• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.73-85
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• 2004

The purpose of this study was to investigate the characteristic and sensibility of Japanism fashion designs which represented by Japanese designers and Western designers. The stimulus were 29 pictures of contemporary fashion designs which represented the Japanism style fashion designs from fashion collections. The data were analyzed by Cluster analysis, Factor analysis, Multidimensional Scaling Method and Regression Analysis. The specific objectives were as follows ; 1) As result of design analysis, Japanism fashion sensibility is unique and good-looking. 2) As result of the factor analysis. 4 factors which are Attractiveness, Attention, Maturity and Hardness and softness. 3) According to sensibility positioning, The Japanism fashion design was classified by Decorative-Simple, Hard-Soft. 4) As result of the Regression Analysis, The preference of Japanism fashion design was related to attractive factor. 5) As result of the Regression Analysis. The buying desirable of Japanism fashion design was related to attractive, attentive and mature factor.

• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• Journal of Fashion Business
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• v.17 no.6
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• pp.111-124
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• 2013

The purpose of this research was to conduct a comparison analysis of color in the characteristics and image of Korea/China/Japan airline uniforms. Research subjects for this research included 19 Korean, Chinese and Japanese airlines servicing the Incheon International Airport in South Korea. The analysis methods are based on the Munsell Color Order System and PCCS (Practical Color Coordinate System) tone classification in order to examine the color characteristics. For the color image analysis, the present research performed a positioning on Shigenobu Kobayashi's color images scale with adjectives in order to compare the resulting differences. As a result of the analysis, this research discovered the following; First, achromatic colors were found to be used most frequently in flight attendant uniforms of Korea/China/Japan. In Korean flight attendant uniforms, YR/Y, GY and B/PB/P; in Chinese, R/PB, RP, YR/Y/GY and BG/P; in Japanese, RP, R/P/PB and Y/BG were found in order. As for the main uniform colors, Korean flight attendant uniforms were found to be in the colors YR, and R/GY/B/P; Chinese flight attendant uniforms, R, PB, and P/B; and Japanese flight attendant uniforms, R, BG, B, RP and N. Second, Korean flight attendant uniforms used W and It most frequently; China flight attendant uniforms, W; and Japanese flight attendant uniforms, W and v. Regarding the main colors, Korean flight atteddant uniforms used lt/g and v/p; Chinese flight attendant uniforms, v, dp and s/d/dkg; and Japanese flight attendant uniforms, v/dkg and Bk. Third, after positioning each country's uniform color combination bars on the Kobayashi image scale, Korean flight attendant uniforms showed classic images along with casual/pretty/elegant/chic images; Chinese flight attendant uniforms displayed, casual images as well as, dynamic/gorgeous/chic/cool casual/dandy images; and finally, Japanese flight attendant uniforms converyed dandy images along with casual/gorgeous images. This research findings indicate that Korea/China/Japan airlines' flight attendant uniforms seek for differentiated image establishment by reflecting their own CIs and unique national cultures in the uniform color marketing.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.19-29
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• 2004

The current fashion market is experiencing a lot of difficulties in fashion forecasting due to consumers' fast-changing lifestyle on fashion, changes in consumer behavior, and the segmentation of the fashion market. To cope with this harsh reality, many fashion enterprises have paid much attention to the SPA (Specialty Retailer's Store of Private Label Apparel) brand as a promising fashion marketing strategy in terms of which they can survive in the extremely competing fashion market. The SPA brand is in the stage of inception in Korea, but the SPA brands such as MUJI and UNIQLO are already dominating the fashion business in Japan. Korea has just started developing the SPA brand, but its technological development, which was triggered by the success of 'BASIC HOUSE', is rapidly evolving. Under these circumstances, the SPA brand is getting vital for the fashion market in efficiently realizing consumers' requirements, revolutionizing the method for providing product information and the process of Marketing Mix Program, and expressing the value of shop. This paper studies the nature of the SPA brand and fashion merchandising system, and in turn examine the differences between the visual merchandising of the existing fashion brands and the Japanese SPA brands that are used as the fashion marketing strategy which is driven by the up-to-date technological system. Centering around these issues, we propose a visual merchandising system for fashion enterprises which serves to develop Korean-style SPA brands.

• The Research Journal of the Costume Culture
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• v.21 no.2
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• pp.151-166
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• 2013

This study aims to shed light on the diversity and complexity of design represented through modern fashion and to identify growth opportunities for globalizing and modernizing traditional clothing designs. To this end, formative trends and aesthetic characteristics of $21^{st}$ century fashion were analyzed, with an emphasis on Japanism reflected in the works of Western designers. The research methodology consisted of an analysis as well as a literature review. A total of 217 designs with Japanism characteristics were identified from the 2001 S/S collection to the 2011 S/S collection in Paris, Milano, New York, and London, and these were analyzed in terms of image, color details, pattern, and accessories. The research findings with regard to the characteristics of modern fashion designs that reflect Japanism were as follows. First, sensuality was projected by highlighting the erotic elements of Japanese clothing. Second, the underlying principles, styles, and elements of Japan's traditional clothing were embodied in a cross-cultural and eclectic manner that blurred the boundaries between styles by mix-and- matching the traditional and the contemporary, the East and the West, and different styles. Third, a variety of patterns, colors, accessories, and design techniques associated with Japanese traditional clothing played a critical role in creating flamboyant and decorative images in contemporary fashion. Fourth, the overlapping of the kimono style, the flat design that accentuates body curves, and the layered style has created a beautifully free-form fashion that demonstrates non-structural features.

• Journal of Fashion Business
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• v.1 no.1
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.5
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• pp.679-690
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• 2009

The purpose of this study was to compare clothes-wearing in winter between Korean and Japanese college students and to provide the fundamental data for apparel manufacturers to produce young woman's clothing. A total of 332 Korean female students in the capital area and 347 Japanese female students in Tokyo aged between 19 and 25 were used into data analysis from December 2007 to January 2008. Their majors were Fashion Design and Clothing & Textiles. The questionnaires consisted of 36 questions in total. Their details were as follows: 2 questions about the purposes of wearing clothes in winter, 5 questions about whether or not underwear was worn and its types, 9 questions about the types of wearing outer garments, 17 questions about the types of wearing accessories, and 3 questions about demographic characteristics. The results were as follows: It was found that many female students wore clothes for "a protection purpose" or "an ornamental purpose" in winter. There was significant difference between Korea and Japan. As for the question about whether or not underwear was worn in winter, less Korean students answered than Japanese students that they wore both of upper and lower underwear. More upper underwear was worn than lower underwear. As for the question about the types of wearing outer garments, both Korean and Japanese students answered that they wore 3-layered upper garments in winter most. The types of upper garments worn in winter were different between Korea and Japan. The lower garments worn in winter were different between the two countries as well. The Korean students mainly wore pants while the Japanese students wore skirts. As for the types of accessories, there was significant difference between Korea and Japan about most of the questions about hats and gloves. Korean students wore them more than Japanese students. There was no significant difference between the two countries about whether or not scarves or earmuffs were worn. In both countries, more students wore scarves while less students wore earmuffs.

• Textile Coloration and Finishing
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• v.21 no.2
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• pp.29-39
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• 2009

The color mixture, obtained from Indigo and Japanese pagoda tree, was applied to cellulose fibers such as cotton, linen and rayon to diversify color gamut of natural dyes. The color mixture was tried with two different methods. The first process was that cellulose fibers were dyed with $5{\sim}25%$ owf Japanese pagoda tree solution, and then dyed 1 to 4 times with Indigo. The second process was dyeing 1 to 7 times with Indigo, followed by dyeing with $5{\sim}25%$ owf Japanese pagoda tree solution. K/S value of the dyed fibers with one colorant and color mixture increased in the order of linen, cotton, rayon. It was also found that the first process could give higher K/S values than the second process.

• Journal of Fashion Business
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• v.3 no.4
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• pp.55-66
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• 1999

The purpose of this study was to analyze the changes and characteristics of street fashion in Japan of the 1980s. The data were collected from the Mainichi Newspaper published in Japan from 1950 to 1990. The results were as follows: 1. After world war II, the street fashion had changed through the styles of the Panpan, Apres, Miyuki, Hippie & Hooten, Bikers in Japan. 2. The 1980s was characterized as an era of post industrial society and the appearance of Shinjinrui which means new human. In street fashion, these changes led to greater focus on unique style in Japan. In the 1980s, the street fashion had developed within four styles : traditional casual wear style, American sports wear style, performance.oriented style, and Japanese DC brand style in Japan.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.