• 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 Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.95-108
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• 2006

The purpose of this study was to analyze the historical change of Paris Collection in relation to the social and cultural environment. Together with the various changes in society, creates fashion, the historical background of the Paris Collections is analyzed from the end of the 19th century until the present. The research method includes analysis entered on data from literature and magazines. From this study, the following conclusions can be reached. 1. Paris Collection is composed of various situations such as the economic aspect, the changing society, the change of the costumes, the change of consumer's consciousness, etc,. 2. The position and role of Paris Collection will be changed in the future. But, there is no alternative. Paris Collection is the best system which we need in our society. 3. Since the level of the planning of the apparel industry becoming raised rapidly, Paris collection tend to avoid the traditional aspect. 4. In order to make good product, good understanding of the historical background need. It must be considered to understand changes such as consumers lifestyles, social trend, etc.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.296-312
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• 2018

In this study, we analyzed the whole design of the necklace in detail, which reflects the artistic sense of handicraft in couture. The purpose of the study was to identify the characteristics of the design based on the analysis findings and to provide basic data to help fashion designers. The research method entailed analyzing trends in necklace design - viewed in fashion magazines and on websites - by year, season, brand, kind, material, color, and image. The identified necklace design characteristics were as follows. First, artistry and originality are dramatically expressed through the use of a broad range of materials. Second, due to the necklace's role as an object of perfect beauty, in a number of images, the necklaces were presented in convergence and contrast with overall costumes. Third, the dramatic effects of layering revealed a strong presence and individualized styling. Necklaces are created with diverse sculptures by realizing the creative imagination of fashion designers. Even though they looked a little different every year, there were designs in the collections constantly. Round shape and princess length were preferred. In particular, the mix type was used to express dramatic effect by focusing neck part in entire styling which different length of necklaces were layered and worn. As a result, it meets the needs of consumers who emphasize brand differentiation and diversity, and it is believed that the role of necessities in fashion will continue and it creates economic demand in the fashion industry.

• Journal of Fashion Business
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• v.9 no.1
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• pp.34-56
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• 2005

This study analyzed the formative relationship between clothes and hat, and to find out the development direction of next hat design. To do these purposes, Fashion photos were picked up from all kinds of fashion magazines containing 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. The method to analyze was the formative analysis by Marian L. Davis and Marilyn R. Delong. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.877-886
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• 2006

The Purpose of this study were to study Retro-hat design. To do these purposees, 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. Photo materials to analyze retro-hat design is Haute-Couture collection in paris from the 1990's to 2004 and some designer's collections. Then Retro hat design is 85 in 1,381 hat photos. The results obtained through this process were as follows. In the hats of Retro, the past style such as an Egyptian wig, a snake-shaped hat in Crete, a Medieval knight hat, Liripipe, Tricorn hat, or Bicorn hat was reinterpreted and expressed. Since 2003, Retro characteristics has became strong and frequent. By designing a hat on the basis of the direction of hat design, this study intended to find out the development direction of hat design.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.106-119
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• 2008

This study explores grotesque characteristics that were raised as the Aesthetics of the Ugly and how it was featured in Alexander McQueen's arts. In a methodological approach, the study attempted the analysis of historical literature that was published both nationally and internationally, along with justifiable investigation using fashion/collection magazines such as Vogue, Gap and Internet search. The scope of this study ranges from 1996's Haute Couture and Pret-a-porter collection pieces modern, to date The results of this study are summarized as follows: The first grotesque characteristic present throughout Alexander Mcqueen's arts is that it featured horrifying images or evil motives with pointy heads or horns, dark colored dresses, silver accessories, Dracula, witches, skulls, soldiers of evil, death and sickness. Second, aversion was realistically portrayed by frightening objects, extreme intimacy and motives that signify death and closely relative to cruelty to human bodies. It also became visible with physical destruction of the bodies and dissecting of internal organs, etc. Thirdly, its expression of humor is out of common sense with distorted human bodies by intentionally overemphasizing certain portion of the clothes or body parts. It also featured strangely deformed bodies by ignoring the typical shapes of clothes, vague definition of gender and using of unusual objects. Forth, half-man and half-beast images are portrayed using various types of bird species or animals to Identify disparity. It further defined this image in the form of non-human cyborg by incorporating technology.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.5
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• pp.489-500
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• 2012

This work surveys the trend and dissolution characteristics in headdress that appear in Jean Paul Gaultier's collection. Along with a related literature review, a total of 903 headdress pieces shown in collections 40 times (excluding the common caps and hats) were analyzed, covering from 2001S/S to 2010 F/W of Jean Paul Gaultier's Haute Couture and Pret-a-Porter. The headdress trend indicated in his collections was divided into such subgroup forms of folklore, usage of natural things, usage of artificial things, religion, retro, scarf, variations in headgear, mask and veil, atypical type and abstract. Such an expression tendency was so unique and mixed characteristic that it was hard to define its form and structure thanks to enlargement and exaggeration, extremity in ornaments, and use of foreign materials, which led to creative dynamics. Gaultier's headdress also reflected the following characteristics: first, expression of difference indicative of time deconstruction; second, uncertainty of meanings via deconstruction; third, text interactivity via deconstruction of gender and material adopted; fourth, decentralization through dissolution of the Orient and the Occident.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.73-85
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• 2002

Decadence is a phenomenon that people express fear from their inside, so unsound aspects appear in the social culture when the existing society is about to be collapsed. This study covered the cultural and aesthetic meaning and the role of decadence by examining the concept and phenomenon of it and analyzing the real case of expression appeared in the modern fashion. Characteristics of decadent phenomenon were divided into sexual corruption, ideality, cynicism and extreme technique, and decadent expression appeared in the fashion images was examined based on the divided phenomenon. Main results are as fellows. People bring the incidents that animals go through into relief, sticking to animal instinct when the society is on the decline. At that time, sexual decadence becomes remarkable, so voyeurism by exposure in their dress is deepen, revealing abnormal sexual propensity with bisexual tendency and sexual perversion. The real facts and appearance of people are revealed by transforming and distorting bodies for the fear of humans inside suppressed in the fin-de-siecle mood. The sense of alienation and helplessness of people anxious about the future is developed to cynicism expressing the uncertain emotion in their dress, and the formative methods of dismantlement. destruction and abrasion appear to form sickly images in the gloomy and cold mood. The intention of affirmative decadence is realized by mixing heterogeneous styles and producing new things. Extreme decorative technique and gorgeousness are even mysterious and show the highest refinement.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.147-162
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• 2004

The purpose of this study is to investigate the characteristics of Grotesque in Contemporary Fashion. The study selected the 1990's or after fashion material by the material of both $pr{\hat{e}}t-{\grave{a}}-porter$ collection and haute couture collection based on Europe. These days, the characteristics of grotesque have been categorized into four groups based on the theory of representative scholars of the Post Modernism era. The results are as follows. ${\cdot}$ The devilism creates shocking and destructive cruelty and fear by using frightening object and mysterious and devilish motif which symbolize the death of fashion ${\cdot}$ Hatred produces physical destroy of human body, anatomical expression inside human body, cruelty by naked sex expression, pains, cruel treatment, disillusion and unpleasantness, which have been caused by the disturbance and ideological confrontation of the society, and is said to be a kind of self-confession against dislike and fear of the disclosure of human existence. ${\cdot}$ Playfulness distorts and exaggerates clothes and human body forms, and produces abnormality and mystery because of vague sex identity. The playfulness of fashion can open fixed and closed world and lead it flexibly. ${\cdot}$ Heterogeneity is divided into both primitiveness and virtuality The primitiveness distorts or transforms human body through the human body decoration of primitive race, and expresses a grotesque form combining human being and other animals. It gives a question to the existence of alienated and suppressed life through the world. in which everything is mixed and not separated. The virtuality introduces not only cyborg form combining human being and machines but also state of the art technology factors, so that it emphasizes non-mechanical and non-human grotesque images.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.608-619
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• 2017

In this research, we analyze jackets from the Paris Haute Couture Collection from 2000 S/S~2015 F/W to investigate how shape, tailoring component, and design of jackets have changed. Our analysis of 2,493 jackets from the collection shows that the hour-glass silhouette was the most popular among silhouettes and that standard-length was the most popular jacket length. Such jacket shape expresses the natural beauty of human body. Regarding Tailoring Components, our analysis shows that tight sleeve and natural shoulder line, which is neither too wide, padded, nor low, were prevalent. The analysis also shows that tailored collar and button closure were the most common. Tight sleeve and natural shoulder line, which fit the body outline, allow the silhouette to show natural curves of the human body. As for jacket design, popular colors differed by season, but single-colored jackets prevailed, and woven was the most used material. Since 2000, the most favored form of jacket in women's fashion was a standard-length jacket with an hour-glass silhouette, tight sleeve, natural shoulder line, and tailored collar. This suggests that jackets emphasizing natural curves of the body were favored. Overall, silhouette, length, sleeve, and shoulder line remained consistent while collar and closure varied. This indicates that collar and closure method play a significant role in changes in fashion. Seasonally, elements of shape, tailoring component, and design coexist, but once the shape is determined, the tailoring component and design change in relation to each other.