• 한국의상디자인학회지
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• 제2권2호
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• pp.5-17
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• 2000

This study about the Zoot Style is the first part of a series of research, which is to examine various subcultural styles in 1900s. The main concern of this research is to investigate the origin of a style, the way how it developed, and the reason it appealed to people. Subculture is a marginallized culture which the subordinal groups in the social structure developed as a means of reaction against the dominant groups of a society. The clothes and decorations of these groups can be regarded as the central expressions of exclusiveness, loyalty and identities for their groups. In 1990s, the distinction between the subcultural style and high fashion tend to be blurred, because it has gained more influence on the high fashion. Zoot Suit, adopted and diffused by Cap Calloway in 1940s, is the code of a subculture formed by a special race, class, space, gender, and generation identities. It develops as a reaction, and consequently reflects the struggles against the dominant culture: it is to refuse, appreciate and ridicule the dominant style. The Zoot Style had a great influence both in Paris and Cuba: the Zazous Style in Paris and the Caribbean Style of Cuba are the subcultural styles branched from the Zoot Style.

• 복식문화연구
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• 제15권1호
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• pp.127-136
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• 2007

Modern society shares new culture derived from the fusion of various cultures unlike the past culture regulating one phenomenon of certain field as the representative icon of the era. Especially, the phenomenon of globalization acts as the catalytic agent to receive coexistence of variousness easily. Especially, in fashion industry, these flows and the view of naturalism are harmonized and new fashion trend called 'Ethnic' was embossed. As it reflects internal spirit of human being that wants to return to the memory due to expansion of material civilization, the interest in the designer pursuing it is increasing. This study tries to consider the Ethnic style displayed by Chinese American designer, Anna Sui, who pursues the eastern style with full wit and individuality. Anna Sui, who was praised by New York Times for 'the superb harmony of houte couture style and up-to-date style', created another fashion trend, romanticism in New York and she is the worldwide designer representing Ethnic. Like it, the consideration on her Ethnic style reanalyzing as eastern style provides guidance to check how designer's fashion philosophy appears in one category of America and China and new study material that enables us to understand the third world culture code as well as Anna Sui. This confirmation has the meaning as the basic material for the endless challenge to the new style that fashion will go on in the future. Anna Sui was confirmed to have been recognized as a designer who represented the ethnic collection in the United States, exerting the influence with her unique oriental background. Moreover, her design could identify the pivotal point of ethnic image by developing her unique style which is distinct from other designers in terms of silhouette, color, fabric, detail, and so on. This kind of study can provide the basic data required to understand the fashion world of designer in the future.

• 패션비즈니스
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• 제14권5호
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• pp.78-92
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• 2010

The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

• 한국의류산업학회지
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• 제22권6호
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• pp.716-726
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• 2020

This study presents methods and alternative examples for fashion brands to effectively use video-based communication channels to form brand identity that analyzes the definition, status and type of YouTube channel fashion films as well as enables the ability to derive brand identity characteristics. Literature studies focused on Christian Dior's official website and related previous studies. The temporal range of the case studies was from October 7, 2010, the date when the first fashion film was uploaded to current Christian Dior YouTube to July 17, 2020 (the survey date), and there are a total of 550 subjects for quantitative analysis. The succession of the couture spirit means that Christian Dior's craftsmanship was created and passed down by Musée Christian Dior to act as a contemporary key element of brand identity. The iconic expression of femininity is Dior's core design philosophy that began when the woman image of a new era was presented through a new look, and Dior's femininity means a woman that reflects the character of the times as is interpreted as her own personality from the perspective of modernism through the creative directors of future generations. The brand's core identity code 'Miss Dior' expresses the brand's vision and eternity through perfume as well as targets Z generation male consumers through an emotional approach based on forms that used emotional images such as movie-type films.

• 한국의류산업학회지
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• 제24권2호
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• pp.206-216
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• 2022

This study sought to examine the sustainability criteria found in the global sourcing practices of global fashion retailers. Sustainable supply chain management, with a particular focus on the sustainability criteria of global sourcing, was analyzed. This qualitative study was based on a focus group interview and corporate social responsibility (CSR) annual reports. Eight master categories, 18 middle categories, and 37 bottom categories were extracted. The key categories and their middle categories were as follows: (1) Social compliance (working conditions, employment, safety); (2) Environment concerns (environmental pollution management, eco-friendly production, supply chain environment); (3) Energy efficiency (energy saving program, store environment); (4) Consumer protection (restricted substances management, consumer product safety improvement); (5) Management system (code of conduct, triangle audit system); (6) Community social activities (local community service, voluntary activities, charitable activities); (7) External stakeholder engagement (media & non-governmental organization management, maintenance of relationship with local authority); (8) Brand protection (respect for companies' intellectual property). The findings of this study offer academically significant insights into the sustainability criteria that can be encountered by companies under diverse global sourcing scenarios, revealing that global sourcing by fashion retailers is not merely a means of reducing costs, but a way of generating new jobs and making a social contribution to developing countries. The study's findings also have practical significance, offering guidelines for general CSR activities in the global sourcing process.

• 복식
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• 제67권1호
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• 한국의류산업학회지
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• 제20권3호
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• pp.353-359
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• 2018

In this study, fused deposition modellig(FDM) 3D printing technology has been applied directly to polyester voil fabric to produce 3D printed lace/voil composite fabrics. A stereolithograpy(STL) file with a lace type 3D modelling under the various thickness were prepared and transformed into a g-code file using a g-code generator. The extrusion conditions for FDM 3D printing were controlled by 50mm/s of nozzle speed, $235^{\circ}C$ of nozzle temperature, $40^{\circ}C$ of heating bed temperature. 3D printed lace/voil composite fabriscs manufactured by 3D printing based on FDM using a thermoplactic polyurethane(TPU) filaments were obtained. To evaluate the mechanical properties and washability of the fabricated 3D printed lace/voil composite fabric, KES-FB system test, washing fastness test and dry cleaning resistance test were conducted. As 3D printing thickness increased, KOSHI, NUMERI, and FUKURAMI of 3D printed lace/voil composite fabric increased. From the results of the primary hand value test, 3D printed lace/voil composite fabrics were confirmed to be applicable to women's summer garments. As a result of the washability and dry cleaning resistance test of the 3D printed lace/voil composite fabrics, all samples were graded 4-5.

• 한국의상디자인학회지
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• 제24권2호
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• pp.85-95
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• 2022

This study aimed to clarify relationships between the westernization of military uniform systems and changes in the textile import industry during the Eulmi reforms of clothing regulation. For the goal, the study investigated the content and features of that had been enacted under the Eulmi reforms. It also examined the status of the textile import industry at the time, especially in relation to outer garments such as jackets or Eui, trousers or Go, and overcoats. Moreover, this study inspected how the above westernization changed the textile import industry. More specifically, the research analyzed the content of based on articles from the then state newsletter or 『Gwanbo』, and the then cabinet meeting or Euijeongbu's proceedings or 『Euiju』. Concerning the textile import industry, this study looked into relevant descriptions and trade statistics from 『KOPEИ(Hankukji)』, and analyzed changes in that industry in connection with the introduction of Western military uniform systems. As a result, this study found that increased imports of cotton fabrics during the Eulmi reforms of clothing regulation was correlated with surging demand for shirt or lining materials and increase in the use of Myeonyung following military uniform westernization. Similarly, an increase in silk fabric imports was an outcome of increased demand for lining materials. Also, the import growth of woolen fabrics was seemingly attributed to the use of Heuknasa and Heukyung as basic materials of military uniforms. Thus, military uniforms began to be made of fabrics, which hadn't been used before in the wake of westernization. This development brought changes in the textile import industry, which is supported by textile import statistics of the time. In conclusion, the westernization of military uniform systems under the Eulmi reforms of clothing regulation was a significant factor that changed the industry.

• 복식문화연구
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• 제5권4호
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• 복식
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• 제61권1호
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• pp.1-19
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• 2011

The purpose of this study is to pursue the way of human body expression for prospecting of future fashion illustration through research of the methods and meaning expressed in the works of 30 years by Antonio Lopez. The research was conducted by looking into the perception of the body between 1960s and 1980s, when Lopez worked actively, on the basis of the discourse, art and fashion for the femininity and studying the representation method and meaning of the body in his works. Lopez suggested an index of the ideal beauty of the times through the representation of the immature body like a child in the 60s, the glamorous body in the 70s and the exaggerated muscular body in the 80s by predicting the changes of the perception of femininity and ideal beauty. As the result of this research, it is found that Lopez employed the art form for the representation of the body in his works and presented the polysemous implications of the art form in the context of the body expression. In addition, he redefined sexuality by focusing on the code that confronted the conventional women's morals by changing the representation method of the women's pose, and depicted the other's image such as the colored races, departing from the ideal human body based on the white women. Lastly, he deconstructed the human body in various ways, thereby enlarging the concept of the human body in the existing fashion illustration.