• 한국의류학회지
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• 제19권2호
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• pp.108-108
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• 1995

This study, on the American hippies and their fashion, is composed of an examination of the following; the social and cultural circumstances of America in the late 1960's, the charac? teristics of the hippies that appeared in the midst of the foresaid background, how those factors materialized in the hippies' distinctive fashion and how they influenced tahion to come. The hippies were composed of the young generation that revolted against all general conventional values of American society and seceded from it, seeking for the ideas of love and freedom. They expressed their newly defined culture-rock music based on drug culture, psychedelic art, rejection of an established society and ethnic tastes that sprang up from nostalgia concerning nature-by means of their own distinctive fashion. And as a revival of the hippies' fashion, neo-hippie and grunge fashions newly appeared in the F /W season of 1992 and afterwards, adding fresher and more abundant sensibility to the original image and layered look of the hippies. The hippies' fashion has not only played a significant part in modem fashion history but will continue to exert its influence in the 1990's as the hippies generation are presently the center of American culture and leaders of world culture. In conclusion, various sorts of "individ- uality" and "the pleasure in the wearing itself" expressed by the original layering of the hippies' fashion presents new promise in the coming development at fashion.

• 한국의류학회지
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• 제19권2호
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• pp.278-286
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• 1995

This study, on the American hippies and their fashion, is composed of an examination of the following; the social and cultural circumstances of America in the late 1960's, the charac\ulcorner teristics of the hippies that appeared in the midst of the foresaid background, how those factors materialized in the hippies' distinctive fashion and how they influenced tahion to come. The hippies were composed of the young generation that revolted against all general conventional values of American society and seceded from it, seeking for the ideas of love and freedom. They expressed their newly defined culture-rock music based on drug culture, psychedelic art, rejection of an established society and ethnic tastes that sprang up from nostalgia concerning nature-by means of their own distinctive fashion. And as a revival of the hippies' fashion, neo-hippie and grunge fashions newly appeared in the F /W season of 1992 and afterwards, adding fresher and more abundant sensibility to the original image and layered look of the hippies. The hippies' fashion has not only played a significant part in modem fashion history but will continue to exert its influence in the 1990's as the hippies generation are presently the center of American culture and leaders of world culture. In conclusion, various sorts of "individ- uality" and "the pleasure in the wearing itself" expressed by the original layering of the hippies' fashion presents new promise in the coming development at fashion.

• 한국의류학회지
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• 제19권2호
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• 패션비즈니스
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• 제6권2호
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• 한국의류산업학회지
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• 제6권5호
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• pp.539-548
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• 2004

The purpose of this study is to know outer and inner characteristics of Bobos style regarded the latest fashion and to estimate the characteristics of fashion trend in 21st century and direction of fashion in the future, In terms of contentions of this study, we firstly studied concept, background, general characteristics which had been introduced in Sociology. And then, we studied the effect which the style of Bobos had been given by investigating the concept and style of Hippies and Yuppies. Also, we analysed trend of Bobos represented in modem fashion and tried to examine outer and inner features of Bobos through the result of analysis. Bobos can defined as 'Bourgeois Bohemian' who have both mundane desire about success and are high-educated elite class in information-oriented society. The fashion styles which had affected Bobos were psychedelic, naturalism, unisex, ethnic, layered, grunge of Hippies in 1960s and traditional, power-look, contemporary-look, sports wear, casual wear of Yuppies in 1980s. As a result of examining features of Bobos style, we can know that outer feature of Bobos style showed a reasonable harmony regardless of formalities and inner features showed a tendency to seek comforts. Also, Bobos style showed various and free styles, textile materials and colors and complex features to transcend the time and region, and culture.

• 패션비즈니스
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• 제4권2호
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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.

• 패션비즈니스
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• 제16권2호
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• pp.163-179
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• 2012

Among diverse cultural types which can be shown in movie, 'Subculture' is young culture that resist to major culture. It shows its belief and identity via its own style. Their 'Subcultural Style' became popular with mass media and has been affected to major cultures. Therefore, in this research, with times background as postmodernism in end of 20th century and mainly with movie which is about sexual minorities, I analyzed categories of costumes in the movie. Hedwig's rock costume shows combined fashion with hippie, punk, glam, kitsch, goth styles from the impact of postmodernism in mid 20th century. Tommy, showed his relief and defiant intention against old generations with grunge casual and graffiti styles. After he realized Hedwig's identity and showed defiant goth rock style as a famous rocker. The band, "Angry Inch", showed dissatisfaction and cynical attitude against the American society through subculture styles. Through this research, the fact that movie costume used a tool to show human's identity and value. Also, I can see that movie costume shows times and cultural phenomenon in the end of 20th century and through this, it was confirmed that this contributes to crease new fashion style through them.

• 패션비즈니스
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• 제6권4호
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• pp.62-82
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• 2002

The purpose of this study was to investigate the Avant-garde's aesthetic values and expressoinal characteristic, and to find out(analysis) the design characteristic of Avant garde fashion since 1995. Expressoinal characteristics of Avant garde with the anti-aesthetic, radically pursuing newness, and open mind, are revealed dynamism, hostile innovation, and experimentalism. Futuristic images expressed in dynamism represent space style, body conscious style, cyborg style, kinetic style, and primitive style. And deconstructional images related to hostile innovation show punk style, grunge style, humor style, and abstractive style. Also surreal images related to experimentalism hold erotic style, depasemant style, deformation style, and collage style. The proper usage of newness offers the escape, the vividness, and the humour from the fatigue of the life and so, it is expected to offer the chance of transfering the active individuals and societies directly or indirectly By analyzing the instances for the images of avant-garde fashion since 1995, the contribution about the expectation of the design trends of the present and future is expected.

• 한국의류학회지
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• 제44권5호
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• pp.984-1003
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• 2020

The global fashion industry produces significant carbon emission and micro-plastics in oceans. Studies on sustainable design methods as such environmental issues in fashion are becoming intensely problematic. This study conducted a case study on 100 upcycle fashion brands to propose strategical upcycle fashion designs to compete in a sustainable fashion market. A literature review indicated that 3 types of textile wastes are generated as upcycling materials: post-producer, pre-consumer and post-consumer. Wastes are categorized together with 3 types of techniques: redesigning, reconstruction and handcrafting. This research derived 7 types of upcycle fashion designs that have the following features: to make luxury upcycle fashion products, to make sustainable grunge looks, to re-evaluate deadstocks, to recover vintage clothes, to convert waste into craft-arts, to offer solutions for damaged products, and to make zero-waste small fabric waste. The study results show that key drivers in the upcycle fashion design are the redesignability of materials and technique-related costs. This study implies that adopting appropriate design features can be a useful strategy for designers. New technologies will solve current problems and encourage them to design products in a new circular value system.

• 복식문화연구
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• 제29권1호
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• pp.65-86
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• 2021

This study aims to develop a hanbok design method in response to recent changes in consumption trends that emphasize new aesthetic and cultural values, which contrast with the existing cultural order and repetitive normative styles in fashion designing. With this in mind, our study explores the main features of deconstruction fashion design as a theoretical guide for developing a methodology for deconstruction hanbok design, on the basis of which new, experimental and creative hanbok design works can be produced. To do this, we first investigate current trends in hanbok design and changing concepts of Korean fashion design through literature review of previous studies. Secondly, we explore deconstructionism and analyze its features to lay down the foundation for a post-modern approach in hanbok design. As the result of analysis, the main features of deconstruction fashion design are summarized as the following: 1) non-finishing, 2) decomposing and recomposing, 3) recycling, 4) transparent, 5) grunge, 6) flattening, and 7) exaggeration. Based on the identified core features of deconstruction fashion design, we develop a creative method of hanbok design in the context of modern Korean fashion design. Finally, we show five design outputs via a 3D digital fashion design process using the CLO3D software program.