• Journal of the Korean Society of Costume
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• v.55 no.3 s.93
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• pp.108-121
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• 2005

The purposes of this study were to analyze hat design with the focus on the period from the 1990's to 2004 and to find out the development direction of next hat design. To do these purposes, the focus of theoretical approach was literature research, and hat design was attempted on the basis of the research. The focus of theoretical background was on previous research and fashion-related literature. Fashion Photos were picked up from all kinds of fashion magazines containing Haute Couture collection in Paris from the 1990's to 2004 S/S and some designers' collections. Then 1,381 photos were selected through two screenings. At first time, 1,500 photos were selected to have the relationship between clothes and hats, and finally 1,381 photos were picked.

• Journal of Fashion Business
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• v.1 no.4
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• pp.19-33
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• 1997

This study will analyze Karl Largerfeld's design of Chanel to suggest the designer's strategy succeeding haute couture. His significant stylistic interests include the revealed structure of the garment, the modifications between fine art and fashion, the combination of the traditional restraint of the couture with the flourishes of the wildest street fashions and effects that turn garments upsides down or insides out. The House of Chanel today recognizes that commercial success ultimately lies in re-working Chanel's signature designs in a modern idiom. That the essence of theses designs remains so desirable is due to Karl Lagerfeld's successful interpretation and is ultimately an accolade to the founder-Gabrielle Chanel. During the reign of Coco it would have been difficult for any woman who wanted to look young and modern to go wrong with her fashions. The same can be said of Karl Lagerfeld for Chanel today. Clothes with the Chanel imprimatur no doubt will remain just as fashionable into the twenty-first century.

• The Research Journal of the Costume Culture
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• v.24 no.5
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• pp.642-652
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• 2016

The purpose of this study is to understand the concept of a sexual image and verify the method of its design expression through case studies of the sexual image evening dress shown in an Haute Couture Collection over the last 10 years (2005~2014). The results of analysis are as follows: First, "expression by the seeing through of the natural body" expressed a natural sexual image that combined fashion of the previous times with the beauty of the natural body by using a see-through material and classic or ethnic image. Second, "expression of a sexual-image look that emphasizes romantic detail" illustrated a romantic sexual image that emphasizes feminine sensitivity by mixing various ornamental elements such as see-through material and symbolism of underwear image. Third, "creation of a nude look using skin color" expressed sexual image of an evening dress by inducing erotic sexual association through a combination of opaque material of skin color and design shape that is intended for body exposure. Fourth, "combination of sexual symbol and heterogeneous elements" expressed a decadent, avant-garde and futuristic sexual images by using women's underwear and a sexual symbol as design motif and mixed with mismatching elements. Fifth, "use of a fantastic black image" expressed an exclusive and refined sexual image and a decadent and primitive sexual image by using a fantastic image of black color. The results of this study are expected to be used for the design process of the evening-dress industry that aims for quality improvement.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.77-92
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• 2014

The purpose of this research is to examine the expression methods of Haute Couture designers' high value-added jacket designs, In order to achieve this, the positions and sizes of the design component items of tailored jackets designed by Haute Couture designers from the 1940s to the 1970s were analyzed. The results of the analysis are as follows. First, the silhouette changed while leading the contemporaneous fashions, and such changes could be confirmed by the width and length of the jacket's shoulder, chest, waist, and hem that determine the silhouette. Particularly, the length of the chest changed which signifies that the depth of the armhole was playing an important role in the production of high value-added jackets in relation to the sleeves and the fit of jackets. Second, the position and the size of the dart are the components that can express the fit of a jacket and the designer's creativity, The starting point position of the dart and the position passing by waist, and the position of the end of the dart were placed in the position beyond B.P. depending on the designer's creativity and techniques, deriving the changes of the silhouette and creating high value-added jackets. Third, the tailored collar, which was a three-dimensional component made up of the upper collar, gorge line, lapel, and break line, was an important component that could express high value-added jackets. Changes in the width and the height of the break line position of the sides of the neck were represented as changes in the neck size of the collar, and changes in the vertex locations of the upper collar corner-point, the gorge line (the corner-point of the lapel and V zone) were also represented as diverse tailored collar designs. And the differences in the width and the length of each component of the collar were related to each other and represented as changes in the slope and angle of the collar outline. Fourth, the changes in sleeve designs of the jacket were in such items as the width of the sleeve opening, the width of the sleeve hem, and the length of the sleeve, and were represented as diverse sleeve designs such as widened sleeve opening types, and straight line types.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.162-163
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• 2004

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.203-213
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• 2007

This study is on the esthetic characteristics of Christian Lacroix's haute couture works. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in fashion journal at home and abroad. The result of this study were finds three esthetic characteristics in his works and fashion philosophy; historic, ethnic, and hybrid sense. First, the historic sense, Christian Lacroix's biggest characteristic, is influenced by his major studies, but is not a revival from the past itself but a new characteristic based on borrowing and reinterpreting the images created by introducing and compromising the historic elements. Second, the ethnic sense is influenced by the growing background in his childhood and can be characterized as compromise among the multi-national design features. It is certified by the contrasting images, styles, expressions, materials, ornament elements, and so forth with the worldwide ethnic senses centered by the southern France and Spain. Third, the hybrid sense as the essential characteristic shows the uniqueness in his design by not only combining the modern materials, technologies, and futuristic emotion but also liberally compromising and associating the emotions based on a mixture among the follows; the historic representative styles, the foreign materials, the diversity between the Eastern and Western culture, and all elements, details, trimmings In the fashion design.

• Journal of the Korea Computer Graphics Society
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• v.18 no.4
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• pp.17-23
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• 2012

The convergence of IT technology and fashion is a marked trend in recent years induding sportswear, m-dress (mobile phone dress), and wearable computing. Despite continued research and record high development in the field, however, there still are unsettled issues like power supply, fit, washability and mobility when it comes to commercializing technological fashion product. In this context, this thesis is to propose feasible technology effectively applied to a portable bag. The first case is a bag designed to maximize sensitivity for a family who enjoys leisure activities often. The second one is a limited editionHaute Couture style bag targeting single women in their 20s and 30s. These two case studies are an attempt to demonstrate the possibility of applying wearable technology to a product design.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.347-357
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• 2002

In 1536, two Piedmontese merchants set up workshops in Lyons, and Henri IV encourged further development later in the 16th century. The development of Lyons as a centre of the silk weaving industry was helped by the perfection of drawloom weaving technique there in 1605 by Claude Dangon. In the 17th century, the French silk industry could finally compete with the dominance of the Italian silk trade. The French silk industry was promoted in the mid-17th century under Louis XIV's minister Colbert. In 1667, he published an ordinance creating La Grande Fabrique, a corporation for craftsmen within the silk industry, and Lyons became the undisputed French silk capital. Under Louis X IV, France was becoming the dominant force in Europe in matters of fashion and style. The major innovation of weaving was the Jacquard head attachment, which provided a mechanical means of raising warp threads by a series of punched cards. The are nouveau style did not have much impact on French silk design at the end of the century. Silk manufacturers began to collaborate with haute-couture designers such as the House of Worth. This collaboration with the burgeoning Paris haute-couture industry continued into the 20th century and safeguarded the future production of silk textiles in France.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.93-104
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• 2008

The purposes of this study are to examine the concept of customized fashion product design as a new industrial paradigm reflecting individual customers' needs in modern society, and to grasp its sociocultural meaning. It is thought that this study will be helpful to investigate the cultural thinking of contemporaries represented through the consumption. For this, the documentary study and practical case study have been executed. As modern fashion business becomes more consumer-oriented due to the industrial paradigm shift, there appeared the prosumer as both consumer and producer. The type of customized fashion product design can be classified as 1) the traditional custom-made design in haute couture and classic tailoring 2) the tailor-made design in the prestige line of ready to wear 3) DIY custom design 4) mass customized design of customer involvement. The traditional custom-made design in haute couture and classic tailoring and the tailor-made design in the prestige line of ready to wear is to provide the distinguished product which has the best quality as well as the excellent beauty for VIP consumer. The DIY custom design is for creative consumer searching for the fun of craftsmanship to take part in producing personally. The mass customized design of customer involvement is to personalize product by selecting design module in mass production. Ultimately the sociocultural meaning of the customized fashion product design can be interpreted as (1)endowing special meaning to personal identity (2)distinguishing the privilege by rarefied authenticity (3)returning to analog sensibility 4)pursuing creative fun 5)thinking in a user-centered way.