• 복식
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• 제51권4호
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• 패션비즈니스
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• 제23권5호
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• pp.81-95
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• 2019

The purpose of this study is to research consumers' perception of the HiSeoul fashion show, which is being used by new designers as a means of promotion, and to propose a strategy for revitalizing new designer brands. This was done in order to secure basic data from fashion consumers, to help guide marketing strategies and promote rising designers. In this research, the consumers' perception of HiSeoul fashion show was verified using text-mining, data refinement and word clouding that was undertaken by TEXTOM3.0. Also, semantic network analysis, CONCOR analysis and visualization of the analysis results were performed using Ucinet 6.0 and NetDraw. "HiSeoul fashion show" was used as the keyword for text-mining and data was collected from March 1, 2018 to April 30, 2019. Using frequency analysis, TF-IDF, and N-gram, it was also shown that consumers are aware of places where shows are held, such as DDP and Igansumun. It was also revealed that consumers recognize rising designer brands, designer's names, the names of guests attending the show and the photo times. This study is meaningful in that it not only confirmed consumers' interest in new designer brands participating in the HiSeoul Fashion Show through big data but also confirmed that it is available as a marketing strategy to boost brand sales. This study suggests using HiSeoul show room to induce consumer sales, or inviting guests that match the brand image to promote them on SNS on the day the show is held for a marketing strategy.

• 패션비즈니스
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• 제22권2호
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• pp.118-133
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• 2018

This study investigated the effect a fashion model's self-expression has on stage confidence, commitment, and satisfaction. The differences in stage confidence, commitment and satisfaction were analyzed by comparing the frequency of fashion show experiences. A survey was conducted using convenience sampling of professional male and female fashion models at fashion venues (Dongdaemoon Design Plaza) and model agencies from March 2, 2017 through April 10, 2017. A total of 248 questionnaires were obtained and SPSS 21.0 was used for data analysis. The results of this study are as follows. First, the analysis indicated a fashion model's self-expression factors, including movement, meaning, and individuality, had positively impacted the model's psychological and physical confidence, while acting ability negatively impacted such confidences. Secondly, movement meaning, expressive impulse, and individuality had positive impacts on behavioral commitment. A model's expressive impulse was also found to have a positive impact on cognitive commitment. In addition, acting ability negatively impacted behavioral commitment, while it affected cognitive commitment positively. Third, a high level of psychological and physical confidences about fashion shows, as well as a high level of behavioral and cognitive commitment, had a positive impact on fashion-show satisfaction. There were significant differences in cognitive commitment and fashion-show satisfaction by frequency of fashion show experiences. The findings can be utilized to understand the psychological factors that affect a fashion model's performance in order to increase the model's fashion-show satisfaction. It is also expected to provide useful information to enhance the quality of fashion shows.

• 한국의류학회지
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• 제42권5호
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• pp.809-822
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• 2018

Fashion brands communicate with consumers through the use of fashion films that are effective in the delivery of the image. This is because digital media (such as fashion films) are popular and accessible as well as effective in attracting people's attention. The reasons why fashion films have become a new fashion media among many others is becuase they are based on an existing platform. This study will examine offline platforms of fashion film: flagship store, fashion exhibition, and fashion show. The offline platform of a fashion film is a physical space where a fashion film can be exhibited and viewed as a medium that can effectively convey fashion film to consumers. As a research method, the concept of an offline platform of fashion film is established based on a literature review of fashion films and platform that is followed by an empirical case study. The study results show that the offline platform of a fashion film is in the progress of turning into an autotelic space where the consumption of such culture as cinema and theater has become possible.

• 복식
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• 제59권5호
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• pp.83-100
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• 2009

In the 'Society of the Spectacle', Guy Debord argued that modern life was dominated by the commodity form and the false desires it engendered. He predicted in 1967 that culture would become the driving force in the development of the economy by the end of the century, He was sure when culture becomes nothing more than a commodity, it must also become the star commodity of the spectacular society. Fashion, the starriest of star commodities with its seductive fantasy approaches to the viewers occluding the commercial reality. From this point, the spectacular property of the modern fashion can be found. This study starts on the notion that the modern fashion is on the center of capitalist consumer culture and is constructed by spectacle. On this premise, the purpose of this study is analysing the attribute of 'spectacle' and 'keeping distance ￡Tom spectacle' in modern fashion expressed in fashion show, fashion media and fashion store. The fashion houses in the 1990s that recognised the commercial value of shock and spectacle were eager to employ young spectacularly visible named designers. They generated the publicity necessary for sales of perfume, cosmetics, bags and diffusion range of clothes through the visible fashion show and fashion media. In the fashion show and fashion media, fashion goods as the commodity both flaunts and disguises its commercial nature in spectacle. The spectacle on the fashion store is the process turning the commodity into image to arouse viewer's higher interest. In the fashion store, the appearance of the commodity such as space, display, package is considered more importantly than its 'utility value'. Meanwhile, the study also covered the innovative trial to evade the ubiquitous 'spectacle' in fashion area.

• 복식
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• 제57권10호
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• pp.142-155
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• 2007

The purpose of this study is to develop a fashion show model as a local festival program by designing the costumes of Chosun dynasty from later 16th century to early 17th century and planning a fashion show. The designed costumes are based on the life of the representative poetess, Maechang Lee, from Buan-gun, Jeollabukdo. The planning of the fashion show consists of seven stages, that is, finding a theme, composing the story, designing costumes, choosing music, planning intermission events, producing visuals and booklet, and directing model performances. This paper focuses mainly on finding a theme, composing the story, and designing costumes.

• 복식
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• 제55권6호
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• pp.51-66
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• 2005

Fashion is to emphasize the importance of total coordination in creating an image. Therefore, modern fashion is not the conformation of fixed beauty but it exist in the expressed form of the variety and the completion according to the individual's personality for the self image of the clothes, the hair and make-up, the accessories and the like. This study Is aimed at reviewing one of the tendency of modern fashion coordination and the characteristics of John Gallianos fashion work and there upon, analizing the characteristics of John Galliano's fashion show, who is one of the most leading fashion designer, by dividing them Into four categories in large: 1) The maximum effect of fashion image by make-up and hair style 2) Adventurous fashion coordination with daring decoration 3) Fascinating fashion coordination Harmonized with color 4) Enlargement in the concept of fashion coordination by experimental way of clothing

• 복식
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• 제56권8호
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• pp.138-147
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• 2006

This study tried to research on clothing styles of show hostess in the cable television home-shopping network program. Especially, show hostess's clothing styles were classified into 5 sections according to selling products, that is baby goods, insured goods, underwear, bedclothes and beauty goods. item is examined 7 levels by texture, color, clothing item, fashion image, fashion trend, fashion type, and fashion silhouette. The results showed that significant correlations between show host's clothing and selling products. The another findings of this study is that show hostess's clothing is aimed at the taste of main consumer such as housewife. Conseguently this study reaffirms the importance of the shopping hostess's clothing influnce according to selling products's characteristics.

• 복식
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• 제65권6호
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• pp.133-147
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• 2015

The aim of this study is to review the creative fashion installation of Henrik Vibskov, Danish designer. Its intention is to contribute useful information for more innovative fashion presentation. As a research method, document and case study were performed and his collections from 2004 F/W to 2016 S/S were analyzed. In fashion installation, the designer puts objects in meaningful spaces in order to convey a certain message, to make an integrated artwork, and to interact with spectator. It has been used in fashion exhibitions, as well as in the set design of fashion performance and fashion show. The results were as follows. Henrik Vibskov's fashion installation has three features, which are 1)conceptual theme approach that communicates a twisted and metaphoric message, with a poetic and interesting show title, 2) surrealistic scenography that plays with fragmentation of the human body, clustering of plastic and symbolic objects, innovative color transformations, and visual trickery between figures and the background, and 3) setting for multisensory performance that makes spectators interact by making artistic objects and surroundings, which stimulates the five senses. Henrik Vibskov's fashion installation can exist as an independent artwork, and not just as a supporting piece for a fashion show. It has both artistic and fashionable values, and can be an effective fashion presentation communicating his conceptual fashion themes.

• 복식
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• 제54권4호
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• pp.1-14
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• 2004

This study suggests the popular culture theory as a basic framework to find out the characteristics of contemporary fashion show meeting the popular culture, and describes that the show is the popular culture of this generation. The culture is the way of our life unifying the world at common area of human being. The popular culture is to subdivide it into the public culture that shares aesthetic taste, and to borrow each other and develop it mutually because of the collapse of dichotomous boundary with high quality culture, and to represent the people’s thought and behaviour expanding their areas. The author has examined the characteristics of popular culture of modern fashion show by four collections, that is, commercialism, mass media, political relationship and interaction, etc： Firstly, at the commercialism, the fashion show combines it with other genre organically to do mass production and sales and produces cultural consumption goods supplying a lot of sight-seeing. Secondly, at the mass media, the image of contemporary fashion show has been spread out with mass media such as fashion magazines, cable TV and Internet beyond time and space to produce advertisement effects and makes new fashion and bring democratic culture. Thirdly, at political relationship, the fashion in its peak can make a big stream of wealth, so that it plays important roles under governmental regulations in this era and governments make efforts to support and develop it. Lastly, at interaction, the fashion show shares media functions to let users participate in the program and to exchange information as a feedback to influence each other.