• 복식
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• 제63권2호
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• pp.55-67
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• 2013

The root of cultural and artistic diversity of modern society goes hand in hand with the appearance of new art concepts that started during the social and cultural turmoil. These concepts crossed the boundaries of traditional and universal aesthetic concepts and value criteria. Since there is a close relationship between the fashion industry and the cultural flow of its times, the purpose of this study is to investigate the influences and applications of conceptual art, which became one of the big frameworks of contemporary art on fashion. The study thus sets out to develop and analyze the collections of Hussein Chalayan and Martin Margiela, who were fashion designers that pursued conceptual and ideal values, from the perspective of conceptual art. The goal was to examine the conceptual thoughts they sought after, and to understand their expressive determinations that they pursued conceptually as well as the superficial formativeness of their works. The characteristics according to the expressive methods and conceptual intentions of conceptual art that specified concepts and ideas were as follows: readymade symbolized objects, expanded intervention, data form from process of changing and implementation, and language as visual metaphors. Then those characteristics of conceptual art were used in this study to analyze the collections of Chalayan and Margiela. As a result, both designers applied and mixed many characteristics of the expressive methods of conceptual art. In modern society, art and fashion share a cultural identity and it can be said that it is an accurate reflection of the time. They are not separate genres. Just like the unique flow of modern society that creates new concepts through mixture and infusion of different disciplines, fashion is included in the domain of art. In addition, understanding and studying other disciplines can make a huge contribution to the growth and development of fashion.

• 한국의류산업학회지
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• 제17권3호
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• pp.351-363
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• 2015

This research explores diachronic fashion design trends through a structure analysis of a connection network based on fashion show concepts implemented by modern fashion designers from S/S 2009 to F/W 2013. The findings from this research are as follows. First, four categories affect the inspiration and thinking of design: the experience of the designer, social atmosphere and phenomena, natural sensitivity (or formative characteristics of natural objects), and the influence and quality of other fields. Second, in cases where the designers' experiences influenced design inspiration and thinking, designers express personal memories with keywords like high school, grandmother's closet, prom, beauty and the beast, heritage, past, and reminiscence through design elements such as lines, silhouettes, materials, and colors. Third, the representative example of the social atmosphere and phenomena that influenced design inspiration and thinking was the 2008 Global Financial Crisis that reflected the social climate through design concepts of keywords such as Recession, Black, Economy, US, Depression, Gray, Dark Age, White and New York. Fourth, inspired by nature and the formative characteristics in design, the designers employed ornamental elements to collections and design concepts that focused on nature words connected to light, sun, wild, dirt, rock, moss, and trees. Fifth, the designers took their ideas from different fields of personal interest in the arts, science and humanities (sports, architecture, sculpture, painting, and literature) that were decisive in determining materials, design colors and silhouettes. The theme of architecture was analyzed as a central element that had an ongoing impact on the concepts of designers.

• 복식문화연구
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• 제27권4호
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• pp.384-397
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• 2019

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children's collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children's clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children's collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in $appliqu\acute{e}s$ and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children's clothing collections. Fifth, playfulness functioned to enhance the children's clothing's wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing's value by fusing with other characteristics such as handcraftedness and naturalness.

• 한국의류학회지
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• 제33권4호
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• pp.563-573
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• 2009

This study analyzed the trends and aesthetic characteristics of fur design found in the contemporary fashion to examine the status of fur material in the contemporary fashion design, and through an analysis of the meaning it attempted to come up with a new viewpoint and form on material for the future fashion design. A literature review was used to explore the kinds and properties of furs. In addition, an empirical analysis of works that have appeared in fashion collections since the year 2000 was conducted with local and foreign fashion magazines such as Gap, Vogue, and Mode & Mode and other publications related to fashion collections. In the contemporary fashion, the trends of fur design are represented by use of various items, material combinations, application to decorative purposes(like trimmings, details, or accessories), and a wide range of colors and textures available by advanced dyeing and finishing techniques. The aesthetic values intrinsic to fur design are that the expression of conspicuous luxury covers even the qualitative aspect of luxury and adds fashionable images to casual items, contributing to the popularization of fur fashion, by using a variety of artificial furs; the expression of sensual feminine beauty allows the animal and primitive feel characteristic of furs to convert a feminine body into a sensual image of more than a simple biological impulse; and the expression of hybridity presents a new viewpoint through distortions, exaggerations, deviations from the existing constituent forms, or futuristic sensibilities in all elements of fashion design.

• 한국의류학회지
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• 제33권7호
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• pp.1003-1013
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• 2009

This study offers data that can be used to direct the styles of black dresses by looking into the characteristics of coordination in black fashion, which is continuously appearing at modem. fashion collections with a unique aesthetic value and image. This study examined the characteristic of fashion coordination of black color: First, to look at the fashion image of black color, second, to look at the characteristic of black color coordination appearing in black fashion, and third, to look at the method of coordination appearing in black color. This study collected and selected 560 black pictures that showed the fashion collections from 2005 S/S until 2007 F/W. As for data analysis, the researcher made a content analysis by classifying the pictures by item, material, accessory, and a coordination method. The research results are as follows: First, the fashion image of black color was expressed as sexy feminine, modern chic, modern future, genderless, and avant-garde images. Second, the fashion coordination of black color has the characteristics of sexiness and dignity by the use of body exposure, concealment, and a subdued line that expresses a modern, minimal atmosphere. The mix & match of materials expressed the monotony of one color as refined beauty and the use of accessories appeared to bring the image into relief. Third, as for the coordination method, pants on skirts, pants on dresses, piece coordination of code matching, plus- one coordination through vivid colors and accessories, and cross-over coordination relying on shape, material, and sense were prominent.

• 복식
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• 제66권4호
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• pp.77-93
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• 2016

The purpose of this study is to analyze the stage costumes of Michael Jackson, and how it was reflected in contemporary fashion. The study reviewed fashion related articles, book, journals, and online fashion sites in order to look at the stage costumes used by Michael Jackson from 1979 to 2001 from 'Off the wall' to 'Invincible'. The study examined the 2001 S/S~2016 S/S seasons of the world's 4 major $pr{\hat{e}}t$-${\acute{a}}$-porte collections to identify cases that used at least two fashion factors of Michael Jackson's style. The study result is as follows: First, Michael Jackson wore black tuxedoes with bow ties, ankle-length pants, white socks, black loafers, arm bands and other various accessories. Second, many of Jackson's fashion traits, such as military style golden embroidery detail and emblems, Brandenburgs, and also appeared in many collections. Third, Jackson's glitter style included spangle and cubic accessories, which were used along with hologram and metallic materials. Accessories, such as cubic gloves and socks, and fedoras were worn with the costume. Lastly, his diverse style, which included fencing shirts, letterman jacket and magic suits, can be found in different forms in modern fashion. Michael Jackson was one of the trendsetters in popular fashion in the 1970s~1990s, and continuously inspires fashion designers in the 21st century. In this aspect, the Michael Jackson style is deemed highly significant in the fashion history.

• 한국의류학회지
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• 제31권6호
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• pp.911-922
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• 2007

본 연구에서는 패션에 나타난 아프리카 이미지에 대한 정확한 시각과 현대 패션의 이해를 목적으로 서양사에서 바라보는 아프리카 이미지와 예술, 아프리카복식의 일반적 특징, 아프리카 이미지의 패션 등장배경 및 시대적 흐름을 토대로 하여 2005 S/S컬렉션에 나타난 디자이너와 디자인작품을 요소별로 분석하여 아프리카 이미지를 도출하였다. 2005년 S/S세계 4대 컬렉션에서 선정된 10개의 디자이너와 브랜드 작품에 나타난 아프리카 이미지는 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant', 'Sporty Romantic'의 4가지 특성으로 나타났으며, 이를 디자인, 디자이너, 패션트렌드 측면에서 아프리카 이미지에 대한 현대 패션의 시각을 살펴보면 다음과 같다. 첫째, 현대 패션에서 아프리카 패션은 주술적, 종교적 의미보다는 장식적인 디테일을 강조하는 경향으로 나타났다. 즉, 토속적인 감각과 도시적 인 감각을 조화시켜 주술적 의미에서 장식적 의미로 이들을 차용하였다. 둘째, 패션디자이너는 아프리카의 원시성, 순수성의 힘을 현대인의 회귀심리 및 자연의 순수성에 대한 동경과 결합시켜 아프리카 이미지를 패션문화의 한 코드로 인식시키고 현대 여성의 도시적 야성미를 독특한 스타일로 연출하였다. 셋째, 아프리카 이미지는 원시생활속의 미의식에서 찾을 수 있는 창작 디자인으로서의 영감은 물론 이국취향의 창의적인 이미지로 연출되어 패션트렌드의 강한 키워드로 자리매김하며 21세기 초두의 트렌드를 주도하였다.

• 한국의류학회지
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• 제45권1호
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• pp.136-154
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• 2021

'Slow fashion' has become a hot issue in the fashion world as fast fashion has caused environmental and ethical problems. This study synthesized the characteristics of slow fashion from preceding studies and organized them into four characteristics (craftsmanship, nature-friendly attitude, localism, and pursuit of exclusive value). This study compared designers, John Alexander Skelton and Geoffrey B. Small with four characteristics. First, both designers sought craftsmanship based on tailoring, but Skelton focused on the eco-friendliness of materials, and Small emphasized the development of high-quality fabrics. Second, we found a nature-friendly attitude in both designers, but unlike Skelton, which maintains nature-friendliness in the process of clothing production, Small showed this characteristic through presentations. Third, both designers revealed localism through their affection for the fabrics and culture of each country. Moreover, Small extended its meaning to respect minority tastes. Finally, both designers pursued exclusive values through collections under the themes of class problem, and gender conflicts. However, Skelton melted these topics into British culture and revealed them indirectly versus Small who showed sensitive topics directly in the collections. This study will provide the foundation for analyzing designers through the characteristics of slow fashion, and suggests directions that slow fashion designers should move towards.

• 디지털융복합연구
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• 제20권4호
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• pp.499-512
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• 2022

본 연구의 목적은 먼저 유니섹스와는 그 개념과 차원이 다른 젠더리스 개념을 알아보고, 현대 패션에서 젠더리스 복식의 경향을 파악하며 그 특성을 살펴봄으로써 현대 패션에서 나타나는 젠더리스 복식을 통해 현대 패션에 나타난 젠더리스 경향과 특징을 짚어보았다. 이를 위하여 본 연구에서는 국내·외 문헌, 패션 웹사이트를 통해 이론적 고찰과 컬렉션 사례 분석을 진행하였다. 이를 바탕으로 현대 컬렉션에서 젠더리스 성향이 강한 디자인을 분석하여 컬렉션에 표현된 젠더리스 복식의 특성을 도출하였다. 그 결과 현대 컬렉션에 나타난 젠더리스 패션의 특성으로 혁신성, 반항성, 미래 지향성의 세 가지를 도출할 수 있었다. 또한, 현대의 젠더리스 패션은 단순히 생리적인 성별에 따른 패션이 아나라 정신적 성별과 생리적인 성별에 대한 다양한 욕구를 내포함으로써 이는 성의 구분이 모호해지는 현재의 사회적 현상과 서로 상호작용하여 나타남을 알 수 있었다. 하나의 문화 현상과 유행이 된 젠더리스 패션를 이해하고 연구하고자 한 본 연구를 기반으로 앞으로 향후 젠더리스 복식과 관련한 많은 후속 연구가 진행되기를 바라는 바이다.

• 한국의상디자인학회지
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• 제25권2호
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• pp.123-134
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• 2023

Fashion design, CAD production, and the use of digital software can shorten the time and production processes in the fashion industry, but there are still many limitations in how to similarly express textile textures. Having this awareness, how to implement the visual effects of textile texture similar to that of the real world in the virtual world is one of the major exploration tasks in the fashion industry. Therefore, this study aims to analyze examples of embroidery techniques in Christian Dior collections and explore how embroidery techniques in 3D CLO fashion design can express the texture of real clothes more similarly by creating virtual works through 3D samples and 3D CLO software. First, the analysis criteria and theoretical basis of this study were derived through a literature review on fashion textile embroidery techniques, identifying types and characteristics of embroidery techniques, and classifying them into 12 types. Second, photos of the Dior 2017-2023 SS/FW Ready-to-Wear collections were collected and analyzed through the case analysis VOGUE site. Third, it presents the production of 3D CLO works by deriving a method of implementing embroidery techniques through the design of sample textile embroidery techniques using substances 3D sample software. The study's has some limitations. First, in 3D CLO fashion design, the needle gap for embroidery must be widened to see the thread pattern. Second, by reducing the number of needles, it is necessary to imitate the actual embroidery effect. Third, it is judged that it will be effective to lengthen the thread and adjust the thickness of the thread. Fourth, the thickness of the entire embroidery pattern must be increased to enable a three-dimensional texture.