• 패션비즈니스
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• 제5권2호
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• pp.73-86
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• 2001

This study aims at reviewing the Kitsch aesthetics, grasping the relation between the Kitsch and consumption culture, and pursuing the intrincis meanings and expressive characteristics of Kitsch in the hair style and head dress in the 1990s. Kitsch generally implies a vulgarity, and a bad taste, and can be considered to be a kind of vicarious experience, the aesthetic deception and self-deception. In spite of these negative inplications of Kitsch, the aesthetic categories of Kitsch have been spread to public and been accepted by the public, with the help of the powerful promotion of the modern day mass media. 1. The intrincis meanings of Kitsch convey 1) escapism, 2) conformity, 3) amusements, 4) identification. 2. The expressive characteristics of Kitsch represent 1) aesthetic inadequacy: hair style and head dress showing the imperpectness, accumulation(superfluous ornaments), vulgarity, untidines. 2) resistance: hair style and head dress featuring deconstructional and violent forms revealing the uneasiness, and unsatisfaction of the given regularity. 3) humor: hair style and head dress featuring the innocence, humor, and fun for a relaxation and diversion. 4) hedonism: hair style and head dress with the erotic and sexual feelings. 5) retro, romantism: hair style and head dress featuring the elegance, femininity, folklore, ethnic, and nostalgia.

• 패션비즈니스
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• 제14권5호
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• pp.112-127
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• 2010

Primitivism is a concept that expresses and organizes natural feelings of human beings which is hard to be identified by a rigid definition. It means "staying in the beginning or the initial state, not evolving or developing, and not affected by human beings from the intact natural state". Based on this meaning, the artistic style features inherent natural beauties, as well as plain and inornate design. These features have been reflected in a variety of art pieces. The aesthetic features shown in the primitivism art pieces can be categorized into four different aspects: naturalness, folksiness, sentimentality, and humorousness. These features, influencing modern fashion, have been reinvented by a number of fashion designers. They also adopted ideas from the fancy clothes and ornaments created in carefree life style of the regions retaining their primitive cultures, such as Africa, Oceania, and Pacific coasts, and applied those ideas to various silhouette, colors, patterns, and textiles. Particularly as for textile expressions, they tried printing techniques using the patterns motivated from primitive folk symbols or the nature, applied objet of primitive materials and elaborated ornaments that represent folk and primitive feelings, and employed the primitive techniques such as knotting, crude cutting, or natural draping, to reinvent them as textile expressions in modern fashion.

• 패션비즈니스
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• 제18권4호
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• pp.80-96
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• 2014

The purpose of this study is to consider the expression of costume through the review of cinema costumes and to provide the model of cooperation between fashion and movie industry by analysis of collaboration with fashion brands in the movie . The subjects are the 1974 film directed by Jack Clayton and the 2013 version by Baz Luhrmann. Cinema Fashion was studied by analyzing the costumes of the two main characters, Gatsby and Daisy, in each scene. Gatsby's costume appeared as a model of traditional American classic suit, sensitive G-G look that symbolizes social success and traditional casual style that reflects upper-class life style. Daisy's costume expressed pastel toned luxury flapper look, oriental art deco style, and prestigious jewelry representing high class. The collaborations with fashion brands were carried out with Ralph Lauren and Cartier in 1974 film, and Brooks Brothers, Prada, and Tiffany in 2013. The value of prestige brands that matched the images of the movie was utilized, but marketing strategies for the promotion of fashion goods were not enough in 1974 version. On the other hand, in 2013 film, the effects of collaboration of the movie and fashion brands were forecasted sufficiently and marketing campaigns for promotion were performed in a various ways. The characteristics of collaborations were as follows: (1) the usage of prestige brands value, (2) collections planning and promotion using the stories of a movie, (3) the usage of multidirectional digital media, and (4) multi-dimensional promotion using entertainment factors. In collaborations with the movie, fashion brands could make cooperative relationship to produce the positive effects for promotion and prestige image strategies and draw attention of the people to the movie and fashion.

• 한국의류학회지
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• 제19권5호
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• pp.774-789
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• 1995

The purposes of this study was to demonstrate the influence of fashion life-style, self-image and situational factors on consumer's apparel store choice for satisfaction of varied needs and high efficiency of marketing activity. A questionnaire was developed to measure research subjects based on theoretical study empirically. The questionnaire was administered to 270 women aged between 20 and 30 in Seoul. The results analyzed by factor analysis, cluster analysis, x2-test and oneway-anova. The results of empirical studies were summarized as follows: 1. Segmented groups of fashion life-style were classified practical/planning group, fashion- leader group, and shopping-oriented group. And store types which were prefered by those groups were department store/shopping center. 2. Segmented groups of self-image were classified actual-seeking group, modernity group and confidence group. And store types which were prefered by those groups were department store/shopping center. The Forecast of store choice on the base of self.image was showed that customers choose the store incongruous with self-image. But when it was analyzed each actual store choice. The Choice of high frequancy was congruous with self-image except for a specialty store/brand named outlet. 3. The significant differences could be found in choice of the store under particular purchase situations and especially at department stores and specialty store, their preference tended to be stronger as the degree of the store's involvement was hightened, but in the case of the generalization stores and the permanent discount stores, even though the degree of that involvement was low, their preference showed the same tendency.

• 한국의류학회지
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• 제41권2호
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• pp.326-340
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• 2017

This study explores the daily life of Korean designers in New York. We use in-depth interviews within the daily lives of participants to first reveal the time structure and meaning of everyday life. In this everyday time frame, this study reveals the content and meaning of life in New York, which is especially useful for fashion majors. Participants were 11 single Korean women around 30 years old working as designers in New York. Data was collected from Manhattan, New York, from November 2013 to February 2014 through the use of in-depth interviews and participant observation. Data collected daily life information on time usage, money, and energy that is first summarized into 229 meaning units. In the following, 55 central meanings were derived from stories common to behaviors for study participants and 19 subcategories were compressed into academic language. Finally, the generalized categories are divided into six categories of study life, work life, future life, family life, leisure life and fashion life. As a result of the first study, the daily time structure consisted of customary public time and personal repeat time. Second, the customary public time categories included the studying for 'Beginning to jump again to the best', 'Now working as a designer in New York', and future life expecting 'Future growing as a career woman'. Repeated personal time categories include family life: 'A single life of a lonely and poor gentile', leisure life: 'Healing life that is supported by abundant advanced culture', and fashion life: 'New York fashion life coexist with harmony'. Third, work was the center of everyday life for study participants versus fashion and leisure that were central to everyday life when not working.

• 패션비즈니스
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• 제10권3호
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• pp.31-43
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• 2006

The purpose of this study is to investigate the changes of modern Korean men's fashion from the 1960s to the 1990s by reviewing fashion magazine advertisements and pictorials. For theoretical study, the characteristics and the importance of apparel advertisements and the changes of modern Korean men's fashion trend were reviewed. On the basis of the theoretical investigation, this study analyzed 932 pictorials from Joongang Magazine, Shin Dong-A, Bokjangwolbo, Meot, Men's Life, WWD, and S.F.F.A's photograph album, published from 1962 to 1998. Content analysis method was used to analyze the content of magazines and pictorials. The 932 samples are classified into apparel types, silhouette, pattern, color, type of breasts, shape of collar, number of button, type of inner wear. Frequency and $x^2$-test were conducted using a SAS statistics package to analyse the data. The results were as follows. The two-piece style prevailed in men's wear during the 60s, 70s, and 90s, while separate style prevailed during the 80s. H silhouette was the most popular during the 60s, 70s and 90s, however, X silhouette dominated the 70s. For patterns, solids were most frequently used throughout the whole 4 decades. In colors, gray was most frequently used during the 60s, and multi color was most frequently used during the 70s, 80s, and 90s. Throughout the whole decades, single breast, tailored collar, two buttons, and dress shirts were the most prevalent styles.

• 한국의류산업학회지
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• 제7권4호
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• pp.378-386
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• 2005

Painting style has mostly affected the creativity of fashion design. The formative of shape and color shown in each painting has close relationship with fashion design. With use of ideas of artists, the fashion designers have made clothes having novel and creative designs. Since the society becomes more diverse and complex and the men's life style has been changed, the contemporary man expresses himself by fashion and he needs the fashion having emotionality and individuality. In accordance with the contemporary customer's needs seeking for the individuality of his own, the development of much more originative and differentiated cloth design by adapting arts to fashion designs is needed. In this study, therefore, the paintings of Paul Klee, who is the representative contemporary artist, have been used as man's dress shirts and jean pants. The paintings have been printed by CAD system. As a result of the adaptation of Paul Klee's painting to men's dress shirts and jean pants, a modern and creative design is developed. And also a new and differentiated design is achieved freely with use of the CAD system by changing the design, textile, and color ways.

• 한국의상디자인학회지
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• 제12권2호
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• pp.41-54
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• 2010

This paper aims at studying about spatial structures and formative characteristics of Lucy Orta's fashion design. Her works utilizes the thought related on the architectural space that has been revealed sharp change of the paradigm since the late of 20th century. Lucy Orta against individualism of the urban life, and manufactures portable and moving housing and multi-functional fashion that is paved with individual rest unit and give a sense of security through simple combination among the units. Besides, she has development multiple portable clothing and equipments for the rescuethrough exploiting pioneering high technology. The results of this study can be summarized as the following: 1) refuge habitant creates individual space for physical and mental protection from the urban surrounding, 2) nomadic dwelling shows multi-functional fashion space fit for digital nomads' life style aims at continuous movement, 3) connective nexus and urban life guard are comprise of detachable individual unit in public space for remaking of the bonds, affinity, and relationship, and the complex of rescue clothing and equipments for meeting a challenge of the threat about human existence from uncertain environmental change in the future.

• 복식문화연구
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• 제5권3호
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• pp.96-117
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• 1997

The purpose of this study is focused on revealing teenager characteristics and mass culture in the end of the 20th century, and researching the general traits of teenager costume in the latter half of the \`90s and the typical style based on the analysis of the teenager culture. The result of this study are following as; The general traits of teenager costume are classified with sports-orientation, brand-orientation, and foreign street fashion-orientation. Typical styles are classified with sportive look, hiphop look, and funny look. Sportive look became the core of the street fashion developed with the street sports in the city, and presented the practical use with the fashionability mixing sportswear such as hightech snickers, sports character wear and items. Hiphop look, the genderless fashion, expresses teenager\`s free life style and the diversiied sensibility and deconstructs the border of gender, racism. Funny look accepts the burden of the millenium as a humor and presents katharsis by creating unexpected style. The contemporary costume of teenager deconstructs the fixed idea about mix and match, good taste and bad taste, gender, coordination suited with T.P.O and intends ‘open costume’ for 21st century.

• 한국의류산업학회지
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• 제5권1호
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• pp.25-33
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• 2003

Rococo, which is represented as immoderate pleasure and luxurious aristocratism, had required to be liberal and unconventional in art and life, and the hairstyles were also much more fantastic, huge, and splendid than ever. Women's hairstyles in the early 18th century were the relatively simple style of Pompadour style that didn't inflate hairs and combed them backward. Then, as changes in haristyles began to appear in around 1760, the styles became gradually higher and huger, and very queer styles also appeared. In the 1780s, they ornamented these hairdos by using various things. This can be considered as women's behaviors that showed off their status and wealth instead of their husbands. Although men's hairstyles were not as huge and decorative as women's, wigs were worn frequently. Wigs became smaller and simpler than those in 17C, and while wearing them, they made wigs whitened by spraying hair-powders enough not to recognize their ages. Several names such as Pig tail, Ramilleis, Bag wig, Brigadiere, and so on existed, according to the way to tie the wigs. Somewhat exaggerated men's hairstyles were shown by Macaronis in 1780s. However, this can be regarded to reflect the situation of the age.