• Journal of the Korean Society of Costume
• /
• v.51 no.6
• /
• pp.147-165
• /
• 2001

Haute couture denotes a luxurious made-to-order dressmaker's shop. In principle, it refers to a place that is registered with the Paris Apparel Association and has met the size and criteria specified by the association. The features of modern fashion expressed in haute couture have been contemplated by categorizing them into mixed impression appearing in haute couture work pieces. turning the collection event into a spectacle and commercialization for the succession of haute couture. Mixed impression manifested in the haute couture has engendered (1) the creative and dynamic feature (2) eclecticism with popular culture (3) mixed impression of reactionism (4) ethnic characteristics. From the above considerations, one could say that the factors drive the very existence of haute couture and comprise three elements of impeccable backgrounds, They are (1) organizing ability and protective policies of the French fashion industry, (2) relentless experimental spirit of the haute couture designers and (3) Paris that supports creativity and fashion fabrication, have coincided with rising up of the value of persistence on originality of work pieces in accordance with diversifying cultural transformations. consumer-oriented patterns by way of capital symbolized by consumers and restructuring of company operation by each shop. This report describes comprehensive understanding of haute couture, creativity and dynamic power of the haute couture work pieces. Akin to the efforts to maintain the existence of high-grade cultures throughout the overall cultures themselves, haute couture, on the basis of these factors, should also become the motive power through which luxurious culture in fashion is created in the days ahead.

• Journal of Fashion Business
• /
• v.17 no.3
• /
• pp.122-136
• /
• 2013

This study supplements clothes by studying pleasure shown in accessories of haute couture designers and finds out pleasant characteristics represented in items which play an important role in producing personalities through collections, so the study aims at prospecting design development directions accessories henceforth. For the study period and methods, 295 photo materials were analyzed being judged to show pleasure centered on Mode et Mode, representative fashion magazine, from 2005 S/S Paris haute couture collections to 2013 S/S Paris haute couture collections. At this time, the photos analyses were conducted and selected by two experts (Ph. D holders majored in fashion design) through two times. After analyzing pleasure features represented in fashion collection focused on haute couture accessories, I could know that surrealistic pleasure, anonymity-expressing pleasure, natural pleasure, and exaggerative pleasure were shown. The pleasure, as element that supplements and emphasizes clothes, has had an effect on bringing laughs characteristically.

• Journal of the Korean Society of Costume
• /
• v.53 no.2
• /
• pp.57-70
• /
• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• Korean Journal of Human Ecology
• /
• v.22 no.2
• /
• pp.315-328
• /
• 2013

The purpose of this study was to analyze on the aesthetic collaboration appeared on the modernism arts and Haute Couture designers in the 20th century as the necessity of analyzing on the pure meaning of collaboration which is a talking point associated with culture of the 21st century. The study was performed by means of documentary method. The results are as follows; First, it was analyzed that the collaboration in the pure meaning of the first half of the 20th century had partial common points which was stated as Art Inspiration in the arts collaboration out of the 21st century collaboration. Secondly, the Haute Couture designers(Paul Poiret, Gabriell Chanel, Madeleine Vionnet and Elsa Schiaparelli) have common point that they involved into the artworking through active exchange with many artists from diversified fields in the 20th century. Especially, the characteristics of the collaboration in the forms, materials and color of their works were appeared visually. When the collaboration in the first half of 20th century was regarded entirely as mental matter of manifestation of pure aesthetics, in can be said that the big difference was mostly the maximization of mutual interest between collaborator and collaboratee in the 21st century collaboration.

• Journal of the Korean Society of Costume
• /
• v.39
• /
• pp.39-58
• /
• 1998

In this research, first of all, the special feat-ures of Haute Couture design world (1990∼1996) prevailed in Paris and Rome are investigated, and additionally the understanding of collection concept and design structure analysis are performed to show the various method-ology of creative design. Expression method and design method are the main criteria in analyzing, and the main results of this research are summarized as follows : 1. Most of designers in Paris and Rome ex-press the traditional costume style. Paris designers are focusing on the expression of design morphology through the abstraction and re-appearance without being confined to theme expression ; Rome designers are expressing their main ideas utilizing the fashion image as their theme in lieu of expressing the design morphology. 2. Most of the designers in Paris and Rome are using simple lines for their design. Paris designers prefer the plastic design based upon formal and symmetrical balance of informal and asymmetrical balance to the partial trans-formation design ; Rome designers are enjoy-ing rather the partial transformation using the detail and trimming than the plastic design.

• The Research Journal of the Costume Culture
• /
• v.11 no.4
• /
• pp.525-540
• /
• 2003

This survey paper aims to compare two significant figures in the history of Haute Couture e.g, Paul Poiret and Coco Chanel, who played a leading role between 1910 and 1930. It is found here that they have common features with respect to giving freedom to body through costume, enlarging Garconne Mode, creating more value of Costume Jewelry, exploiting advertisement strategy using models, proving exotic styles, and last but not the least contributing to Haute Couture. The research shows, however, that Poiret differs from Chanel in that he made most of various natural colors whereas Chanel used black or beige colors that had been rarely used woman wear previously. They also differed in using fabric, permitting copy by others, ingredients and bottling of perfume, meaning of silhouette. This kind of comparative research is expected to provide more understanding of fashion history and to contribute to more rigorous analysis of key success factors of designers in his or her age of fashion.

• Journal of the Korean Home Economics Association
• /
• v.46 no.10
• /
• pp.37-48
• /
• 2008

This study re-examines new aesthetic values pursued by Givenchy, analyzing by the Haute Couture line's chief designers. The following conclusions have been reached: Hubert de Givenchy pursued modernity, infused with simplicity and structured stability. In particular, Audrey Hepburn, who was a loyal client and used his line in several movies, provided him the platform for international exposure which he used to further develop what became known as the "Hepburn" style. The subsequent brief tenure of John Galliano did yield the fantastic and magnificent "Galliano-style", but with irregularity. Based on romanticism, it redefined fashion using a wide range of colors, subjects and decoration. His successor, Alexander McQueen, applied opposite elements using a hybrid technique of pastiche, parody and collage. With innovative inspiration he compromised the concepts of gender, time, space and cultures and recreated futuristic forms of nature, animals, insects and mythical images. Julien Macdonald, who was appointed in 2001 as the Artistic Director for the women's collections, minimized his individual style and preferred feminine, graceful and sexy silhouettes. He breathed fresh life in to Givenchy Haute Couture, reinterpreting the Hepburn style in a modernistic mode. Being passed on the responsibility for both collections (i.e., haute couture and ready-to-wear) in 2005, Riccardo Tisci redefined elegance, combining his unique and tailored gothic style with Givenchy's grace. He is developing the future of Givenchy, experimenting with volume, silhouettes, new kinds of fabric and techniques.

• The Research Journal of the Costume Culture
• /
• v.16 no.3
• /
• pp.475-487
• /
• 2008

The purposes of this study are to find the values of playful design by exploring what forms of playful expressions and characteristics appear in the haute couture collections that feature "high culture" other than street fashion or popular fashion and to help expand the scope to include newer and more creative design ideas. Concerning theoretical background, the study reviewed the literature to understand the concept of playfulness and see what types of playfulness there are and how it is expressed. Based on the results, the study examined the features of playfulness by analyzing the works of haute couture collections which since 2000. The results can be summarized as follows: First, designers in the haute couture collections constructed their own identities by expressing their instinctive desire for playfulness through graffiti such as cartoons or scribbles and delivering direct and specific messages or ambiguous and symbolic meanings through such things. Second, the haute couture collections revealed the human body in a transformed or distorted shape through deformation of clothes or accessories presented brand-new dressing styles by breaking away from the past ways of dressing; and expressed playfulness intentionally with distorted materials. Third, is the "depaysement" technique. This collage technique selects all possible objects going beyond inartistic routine matters or boundaries of which we are aware and changes their positions and purposes of use to express the playfulness of "harmony in disharmony." Fourth, the haute couture collections created a feeling of playfulness by featuring parodies of retro elements, a slice of popular culture, or a variety of painting styles. Finally, like using dolls or toys as accessories or making direct use of parts of clothes, combinations between attributes given by the images of those accessories themselves and creativities found in haute couture dresses are just as fun of authoritarian bias in favor of prestigiousness.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.13 no.4
• /
• pp.127-138
• /
• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

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