• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.113-130
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• 2011

Post-Modern Multiculturalism is spreading in many ways and other cultural interest has led to the Latin American culture, which has steadily appeared as the main fashion concept of the international collection. Frida Kahlo(1907-1954), a representative of Latin American culture and a Mexican female surrealistic painter, who gives us some inspiration for contemporary fashion design. The purpose of this study is to have a correct understanding of and research on Latin American culture and to expand the expression of fashion design. In the process, this article examines the costume of Mexico belong to the Indio culture which had been regarded as the Other for a long time and understands Frida Kahlo's fashion style: Tehuanas costume and her masculine style. The Tehuanas costume is a traditional style of the city, Tehuantepec, located in the southeast of Mexico, which is characterized by colorful floral patterns and a long skirt. Three fashion concepts were derived from her fashion style: tradition & modern, love & farewell, and masculine & feminine. The scope of this study investigates the Haute Couture and the Pret-a-porter women's wear collections and photos from 1998 to 2010 in Europe, USA and South America. From classifying the collected photos into each concept, three styles such as ethnic, romantic and androgynous style were derived. These fashion styles were analyzed through the formative elements of dress, color, silhouette, pattern, material and clothing construction in order to figure out how costumes of other cultures influenced on contemporary fashion. As a design inspiration, Frida Kahlo extends her influence into innerwear, accessories and hairstyles, as well as women's wear. These inspirations emerge steadily from the past and far into the future as an expression of a fashion design concept.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.155-166
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• 2004

OP-Art was not appreciated by painters and art critics. and according1y has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally. it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity. anonymity and mobility in the Op-Art fashion. The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity. which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted In diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man. can be the backgrounds of the Op-Art fashion. Second, Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators. which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques. the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society, Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modern society.

• Fashion & Textile Research Journal
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• v.25 no.1
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• pp.41-51
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• 2023

This study attempted to analyze the context characteristics and consumer characteristics that affect fashion curation shopping. The data used for this study were 223 questionnaires targeting male and female college students in their 20s in Busan and South Gyeongsang Province who had had the curated shopping experience in the latest three months. The SPSS program was used for the data analysis, and a reliability measurement, factor analysis, multiple regression analysis, T-test, and one-way ANOVA were conducted. The results were as follows. First, fashion curation shopping exhibited three factors: product subscription, marketing use, and product recommendation shopping. Furthermore, the context characteristics had sub concepts of five factors: selection, sharing, experience, discovery, and storage. Second, the context characteristics (selection, sharing, experience, discovery, and storage) had a significant influence on product subscription, marketing use, and product recommendation, which belong to the curation shopping category. Third, the fashion consumers' price sensitivity, trend sensitivity, and product knowledge had a deep impact on the marketing use and product recommendation. Fourth, there was no difference in the fashion curation shopping by male and female consumers and the average monthly fashion shopping frequency, and there were differences in shopping cost and time. This study can analyze the context and consumer characteristics that affect fashion curation shopping to establish an efficient fashion curation shopping system in practical terms. Additionally, academically, it can be proposed as basic data on the development of measurement tools for analyzing consumer behavior that prefers fashion curation shopping.

• The Journal of Art Theory & Practice
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• no.4
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.871-878
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• 2014

This study deals with formlessness designs that indicate a variety of related shapes between the human body and clothes depending on the 2D shape of fabric rather than a cubic and clear shape of fabric proportional to the human body. There have been formlessness fashion designs since the 1980s; however, there has been no attempts to define the concept of formlessness fashion designs. This study focuses on how formlessness clothing was named for clothes with no specific shape due to recognizing the body as a flat surface as referred in various prior studies and how a formlessness design is expressed. This study reviews formlessness designs from the viewpoint of eastern concepts as well as from the viewpoint of ancient Greek clothes to understand how eastern and western designers approached formlessness designs. We also simultaneously utilize a literature research and a case study of actual work. The scope of the research focuses on the case of female clothing starting from the 1980s when the formlessness trend first appeared.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.583-597
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• 2018

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world's four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: "$Diff{\acute{e}}reance$", "Intertextuality", "Intermeaning of Meaning", "Dis De Phenomenon". The results of the study were as follows: first, "$Diff{\acute{e}}reance$" refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, "Intertextuality" indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, "Intermeaning of Meaning" is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the "Dis De Phenomenon". In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

• Journal of Fashion Business
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• v.4 no.2
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• pp.1-17
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• 2000

Kitsch is one of the various mass-cultural phnomena in the late 20th century, with it's own new aesthetic value, 'self-expression' through 'destruction', denying the existing established way of thinking and escaping from the stereotypes or fixed ideas. This is called 'aesthetic inadequacy'. The purposes of this study are to examine the different preferences between the western and the domestic Kitsch Fashions to investigate the formative and aesthetic characteristics of domestic Kitsch Fashion based on substantial data, and to propose the creative Kitsch design. The results of this study are as follows; 1. The formative characteristics of domestic Kitsch Fashion are marked by amusement, disharmony, epicureanism, satire, and use of imitation. 2. Then, based on theoretic research, this study applies aesthetic characteristics of Kitsch to the creative design. According to the formative characteristics for Kitsch Fashion, the Design Concepts are developed in order of Optimism, Multi Form, Decadence Chic, Neo-Naturalism, and Poor Vintage. And the Fabric direction is given in Design Story with sub theme such as Cheerful, Game, Decadence, Environment, and Grunge.

• The Journal of Asian Finance, Economics and Business
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• v.7 no.11
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• pp.977-986
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• 2020

This paper investigates factors impacting on sustainable fashion buying intention of consumers by reviewing studies about the topic and conducting a survey with consumers in Ho Chi Minh City. In detail, firstly, an interview with 15 respondents was conducted to check the understanding of concepts and questions and, secondly, the study used the convenient sampling method, with 172 samples collected and analyzed, of which young respondents accounted for the majority of the sample. The respondents tend to go shopping many times in a year, with the number of people buying fashion products from every week to every two months accounting for 65.2% totally. The findings suggest that the firms should prioritize strategies that can improve customer attitude toward sustainable fashion, making them feel good, pleasant, satisfied and favorable when engaging in sustainable fashion consumption. This study concludes that consumers need more information to enable them to make better ethical decisions. This study proposes that the major channels that consumers use to seek sustainable product information include public education, peer influence, and corporate marketing information about the products. This study concludes that public education and corporate marketing information on green consumption education is effective for improving consumer sustainable buying intention.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• Journal of Fashion Business
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• v.4 no.1
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.