• Journal of Fashion Business
• /
• v.7 no.2
• /
• pp.122-142
• /
• 2003

This study examines the meaning of retro phenomenon and its background of establishment that showed in the pop culture. And it finds out the retro phenomena in the domestic fashion trends. And it defines the characteristics of dress and its ornament in the retro phenomena that have shown in the Korean movies since 1998. By doing this, it examines the relationship between movie dress and street fashion while it compares the styles in the 50s 70s with the retro fashion that is currently emerging. The results of the study are as follows. First, the hippie look in the 60s represented a distinctive characteristic of how they rejected traditional lifestyles. Hippie's romantic femininity that showed in the movie of 'Oollala Sisters' received a spotlight as a necessary style in the modern fashion trend. Second, while the funk look in the 70s was a style of disorder and disgust, the movie gives it a possibility of fashion with a converted sense as a vanguard fashion while embracing the funk look. Third, the layered look in the 70s was expressed with layered items, while the current layered look emphasizes layered textiles as shown in the movie of 'Hae-Jeok Became The Disco King'. Fourth, the feminine look which was a symbol of restraint shows a mixed style with delicate feminine items as shown in the movies, 'The Harmonium In My Memory' and 'Ditto'. Fifth, the training look that has two stripes as shown in the movie 'the Friends' is considered as casual wear, which is functional and easy to move at the end of the 20th century. Finally, the romantic images of school look, as shown in the movies 'the Friends' and 'Hae-Jeok Became The Disco King', show a renewed mixed & unique style. This study has its significance in the sense that it verifies the fact that the movie dress does not show the characteristics of the works that momentarily passes the screen, but it becomes a foundation of the future fashion design. At this time that Korean movies are highly developing, a through study on the movie fashion will not only give a direction of future in the modern fashion, but it will also give a developing momentum in the Korean movie dress.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.36 no.9
• /
• pp.916-927
• /
• 2012

In the $21^{st}$ century, woman leaders are able to influence society through improved social status and economic power. From 1980-1990 there was a rapid global social development of feminism and improved media perceptions. The progression of this process is reflected by female characters in feminism films that included a new dress style. The power suit emerged in the U.S.A of the 1980s, as a dress code that showed the workplace uniform of a professional woman and spread to Korea as an influential style. This study defines the different and similar aspects in the development of women's position and the role involved in a structural background through a comparison of the socio-cultural meaning of the power suit expressed in American and Korean feminism films. For analysis, this study chose American films in the 1980s and Korean films in 1990s that fulfilled elements about feminism films. Subsequently in American feminism films, the power suit expressed an equal authority with men, strategic use of femininity according to task type, and a dissipation of symbolic effects like a rich look. In Korean feminism films, the power suit expressed an end of femininity like female transvestite, independent female images with the masculinization of appearance, and a mix of new and traditional styles.

• Journal of the Korean Home Economics Association
• /
• v.50 no.7
• /
• pp.67-79
• /
• 2012

This study analyzed the characteristics of morphing in fashion design through the documentaries on morphing and fashion. The characteristics of morphing in fine art, media, and design area were categorized as reversible metamorphosis, sequential dissolve and blurring of interpolation boundaries. The results were as follow in fashion design. Reversible metamorphosis showed an automatic silhouette transformation by remote control, the metamorphosis of folding method by wearer's own movements and the automatic silhouette transformation by the air pressurizing method. It represented the thoughts of omnipotence as in the feeling of the magical world, the human desire for control in life, the rationalization of magical thinking and imaginative power, the creation of a new dress space and the extension of dress function. Sequential dissolve showed juxtaposition in the same area by the time order, juxtaposition in virtual space through the computer graphics, the series of fashion photography by steel cut of the dress making process and the blending of digital film and fashion design. It represented the approach for the storytelling of fashion show, implication of creative fashion design process and the creation of organic forms and the feeling of fantasy through artificial technology. The blurring of interpolation boundary showed an overlay of different fabrics with transparent boundaries, an overlay of different patterns with transparent boundaries and the blending of fabrics through the visual mixing of color. It represented the obfuscation of the object, the connotation of the space order, the connotation of the extensive and various meanings and the integrative property of objects.

• The Research Journal of the Costume Culture
• /
• v.13 no.5 s.58
• /
• pp.763-776
• /
• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• Journal of the Korean Society of Costume
• /
• v.58 no.10
• /
• pp.1-20
• /
• 2008

The purpose of this study is to analyze the formative characteristic of modern Tap dance costume according to its origin and kinds. For this purpose, the study explored the review of literature focusing on the historical back ground of Tap dance and investigated into the kinds of modern tap dance and the formative feature of the tap dance costume. Costumes of leading tap dancers in representative performances and movies are analyzed. The results are summarized as follows: The kinds of current tap dance could be categorized as three types of Jazz Tap Dance, Rhythm & Funk Tap Dance, Irish tap Dance as their development origin. The Tap dance widely distributed through the U.S. Hollywood movie, The Jazz Tap Dance costume was composed of magnificent and luxurious design applying the high fashion of the 1930s and 1950s in the male and female costumes. The U.S. Blacks' tap dance, Rhythm & Funk Tap costume had a close relation with resistant blacks' culture, and showing the type of free dressing not bound by previous tap dance dress. The Irish Tap Dance originated from Irish folk dance displayed the tap dance embroidered costume using the Irish traditional pattern. This study systemized the characteristic of the tap dance costume by kind, and explored the dress revealed at the tap dance as a symbolic system to the cultural zone where the dance is made.

• International Journal of Advanced Culture Technology
• /
• v.12 no.3
• /
• pp.21-28
• /
• 2024

The public can access movies more easily than any other cultural genre. The film's costumes convey the social, political, and cultural climate of that time period. Additionally, it subtly conveys the message of the movie, including the intentions of the director and the characters. Filmmakers can now use fact-based materials to plan their films, and audiences can now watch costume in movies with objective standards, particularly in period dramas, thanks to the advancements in over-the-top (OTT) services. The 77th British Academy costume Award went to the movie Napoleon because of how much emphasis it placed on the outfit. Ninety-five percent of the costume was made by experts in military uniforms and costumery. In contrast to the previous aristocratic and exaggerated Rococo costume, Napoleonic clothing had a natural and common-class character. A natural-shaped Chemise dress composed of light, reflective material first appeared in the Directoire era, just after the French Revolution. Chemise dresses made of a variety of materials gained popularity during the Empire era. With Napoleon taking the throne and Josephine becoming the empress, the vibrant court culture resurfaced during the Empire era. The silk was embellished with gold thread and embroidery, train dangling forms, and different types of sleeves appeared in Empire styles. They wore Pellisse and shawls under the coat. The hair style had long, ancient hair and was adorned with fillets. They also wore straw hats, bonnets, and caps. Long gloves and parasols were also popular accessories, as were pearl or colored jewelry necklaces, earrings, bracelets, and rings. During the Empire era, tiaras were fashionable. Shoes were either low-heeled pumps or sandals. The movie uses Chemise and Empire costumes, which are versatile enough to be used in a range of settings and eras. When it came to details, the type of sleeve was employed without regard to time, such as when using those from an earlier or later period. Since jewelry was worn more often than not in that era, practically every character has earrings on their necklaces. Nearly exact replicas of the coronation costume can be found in paintings by Jacques-Louis David. The red trains, Josephine's Empire dress, the crown, the Tiara, and the costumes of every character in attendance were all clearly identifiable in terms of form and color. To further aid viewers in understanding and enhancing the film's overall coherence, a scene featuring David drawing the coronation was added. Overall, there were differences in that the historical costumes were accurately recreated, the materials and details were utilized without restriction, and some of the costumes were designed with modern materials or accessories that were used more than the historical costumes. This section appears to have been written to highlight the beauty of the characters' personalities or settings. There is a limitation to this study in that it only looked at aristocratic clothing, which includes Josephine's. We will concentrate on male clothing in future research.

• Journal of Bio-Environment Control
• /
• v.7 no.3
• /
• pp.191-205
• /
• 1998

Among cauliflower, ‘Snow king’ and ‘Snow crown’, which are early maturing cultivars, showed active early vegetative growth. However, ‘Snow dress’ showed good curd characteristics and in marketability, ‘Green beauty’was superior and can also be grown in Cheju. All the cauliflower and broccoli Plots transplanted on Sep. 3 and on Sep. 17 had fewer number of days from the planting date to the harvesting date than did the plots transplanted on Oct. 1. h the case of broccoli, those transplanted on Oct. 1 had the highest marketability. In the case of cauliflower cultivars, ‘Snow dress’a late maturing cultivar, demonstrated the greatest reduction in growing stage when cultivated in an unheated plastic film houses and broccoli, growing stage is similar between those grown in an open field and those grown in unheated plastic film houses. For all the cauliflower and broccoli, the contents of vitamin A and C showed no significant difference between those grown in an open field and those grown in unheated plastic film houses.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.47 no.1
• /
• pp.152-170
• /
• 2023

Although ugliness had long been considered a negative form of beauty, it has become an independent aesthetic category. However, most previous art studies have focused on Rosenkranz's theory, making its application to contemporary fashion analysis challenging. Therefore, it is necessary to redefine ugliness. This study highlighted four modern ugliness categories from a modern perspective following the examination of the historical considerations of the ugliness concept, namely ugliness as a violation of taboo, ugliness as an unpleasant emotion, ugliness as a vulgar taste, and ugliness as an ethical flaw. From this perspective, SHOWstudios for fashion films were analyzed in the present study. The results of our analysis showed that ugliness in the film was related to socially sensitive subjects and stimulating images. Whereas costumes in the film were used as a tool to convey the subject and to enhance the visual effect of the image. In addition, clothing was identified as a core subject element of the video, particularly when considering ugliness as an ethical defect. This study provides further insights into contemporary fashion analysis, expanding the ugliness perspective, which had been limited to the specific perspectives of scholars.

• The Research Journal of the Costume Culture
• /
• v.9 no.2
• /
• pp.259-276
• /
• 2001

Hitchcock, "a master of the thriller" "leading figure of thriller", was famous for his work style. He never starts filming until completing a perfect conception in his mind before shooting. He started filming after getting a perfect filming plan adding a picture even one detailed shot picture. Also the movie costumes was not an exception in his movie. He put more main object to express a symbolic meanings by recreating movie costumes which were fit to drama′s subject than function which spoke for contemporary popularity also he guides actors to put on the movie costumes examined previously to shape a definite visual character in that works. This research intends not only to look into symbolic and expressive means of dresses through the movie costumes on thriller appeared in Hitchcock′s movie, but also the comprehension width by grasping importance of the movie-costume and dress image in the movie. Hitchock made about 55 movies, mostly thriller movies, from Number 13(1922) n unfinished work to family plot(1976) ones posthumous work. This research examined his the second half of term works(after 1950) such s Rear Window(1954), Vertigo(1958), Psycho(1960), Torn Curtain(19660, Topaz(1969) and Frenzy(1972) which are generally familiar to the public. In conclusion, we can find that the thriller movie costumes as well s the other movie and appeared a character of the film′s characters, social rank, economic level, personality. But expecially, a costume of Hitchcock′s thriller movie can be contained a characteristic factor of a kind of five.

• Journal of the Korean Home Economics Association
• /
• v.46 no.3
• /
• pp.1-12
• /
• 2008

This study examines the unique characteristics of the color red in relation to images used in areas other than fashion, such as the film or advertising industries. Based on analysed results, the aim was to identify red-colored costume's images expressed in contemporary fashion. Analysis of collected data has lead to four main findings. First, the fashion in which the red color is used delivers a voluptuous image when combined with a skinny silhouette or glossy and transparent dress material, arousing a strong sexual desire in a direct or indirect manner when exposing the body in public. Second, the fashion emphasizes a simplified appearance by minimizing the steps of the production process such as cutting, sewing, and decoration without artificial structural lines and creates an image of simplicity through a single red color or tone-in-tone colorations. Third, the red color, which carries a simultaneous negative and pleasure image represents grotesque playfulness by distorting or exaggerating clothes, transforming the body in disregard of clothing construction, or introducing unnatural makeup. Fourth, in combination of simple and clinging shapes, a material feeling tough like leather and an intensely noticeable red tone, promotes the feminine rather than masculine quality in a splendid, aggressive sporty and active "alpha girl" image.