• 한국의상디자인학회지
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• 제18권3호
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• pp.129-144
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• 2016

The purpose of this study is to identify current trends in hip-hop fashion in korea and how they are influenced by musical characteristics of female hip-hop. This study considers the relationship between female hip-hop music and their fashion through the history of hip-hop. Data has been collected and analyzed from broadcastings, performances, music videos, and album jackets of female musicians who appeared in the cable television program 'Unpretty Rapstar' by MNET during two seasons in 2015. "Unpretty Rapstar" is the first program to focus on the music and fashion of female Korean hip-hop musicians. For the theoretical review, this article examines books and journal articles, which provide insight into the history and formation of hip-hop. It also analyzes the hip-hop styles of female musicians in Korea through Hiphopplaya.com, an Internet site specializing in hip-hop. the results of the analysis of the fashion of female Korean hip hop musicians is as follows: The characteristics of the styles of female hip-hop artists come out of Glam Style, which emphasizes femininity, but is also composed of a practical and dynamic street casual style. Most of the clothes are skinny jeans and sweat suits with vertical and slim-fit silhouettes or stadium jackets and jersey jackets with oversized silhouettes. The main colors of these outfits are prominently yellow and red with darker grayish tones, but also include natural achromatic colors.

• 복식문화연구
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• 제9권5호
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• pp.747-758
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• 2001

The purpose of this study was to make hip-hop clear as a comprehensive cultural factor, and to analyze how it was reflected and shown in the modern fashion. The fashion influenced by hip-hop consisted of music(mcing), dance(b-boying), art(graffiti), technology(djing), and clothing(hip-hop style) was as follows; 1. Each music, dance, and art factor was expressed as multiethnic style, a oversized sportive style, and a graffiti look. 2. Oversized-Sportive style was the most peculiarity in Old School's hip-hop fashion. 3. Sportive style was changed into Multiethnic-Baggy style in New School's hip-hop fashion.

• 복식문화연구
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• 제19권2호
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• pp.416-429
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• 2011

Most of precedent studies related to hip hop culture and fashion, which have been conducted till now were progressed under only theoretical background of hiphop, not the changed status of hiphop currently. Practical studies explaining the status of hip hop in popular culture, especially, the area of popular fashion are insufficient. Therefore, this study was conducted by focusing on cultural characteristics and musical characteristics by the stream of period, for which concept hip hop is accepted to people currently and which effect it makes on the area of fashion. Especially, the study was progressed by dividing periodical background into before and after the 2000s because there was the most noticeable change for the genre of hip hop in that period. Because of the appearance of 'Alternative hip hop' which is a sub-genre of hip hop music, hip hop music was changed to be more popular. Also, hip hop fashion also showed big changes. Hip hop fashion before 2000s had showed poor conditions, resistance, complex and alienation of them by their fashion. On the other hand, hip hop fashion after 2000s also showed popular characteristics because of high-level environment and social status. This study intended to understand and grasp hip hop as a kind of cultural situation coexisted by many-sided characteristics as well as redefine the changed concept and contents of new hip hop currently.

• 한국콘텐츠학회논문지
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• 제17권6호
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• pp.362-381
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• 2017

일반적으로 사람들은 자신들이 갖는 국적에 따라 분류되지만, 각 개인의 문화적 경향은 반드시 자신들이 속한 국적에 의해 결정되지 않는다. 오히려 하나의 문화적 배경을 가진 사람이라 하더라도 자신이 속한 하위문화에 따라 자신의 정체성과 다양성이 형성된다. 본 연구는 힙합 장르 노래에 대한 분석을 통해 미국, 독일, 한국의 하위문화적 속성을 밝혔다. 이를 위해 음원 판매액과 힙합의 역사에 관한 기존 연구를 토대로 각 국가에서 힙합이라는 장르가 출현한 시점 및 2016년의 가장 인기 있었던 노래를 각각 한 곡씩 총 여섯곡을 선정해 기호학적으로 분석했다. 국가별 힙합의 초기 및 현재 모습에 대한 비교 분석결과, 흥미롭게도 힙합은 대상에 대한 묘사에 있어 점점 유사해져 가는 동시에, 더욱 개인주의적 경향을 띠고 있음을 공통적으로 지니고 있다. 그러나 세부적인 측면에서 각 국가 간 차이가 발견되었다. 미국 힙합에서는 대표적으로 아메리칸 드림(American Dream)에 대한 열망이 드러났으며, 독일의 힙합에서는 과도한 남성성 이미지가 강조되었다. 한편, 한국 힙합은 보다 일상적인 생각과 이야기를 중심으로 전개되는 양상을 띠었다. 나아가 비록 사회 비판의 도구로서 힙합이 갖는 중요도가 점차 감소하고는 있지만, 여전히 힙합은 강력한 문화적 반항이자 새로운 도전의 상징으로 인식되고 있다.

• 복식
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• 제60권6호
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• pp.62-73
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• 2010

The purpose of this thesis is to make an effective Korean Hip Hop culture and suggest a new style direction in classifying the types of fashion styles of the Hip Hop musicians and studying their features. They are surveyed in stage costumes, hair styles, make-ups, accessaries, and total fashion styles, and then classified into Normal Hip Hop Style, Casual Hip Hop Style, Sporty Hip Hop Style, Mix & Match Hip Hop Style, and Classical Hip Hop Style. The results of the study are as follows: First, Normal Hip Hop Style is the most general and universal Hip Hop fashion type. They wear clothes in bigger sizes and exaggeratively. And also a cornrow hair style, a tattoo, and a piercing represent marked individualities. Second, Casual Hip Hop Style is more active and practical than Normal Hip Hop Style. Their blue jeans and T-shirts express more simple and polished style. And also they make variable fashion styles and hair styles such as a cornrow hair and a buzz cut. Third, Sporty Hip Hop Style is from B-boy's clothes when they do active and violent break dancing. As NBA basketball games are popular, they wear training clothes, breeches, big T-shirts, and jumpers & caps on embroidered sport team's names. Their hair style is short or natural and also they have caps or hoods to present active mood. Fourth, Mix & Match Hip Hop Style is existed variable elements in one style. The typical type of this style is jacket & blue jean. It is characterized by dress shirts, neck ties, blue jeans, sneakers, beards, and moustaches. Fifth, Classical Hip Hop Style is from African Americans. They try to express assimilated appearance of Anglo-Saxons. They wear black suits, shoes, hats, and sunglasses to represent formality and elegance. In the above results, there are variable fashion styles in one Hip Hop music genre and also fashion style is changed with musical inclination. This thesis is an important guide to produce variable and creative Hip Hop fashion styles in Korean Hip Hop culture.

• 복식
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• 제53권2호
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• pp.101-118
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• 2003

This paper describes pop stars' fashion style by the changes of pop music from the 1950's of the formative Period of a rock-n-roll to the 1990's. The author could examine the features of pop music as follows : the 1950's rock-n-roll, the 1960's rock and Psychedelic rock. the 1970's punk rock, the 1980's new wave and the 1990's reggae·hip-hop. Based on the examination, the author could do sampling of the fashion style, on which current pop music had influence, by rock style, new wave style, and reggae hip-hop style. The rock style makes appearance again as a new style when it is recently accepted to be a fashion. The 1960's hippie, which contains long-cherished desire of antiwar and peace after September 11, 2001 Attack on America and the Afghan War. reappeared as luxurious hippie, and the hybrid punk has been made because barriers between cultures have been collapsed to mix items and combine contradicting components at fashion field. The new wave style destroys sex difference of clothes. and men's clothes style has introduced women's dress style, so that androgynous style, which has handsome boy image with womanlike hair style and makeup, and the lingerie style without distinction of underwear and outer garment has made appearance through new cloth wearing ways and overexposure. The reggae and hip-hop style makes appearance to overcome social strata, groups, ages, regions and gender, etc and become one of the 21s1 century culture codes. In conclusion, pop music have played very important roles until expansion and popularity of new fashion style, and has been quickly expanded by mass media development. When the pop music fashion styles are introduced to high fashion, fashion styles have become more polished and high-qualify to expand them at main fashion world again.

• 한국의상디자인학회지
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• 제8권1호
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• pp.127-136
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• 2006

These researches discussed promotions and effectiveness in the area of star marketing production, copying, advertising, and expenditure on clothes. The thesis is refreshing in the way it deals with analysis of strategical changes in the fashion of entertainers asia cultural industry developed. I specially focused on comparing and analyzing the changes in style of Hip Hop fashion from the period of inferior culture to the period in which their fashion is highly respected. Also, I'd like to study the influence of the fashion to Korean Hip Hop artists. The Hip Hop musicians developed their styles from underdog images of Hip Hop to glamourous and luxurious styles along with modeling in various magazines appealing sexually. In Korea, Seven and Hyori Lee are showing new and changed styles that are different from the past to their fans. The Hip Hop style now is showing with unimaginably luxurious styles as opposed to its original image. With their pursuance of ostentatious and luxurious styles Hip Hop was reborn as new Glam style. Old Hip Hop styles such as ripped jeans, safety pins, graffiti, and loose and exaggerated silhouette give inspirations to many worldly known designers and their collection. Hip Hop that used to be a branch of a low culture was able to grow to the culture of luxuries via the development the media and improvement of lives and the level of consciousness of the middleclass. Music stars with luxurious Hip Hop fashion influenced coming of a new musical genre and Korean musicians largely. I hope this research can help developing the unique low-culture and creating new trend in the field of entertainers' fashion.

• 한국엔터테인먼트산업학회논문지
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• 제13권8호
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• pp.267-280
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• 2019

K-Pop은 세계 각지로부터 유입된 다양한 음악적 요소의 창조적 혼합과 절충을 시도함으로써 한류 콘텐츠의 일부에서 한류의 주역으로 확장되었다. K-Pop의 혼종적인 모습은 음악 장르뿐 아니라 K-Pop 노랫말의 언어선택과 발음법에서도 나타난다. K-Pop 음악 속 노랫말 발음의 혼종 현상, 즉, 노랫말의 딕션 퓨전 현상은 해외 진출을 위한 전략적 방안이 아니라 한국 대중음악사적 흐름 속에서 자연스럽게 형성된 것이다. 1992년 서태지와 아이들의 등장으로 대중음악의 흐름이 발라드에서 댄스음악으로 전환·정착되고, 3년 뒤 힙합 댄스음악인 'Come Back Home'의 성공으로 힙합음악의 잠재적 경쟁력을 확인한 재미교포들의 한국 대중음악시장 진출은 현재 K-Pop 노랫말의 이중언어 사용과 한국어 노랫말의 딕션 퓨전 현상의 기원이 됨을 주장한다. 따라서 논자는 90년대 후반, 재미교포 출신 힙합가수들의 노랫말 속 이중언어 발음체계를 파악하기 위해 한국어와 영어의 발음체계를 알아보고, 재미교포들의 서투른 한국어 노랫말 딕션이 지속적으로 허용 되고, 활용될 수 있었던 요인을 한국어 발음체계를 통해 밝히고자 한다. 또한 K-Pop에서 나타나는 한국어 노랫말의 영어식 딕션법을 90년대 후반의 재미교포 출신 힙합가수들의 한국어 노랫말 딕션법과 비교함으로써 이 둘의 연관성을 밝히고자 한다. 이 연구는 K-Pop 한국어 노랫말에서 나타나는 딕션 퓨전 현상의 요인을 한국 대중음악사적 흐름 속에서 밝히고, 90년대 이중언어 사용자의 노랫말 딕션 비교를 통하여 규명하였다는 점에서 의의가 있으며, 신한류의 지속화를 위해 K-Pop 노랫말의 딕션에 대한 연구가 여러 분야에 걸쳐 이루어지기를 바란다.

• 복식
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• 제26권
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• pp.101-121
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• 1995

The Purpose of this study was to investigate homology between the Popular music and Fashion of youthful subculture and how the image of popular music have influenced on the 90's fashion. As the result, Korean youthful subculture analized to be different from western youthful subculture. In western countries, the style of youthful subculture groups spread to tricle up as developed themselves but represented tricle down phenomenon in Korea. Because life con-dition of Korean Youthful was different from westerns in everything. The Image of popular music have an influenced on the 90's fashion, it is be classified into the Jazz image, the Country & Western image, the Rock image, and Hip-Hop, Ragge image. 1. The jazz image from Jazz music has come back dandism of the nostalgia mood and intro-duce ethnic sense into fashion. 2. The Country & Western image is reflected in fashion of accessories details, materials and Coordination item. 3. The rock image from Acid Rock and Punk Rock effected the advent of hippie mood fashion, ethnic, ecology, new unisex fashion and Punk fashion trend. 4. The hip-hop, raggae image from Rap and Raggae music showed on fashion of primitive mood's naturism, Sports wear's generalization and dualism. After the 90th, youthful fashion of new gener-ation may be infered constantly on the move toward $\ulcorner Fashion democracy \lrcorner$formation.

• 복식
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• 제66권4호
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• pp.94-110
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• 2016

The purpose of this study is to delve into the identity of the swag style which has diversified into various forms by exploring the phenomenon, formative characteristics and the internal values of the swag style in modern fashioin. This study discusses the concept and the socio-cultural meanings of swag from the perspective of Jean Baudrillard's hyper-reality, and a form of existence. The classifies the swag fashion styles into parody, hip hop and collage-type mix-and-match. Expressive characteristics of the swag look in modern fashion are as follows. First, the swag look utilizes the parody technique. In the mid-2000s, the look parodied brand logos as a form of self-mocking and active self-derision toward cheap imitations. Second, the swag look borrows from the expressive factors of the hip-hop style. Born as a sub-culture based on music, hip-hop has become a way of life, as its nature became multi-cultural and trans-cultural while its fashion style gained popularity globally after the 1980s. Third, the swag look barrows from the pop-type collage form as it mixes-and-matches costume items based on the expressive characteristics of hip hop, and this can be seen through items being used in new, non-formative and free styles. Comic aesthetics is revealed in parodied expression, hip-hop factors and collage-style mix-and-match. Swag as a hyper-reality manifests itself in various natures: humorous nature, negative nature and deconstructive nature through reflection and re-enactment of reality, transmutation and distortion of reality, and absence of reality respectively. However, it does not have a binding nature, which is the norm for subcultures. This characteristic, in combination with it having internal lightness, strong meaning of communication, and a sharing of self-contentment, distinguishes itself from the general meanings of existing parody fashion, hip-hop fashion and collage fashion.