• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.28-44
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• 2012

The aim of this research is to examine the tendency of national tastes reflected in global SPA brands based on the theories of Gans' taste culture and Bourdieu's cultural capital. In this study, the leading global SPA brands such as H&M, ZARA, GAP and UNIQLO can be considered as a representative taste culture as well as an icon of popular culture in the $21^{st}$ century global fashion and also the aesthetic taste of each brand differentiated from their national aesthetic values based on socio-cultural backgrounds. H&M represents fashionableness, practicality and environmental friendliness based on naturalism, democratic humanism, and functional practicality of Sweden. ZARA emerges as the most trend oriented brand as well as customer centered on the basis of cultural diversity, passion and glamorous artistic sensibility of Spain. GAP shows American iconic style, which is the functional sports casual wear, originated from American leisure culture and mass production. Lastly, UNIQLO represents high-tech functionalism and practical simplicity based on Japanese delicate workmanship and simple, concise lifestyle while relatively does not much follow the fashion forward trends. Consequently, the national taste has been proved as a solid foundation to identify each global brand. This should be the key component also applied to Korean global brands for developing their concepts and strategies more successfully based on our own national aesthetic taste.

• Journal of Fashion Business
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• v.2 no.1
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• pp.25-34
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• 1998

This study has it's purpose in examining the materialized background. characteristic of African traditional costume and the A fro fashion of the year 1960. and it's influence on the contemporary fashion. Then the findings are applied to suggest a new way of image creation. 1960' s was the year in which people tried to free oneself from the ruling culture of the social standards. war. and the development of science. By such movement. people started to get interested in the environment and ecology. This then lead to the interest of the rights of the minority. With the youngs as the central figure A fro hair style and dashiki appeared as the street fashion. The characteristics of African costume applied to A fro fashion in 1990' s is as below. First. the North African style. Djellaba. and wrap style in the most common silhouette. Second. heavy materials such as stone. copper. silver. and gold are used. Necklace can be classified according to it's simple but. modern style. delicate but grand style. Bracelets are however. broad in width and many rings are worn widely. Third. Multi colored stripe and prints inspired by tattoo and deformation using red brown. dark beige. and orange are printed on textiles such as see through. Fourth. image of tattoo and deformation are applied to make-up. A fro hair and corn beads are also African taste. Fifth. African taste in recent fashion showed off the black beauty by appointing black models at the collection. In analyzing the study done above. characteristic images of African costume. accessaries and body painting was applied in presenting 3 creative designs. The first design named "Geometric I", took it's motif from the geometric pattern of the body painting with the afro hair. "Geometric II", the second design, showed it's application of geometric pattern of mutilation and the silhouette of the costume by using the see through. The third design called the "Geometric III" showed that the aesthetic and decorative side of clothing can be satisfied by applying various form and color of accessaries as the motif. A fro fashion is chosen as one of the folklore mood and it's beauty is conveyed on till today.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.14-25
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• 2018

This study is to understand subculture as a selective amity or an emotional tribe that includes a life style, hobby and leisure of people and seeing it as the tribal solidarity or emotional alliance. Hence, based on the neo-tribalism by Michel Maffesoli who explains a tribe not composing a social vertical structure represented by class, but is composed a horizontal structure of individuals as a member of a society, this study conducted an empirical analysis on domestic minor fashion communities. Research findings show that they have a unique structure unexplained by Maffesoli. Fashion styles, values shared by domestic minor fashion communities are almost entirely based on individual likes and dislikes, escaping from a symbol of resistance to subordination explained by the existing subculture, play a role in enhancing the solidarity inside the community and confirming its identity outside. However, as for shared values within a community, it reveals a new invisible type of subculture intra-inter domestic minor fashion communities. A community showed a closed mind rather than open mind, disregarding or comparing with other communities and preventing their members from participation. A community had strict fashion rules and obvious classes, leading to participatory restriction. In conclusion, domestic minor fashion communities showed the most significant characteristic of a selective vertical structure by individual and community rather than a vertical structure by a society.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.37-54
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• 2014

The purpose of this study is to define the tastes of middle-aged Korean men by analyzing their characteristics, such as self-image, and fashion style. This study was carried out by using the Q methodology for survey research. The results of this study are as follows; First, the self-images of middle-aged men were classified into 'comfortable, calm, neat, and gentle,' 'realistic, active, sociable, and familiar,' 'sensible, emotional, romantic, and rational,' 'refined, emotional, luxurious, and sophisticated,' and 'aggressive, sensible, realistic, and rational.' Second, by analyzing the congruity of clothing form, fashion accessory, and fashion color types, this study was classified into the following 10 fashion styles: 'modern classic,' 'sophisticated,' 'town casual,' 'traditional casual,' 'comfortable,' 'chic casual,' 'contemporary,' 'gentle classic,' 'classic sporty,' and 'soft classic.' Third, this study analyzed the self-images and fashion styles of the men, and produced the following personal tastes of middle-aged men: 'success-oriented,' 'ability possession,' 'internal stability-oriented,' 'freedom-oriented,' 'self-satisfaction,' 'individuality compromise,' 'emotional release,' 'stability-oriented,' 'practicability-oriented,' and 'youth effort' types. By combining those types with social dimensions, this study produced the following tastes of middle-aged men: 'stabilized traditions,' 'achievements with high sociality,' 'youthful individuality,' 'active self-realization,' and 'realistic, logical pursuit.' The results of this study can be used as a meaningful data for developing the marketing strategy, which reflects the middle-aged men's changed tastes.

• Journal of Fashion Business
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• v.9 no.2
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• pp.160-173
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• 2005

Fashion is hard to expect owing to the rapid change in accordance with consumer taste and environment, and has a tendency toward variety and individuality. Especially street fashion d 21st century is not being regarded as one of the subcultures but is playing an important role as a fountainhead d fashion trend. Therefore, Searching and analyzing street fashions helps us to understand the popular fashions d the next season and also it is important in understanding the consumer fashion sense and commercial area. So, we need to understand fashion styles quantitatively and qualitatively by providing visual data and dividing images. The purpose of this study is to design for street fashion on design analysis using web which can update quantitative and qualitative data. through the on site investigation d street fashion, and put the information onto a database.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.431-445
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• 2007

The purpose of this study was to analyze and theorize the characteristics of femme fatale in fashion illustration since 1980. The method of this study was to analyze the documentaries for theoretical studies about femme fatale and the visual characteristics in fashion illustration works since 1980. The results of this study were as follows: Femme fatale expressed in the general realm of art was icon of fatal and seductive eroticism in late 19th century. She is composed of diverse images like mythology, exoticism, fear and sensuality. The characteristics of her image in fashion illustration were expressed into de-body image by union of animal and female body, or machine and female body, duplicity of death and sexuality, sexual decadence or abnormality and powerful masculine taste. First, de-body image by union of animal and female body, or machine and female body was expressed in transformed mythical image or bizarre and demonic image, grotesque image linked by picture of female body and painting of animal image, and cyborg image linked by machine and realistic female body by digital media. Second, duplicity of death and sexuality was expressed in juxtaposition by sexual pose, body and something metaphorical and symbolic depiction and de-constructive depiction of death. Third, sexual decadence or abnormality was expressed in fetishistic style, obscene depiction of cheap and hedonistic sexuality, masochistic depiction like antisocial and diseased sex appeal. Forth, powerful masculine taste was expressed in man's face, body, pose, masculine fashion, man's role related to crime and threatening weapon, etc. As mentioned above, femme fatale in fashion illustration was expressed in diverse images by fashion illustrator's point of view. Although she was originated by men's fantastic vision, she brings a catharsis to human being. And she is also recognized as new paradigm and positive cultural sign in our times.

• Journal of Fashion Business
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• v.22 no.1
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• pp.82-99
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• 2018

The purpose of this study is to examine the characteristics that appeared in the fashion and colors of exotic tastes used by Renoir with a view to re-evaluating his-attitude towards exotic tastes. The methods used in this study were literature research and analysis of visual data from Renoir's works. The results of the study are as follows. Renoir's exotic tastes originated from the material perspective appearing in the fashions and accessories of Algeria, Orient, Spain, and Japan. Parisienne Odalisque Lise in Harem-style, Jeanne Samari in parisienne fashion holding a Japanese fan, and Gabriel in oriental fashion were portrayed as major muses. The Algerian style consisted of white, yellow or red veils, thobes, loose pants worn in Haik, and burnous. The Oriental-style was composed of harem pants, turbans, hair accessories, ornate zouave jackets, and oriental ornaments. The Spanish-style showed gay ornaments, fitted red or yellow matador costume, red bandannas, black hats, and red dresses, plus Spanish guitars. The Japanese-style consisted of kimonos, accessories such as fans, and backgrounds with interior articles such as vases, wall picture frames, and folding screens. The exotic fashion colors were red, yellow and white. Renoir expressed the works with his delicate skills and sense of craftsmanship, and he even added creative design portrayals sometimes. He selected fashions and accessories of exotic tastes as objects and expressed the objects with materials and colors reflecting regional characteristics as such, he can be regarded as an artist wed to who fashions of exotic tastes.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.2
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• pp.209-218
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• 2003

The Purpose of this study is to investigate the effects of the perceived luxury characteristic and consumer's conspicuous consumption on the fashion luxury involvement. The subjects were Korean 443 women from 20's to 50's living in Seoul. The reliability analysis, confirmatory factor analysis and structural equation analysis by AMOS 4.0 were used for statistics analysis. The results are as follows; 1) The perceived aesthetic taste and luxurious aspect of fashion luxury directly influence on fashion luxury involvement through hedonic consumption value. 2) The perceived luxurious aspect and traditional value of fashion luxury directly influence on negative luxury consumption value, but negative consumption value does not influence on fashion luxury involvement. 3) The well-known brand orientation, face-saving consumption, and value orientation directly influence on fashion luxury involvement.

• Fashion & Textile Research Journal
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• v.10 no.4
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• pp.426-435
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• 2008

The purpose of this study is to consider the changes of the early twentieth century fashion in pursuit of mechanical beauty. As for the research methodology, literature survey has been undertaken. The results of this study are as following. In early twentieth century, fashion concept on the expression of mechanical beauty was considered as abstractness, atypicality, and high-tech. The abstractness of fashion was expressed by geometrical purity, box silhouette, moderate color, and cheap materials in association with mechanical reasonability and efficiency. The atypicality of fashion was connected progressive taste motivated by mechanical dynamic effect. This tendency of dress was constructed technically in response with the movement of body and totally transgressed conventional notions of clothing. The high-tech of fashion was presented by geometrical forms and metal materials in relation with the future-oriented utopia and the harmony between human and machine.

• Journal of the Korean Data and Information Science Society
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• v.16 no.4
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• pp.879-888
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• 2005

Fashion is hard to expect owing to the rapid change in accordance with consumer taste and environment, and has a tendency toward variety and individuality. Especially street fashion of 21st century is not being regarded as one of the subcultures but is playing an important role as a fountainhead of fashion trend. Therefore, Searching and analyzing street fashions helps us to understand the popular fashions of the next season and also it is important in understanding the consumer fashion sense and commercial area. So, we need to understand fashion styles quantitatively and qualitatively by providing visual data and dividing images. There are many kinds of data in street fashion information. The purpose of this study is to design and implementation for street fashion information analysis system using data fusion. We can show visual information of customer's viewpoint because the system can analyze the fused data for image data and survey data.