• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.1
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• pp.78-87
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• 2003

Based on the qualitative analysis regarding five dominant characteristics of fashion in the transitional period of the 21s1 century, subsequent quantitative analysis was conducted and the following results were obtained. First, it was found that 85% of the clothes analyzed showed these five characteristics. Secondly, among the five characteristics, the new-naturalism shows the most significant trend and neo-retro was also found as one of the leading features along with the new-naturalism in the transitional period of the 21 st century. However, the frequency of technicism is less than was expected. Thirdly, analysis of the distribution of fashion characteristics according to fashion designers and seasonal changes show that new-naturalism, neo-retro and hybrid spread relatively evenly among each designer. The quantitative study confined the results obtained through the qualitative study.

• Fashion Information and Technology
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• v.6
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• pp.2-10
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• 2009

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.119-135
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• 2009

The purpose of this study was to examine formative aesthetic characteristics and aesthetical value of the intraculturalism expressed in contemporary fashion and to confirm the functions of intraculturalism to establish, visualize, perform the racially indeterminate, ethnically neutral, culturally diverse or ambiguous identity. For this study, the applications of the intraculturalism shown in mass media and consumer culture, such as music, fashion advertisements and collections of high fashion designers from 2004 to 2008 have been analyzed and compared. The results were as follows: The Intraculturalism is reflected in the muticultural music such as Afropean, Jawaiian, Reggaeton and Asian Hip Hop. Intracultural music genres create the hybrid music and fashion culture through mixing, matching and blending one and another culture. Advertisement campaigns for Louis Vuitton, YSL Beauty, Gap and H&M stores have all purposely highlighted models with mixed racial heritage. It is reflected in the latest youth fashion market trend using face that are ethnically ambiguous. The increasingly multiracial, multicultural population is due to intermarriage and waves of immigration. The rising mixed race designers, Narciso Rodriguez, Hussein Chalayan, Vera Wang and DooRi Chung, not only compromise and amalgamate different cultural elements of their heritage and contemporary life but also create new look and fashion image. The characteristics of intraculturalism expressed in the 21st century fashion could categorized into de-genre, de-nationality, de-race and de-culture.

• International Journal of Costume and Fashion
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• v.5 no.1
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• pp.90-95
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• 2005

The purpose of this study is to analyze Korea's fashion industry and find out the ways to settle recent crisis of the field. This study considered the environments of domestic or foreign fashion industry, then tried to find efforts to become one of the world's top companies and products.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.154-170
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• 2016

The female leadership styles in the 21st century have been established as a major axis. Especially, the fashion of female politicians being exposed to the public during political activities has become a main element of a measure displaying visually female leadership styles in the 21st century and image making as well. Consequently, this study conducted qualitative research through the interview method to figure out regular voters' thoughts in depth about images being required for female political leaders and the fashion maximizing those images, and drew the detailed design elements. Suggesting the clothes design reflecting those elements for female political leaders by 3D virtual clothing works emerging as a new market creating profits related to fashion. The images which female political leaders have to have and were extracted through the interviews in this study, showed as feminine, strong leader, honest, and intelligent images, and also it was shown that female political leaders displaying proper images depending on the circumstances and using those images in politics rather than sticking to a fashion identity were favored by interviewees. The present study intends to contribute to being used as basic data of various research and fashion items of virtual reality and establishment of successful fashion strategy for female political leaders.

• Journal of Fashion Business
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• v.18 no.2
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• pp.42-53
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• 2014

The purpose of this study is to clarify how modern fashion show makeup reflects surrealism: it also proposes fashion show make-up expressed by focusing on objects. This study aims to research make-up characterized by surrealistic object expression, which is frequently used in the 21st century modern fashion shows, and reviews the concept of the objects positioned importantly in the history of modern makeup. In this study, the influence of the object over modern makeup, particularly fashion show makeup is reviewed together with the characteristics of the object. As a result of reviewing the concepts of modern fashion show makeup by applying objects, the conclusions that are gained are as follows. Fashion show makeup expressed in today's modern time tends to emphasize the artists' unique expressions and personality, while many artists attempt to use various expression ideas and techniques. Objects are variously expressed in makeup and in the $21^{st}$ century, this is the due to the development of digital technology and expansion of designers' imagination Furthermore, surrealistic makeup achieves eminence in styling by showing the formative limits of human beings. The types of surrealistic techniques are expressed as transposition, distortion, and optical illusion in makeup. Expansion of material became the momentum in order to provide unique ideas in fashion show makeup. Moreover, the object of surrealism has a considerable influence on the development of makeup. In this regard, more positive attempts for new designs are being expected.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.114-128
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• 1999

In a turn a century, the skepticism, mysticism and eroticism used to prevail, the people becoming anxious, expectative and doubtful about an oncoming age. The costumes tend to become more exciting and erotic in the fashion. This thesis is on understanding “What would 21 century's clothes be\ulcorner” after analyzing the specific points in an end of the century. The characteristics found from 16th century to 20th century are going to the extremes in the shapes, consistent appearance of bustle style costumes and excessive ornaments which are closely interrelated with one another. I expect the fashion in 21st century would be changed in two ways. Firstly, going to the extremes and stressing on the buttock would be going down in the end of 1999. Secondly, the comfortable clothes highest in function and technology, and also friendly to the environment, might be the main stream, rather then outwardly good looking clothes, because spirit and environment is much more emphasized than the mode by the social impact or pressure in the next era. (Korean J Human Ecology 2(1) : 114~128, 1999)

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.100-113
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• 2011

The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.199-214
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• 2012

$21^{st}$ century customer is voluntary actor, who has hegemony of communication based on digital surrounding. They are co-creator dismantling boundary between production and spending, and digital homonarrance of digital storyteller acting on the emotion. What is more, they prove the utility of 5 sense, value, experience, and story in market. 20th century Me generation is changing into We generation, who overcomes a sense of alienation and aim at smart life style for harmonious symbiosis with earth environments. Customer cultural trends are as follow as that 1) personalization of taste and experience, 2) spreading and sharing about personal use and experience, 3) consumption centered the value, 4) retreat and healthcare, 5) counter trend comes into the reaction about the forceful major trend. Contemporary customer changes essence of the life on the ground of emotion, symbol, image, and value not a commodity, function, and logos, and demands into change about direction of business to mostly enterprises. Customer's need and desire are on the increase as various emotion and value. Therefore, change of customer cultural trend is barometers for the growth and development of new fashion industry in $21^{st}$ century.

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.45-48
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• 2006