. Third, his experimental creativities were based on fashion business. Therefore Galliano's eccentricity signify the Maximalism against the Minimalism which dominated the end of 20th century. So we can find a clue to new millenium in fashion world in his designs.

• International Journal of Costume and Fashion
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• 제13권2호
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• pp.79-92
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• 2013

This article explores 1940's fashion. Much has been documented about the huge influence Dior's 1947 New Look had on fashionable clothing, as the industry conspired to reinvent itself as an economic and cultural power after World War II. The introduction of highly feminised and luxurious styles reinstated fashion as a viable concern globally and has arguably been recognised as the defining style of the 1940's. During World War II the fashion system of design, manufacture and export within the western world, virtually ceased. Many dress historians (Arnold, 2008; Breward, 1997; Guenther, 2004; McDowell, 1997; Robinson, 1976; Taylor, 1992; Steele, 1998; Veillon, 2002; Walford, 2008; Wilson & Taylor; 1989) have suggested that fashion ideas froze from 1939 to 1947. Deeper research identifies that during this period of style and trend starvation, many diverse and interesting design ideas arose from the restrictions imposed and Veillon (2002, p.145), has suggested that this period instigated what we now identify as Street Style (Polhemus, 2010). This research investigates the diversity of design ideas produced between 1939-1947 in order to establish whether pre or post 1947 can be upheld as the definitive 1940's look, one that influences contemporary fashion designers and one that we identify with as a conclusive style today.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.34-45
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• 2004

Hair styles which independently coexist by transcending the time and space under the environment of highly developed information and communication technology of recent years, were analyzed. Moreover the concerned trends of art which influenced on these styles were introduced in this study. Through IT based information exchange produced new hair styles which have the technological images. The characteristics of these hair styles are investigated also. For the examination of yearly trends, hair styles in fashion collections of Yves Saint Larent during 1962 to 1999 were examined and classified. The results show that time variated trends are appeared in this period. For the analysis of the trends of hair styles featuring technological images, hair styles in fashion collection of Christian Dior, Giorgio Armani, Gucci, Jean Paul Gaultier and Chanel in the early 2000s are quoted.

• 복식
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• 제63권4호
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• pp.101-117
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• 2013

The purpose of this study is to consider the works of Nick Knight, the most influential fashion visual maker, to find out the characteristics of his works. For the research method, literature reviews were done by studying his book, viewing the articles on his official web site, reading journal review of his works and his interview articles. For the work analysis, fashion brands 'Christian Dior', 'Alexander McQueen', 'Martin Margiela', 'Hussein Chalayan' and 'Gareth Pugh' that have worked with Nick Knight were selected. The characteristics of his fashion works were derived from overall analysis of fashion visual works. The characteristics of Nick Knight's works are as follows. First is the 'innovation of image expression'. He used digital infra in advance and introduced digital images at the initial stage. He used fashion films as the means of communication and tried new image expressions in 3D. Second is 'breaking down the boundaries of creating process'. He worked with various field experts to make high quality works. He invited the public to participate in his creative process through the internet. Third is 'breaking down the categories of aesthetic expression'. He provided a wide variety of aesthetic standard and refused aesthetic stereotype. He broke the boundaries between fashion and art with a unique technique and high values.

• 한국의류학회지
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• 제45권4호
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• 한국의상디자인학회지
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• 제10권1호
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• pp.135-144
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• 2008

The reason that we are familiar with fashion from the 1950s is because of the work such as New Look done by a french fashion designer, Christian Dior who had taken on an almost mythical significance by his name. Moreover, in the sense of popularity, the appearance of Marilyn Monroe and Audrey Hepburn, two typical Hollywood actresses who each has directly-opposed image, is the symbol of youthful America of the 1950s and represents the remarkable start of the American fashion. Still, these days designers and mass medias recall the fashion from the 50s remaking and parodying it to suit public's taste. Being due to the World War II, Europe suffered not only the loss of its national tradition and reputation but also got a fatal blow politically and economically. On the other hand, the United States of America occupied a primary position in the world and outstandingly became the most powerful country. The American fashion of the 1950s represents youth and newness and rejects outdated and outmoded style. In this period, appears the indication which announces previously the youth culture. Poodle skirt is the fashion item that acquired popularity among young american women and girls in the late 1950s. In effect, it is the fashion as American as apple pie. A costly A-line skirt had been transformed into a cheap felt skirt. Instead of a real poodle dog which was carried by French women like an accessory, they embroidered a poodle dog on the lower edge of their skirt. As deriding the snobbish gait, they swayed themselves frantically to the rhythm of Rock n' Roll which swept those days. This was an attitude of young Americans against the existing trend of Europe. Poodle skirt showed the free spirit and intention of young people unbound to custom and established vogue. In addition, in the aspect of comprising the American spirit of independent, pioneer, and subjective American people, it goes beyond the bounds of common concept of fad. Poodle skirt is an unique symbol of the 1950s' American fashion which prognosticates the advent of the United States and the success in modern fashion world which was changing after 1950s.

• 복식문화연구
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• 제13권5호
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• pp.844-855
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• 2005

The purpose of this paper is to examine which fashion brands are most likely to be investigated by Korean textile firms when they conduct their market trend analyses. The result shows that for the domestic sales, textile firms are most likely to collect and analyze information on the Cheil Textil Co. It is followed by Bean Pole, Chanel, Buberry, Tomboy. For the future domestic sales, textile firms prefers referring foreign fashion brands such as Burberry, ZARA, MaxMara, Missoni, and Chanel. Textile firms majoring exports prefers collecting and analyzing information on D&G followed by Chanel, Gucci, and DKNY. This preference, however, differs when considering exporting areas. Textile firms targeting the French market considers Gucci, followed by Ferragamo, Dior, Louisvuitton. Textile firms targeting the Italian market prefer Chanel, followed by Valentine, ZARA, Gucci, and Armani. Chanel is also top brand for the North American and Japanese markets, and followed by GAP, ZARA, OZOC, Missoni, Munshing Wear. The information content collected and analyzed by textile firms is style, pattern, color, and textile materials for textile firms targeting the domestic sales, while the exporting firms prefer information on color and textile materials proposed and presented by the fashion brands to which they prefer to make reference. The result of this study can be used to effectively and efficiently collect and analyze market information on fashion brands for textile firms majoring the domestic and foreign sales.

• 한국의류산업학회지
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• 제20권2호
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.209-216
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• 2007

Some may call Peter Marine as 'an ego-less architect', or 'palace maker' due to his designs or attitudes that appearantly please world's most well known clients. However, his eclectic taste and artistic expressions combined with his minimal and abstract architectural approaches are being recognized in many places globally, especially in many fashion brand stores such as Channel, Louis Vuitton, Christian Dior, and Fendi. Born and educated in U.S., Peter Marino designs are influenced by two most famous designers of our modern art history Andy Warhol and Jean-Micheal Franks, that are obvious in his traditionally modern French style designs and abstract expressions. The current study introduces Peter Marine designs through analyses of Channel and Louis Vuitton. The objectives are to understand the designer and find patterns in his brand store designs that has made him now one of the most famous fashion store designers. Educational, social, and personal interest were found to strongly form his design characteristics and four main characteristics were identified by the researcher that are use of LED lightings, emphasis on vortical circulations, graphical application of brand identities, and repetition of simple geometric forms.

• 패션비즈니스
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• 제27권6호
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• pp.66-84
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• 2023

Handbags are a part of fashion and while their significance and value are increasing, research on this topic is lacking. This study defines handbags and categorizes the materials used for making handbags, sewing methods, expression techniques, and terminologies related to accessories. A total of 1,743 handbags that were released from the Spring 2020 to Fall 2023, Ready-to-Wear collections by 8 selected brands (Hermes, Dior, Fendi, Chanel, Louis Vuitton, Prada, Gucci, and Alexander McQueen), were analyzed. Out of these, 732 unique designs, excluding those with only color variations, were studied. The most common sewing methods were 'Cut, sewing, and edge painting', 'Cylinder arm sewing', 'Cut, edge painting, and sewing', and 'Inverted seam', in that order. Slim strap designs primarily used the 'Cut, sewing, and edge painting' method, whereas the body, especially with narrow and hard leather, was best suited for the 'Cylinder arm sewing machine'. For expression techniques, the most frequently used methods were 'Quilting', 'Metal Eyelet', 'Embossing', 'Printing', 'Punching', and 'Weaving', respectively. The characteristics of each brand's production methods, expression techniques, and accessories were as follows: First, the exposure of logos and monograms is prominent. Unlike clothing, handbags often prominently feature the brand's logo or monogram. Second, signature quilting is a prominent feature. Quilting effectively conveys the brand's signature style, providing cushioning, volume, and pattern effects. Third, sustainable development is a growing trend. Brands are increasingly applying eco-friendly and socially responsible designs.