• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 International Costume Conference:Exploring Global Costume Culture
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• pp.71-71
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• 2001

• 복식
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• 제60권9호
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 The 21st International Costume Congress
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• pp.360-361
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• 2004

• 복식
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• 제61권10호
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• pp.32-41
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• 2011

The purpose of this study is to prove an importance of systemic analysis paradigm to interpret fashion make-up. This research employed 'paradigm for interpretation of fashion make-up signs' theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) recognition of form, (2) analysis of connotation meanings, and (3) analysis of symbolic meanings and communication. The results of this study were as follows. Jean Paul Gaultier's eye make-up uses a square pattern that mostly consists of the color black. He presents a Glam Rock image by using rimmed make-up that portrays an avant-garde and a nonmainstream culture. Jean Paul Gaultier's make-up was showing black color and square eye pattern and was presenting Glam Rock image and was a rimmed make-up meaning a nonmainstream culture and Avant-garde symbolically. Chanel's make-up emphasizes the eyehole with the rimmed technique by applying the make-up of Marchesa Casati and including non-popularity, Limited Marketing symbolically. Christian Dior's make-up applies the representative make-up of Joan of Arc and Siouxsie sioux and also uses rimmed make-up to portray the meaning of religion persecution, the dark-ages militarism and including Humanism symbolically.

• The International Journal of Costume Culture
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• 제12권1호
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• pp.1-12
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• 2009

As foundation wear, underwear is the starting point where a woman shapes her figure and constructs a female identity. In the late twentieth century, the use of underwear as outerwear was extensively adapted, so underwear as outerwear is the latest thing today. Based on literature review, this study aimed to examine how underwear was adopted for use as outerwear extensively in the late twentieth century. The result of this study can be summarized as follows. First, originally there was no border between underwear and outerwear at the start. With the change of female social and political status, the function of underwear and its design has been changed diversely. Also, its revealing and decoration has been linked with female sexual attraction. Second, by some precursor fashion designers such as Vivienne Westwood and Jean Paul Gaultier, underwear was redefined as outerwear with erotic but powerful meaning in the Twentieth century. Their idea had an enormous influence on contemporary fashion culture, and consequently has become popularized like lingerie look today. Third, the change of female social status led a big change in view on the female sexuality and the ideas of femininity in fashion culture in the Twentieth century. Dressed by Gaultier, Madonna's performance wearing corset costume played a role in redefining contemporary femininity in relation to sexuality and power, even though it is still under the controversy.

• 한국패션뷰티학회지
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• 제2권1호
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• pp.34-45
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• 2004

Hair styles which independently coexist by transcending the time and space under the environment of highly developed information and communication technology of recent years, were analyzed. Moreover the concerned trends of art which influenced on these styles were introduced in this study. Through IT based information exchange produced new hair styles which have the technological images. The characteristics of these hair styles are investigated also. For the examination of yearly trends, hair styles in fashion collections of Yves Saint Larent during 1962 to 1999 were examined and classified. The results show that time variated trends are appeared in this period. For the analysis of the trends of hair styles featuring technological images, hair styles in fashion collection of Christian Dior, Giorgio Armani, Gucci, Jean Paul Gaultier and Chanel in the early 2000s are quoted.

• 복식문화연구
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• 제14권3호
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• pp.457-468
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• 2006

The purpose of this study was to understand fashion trend and characteristics by finding out the influences of crossover on modern fashion coordination through the identification of crossover coordination trend and characteristics. With a review of the literature, this study analyzed crossover coordination according to the types of expression methodology, periodical changes and designer's tastes that appeared through the collections of the six representative designers from 1996 to 2004. The results of this study were as follows. As a result of analysis of our sources, we realized that crossover coordination was shown most frequently in 1997 and Christian Dior was the designer who used crossover coordination most frequently. Among lots of crossover coordination cases, most of the cases are the coordination with different materials. In our results, trends of crossover coordination in materials appeared again about every five years cycle. Christian Dior combined different elements through silhouette and material, Dolce & Gabbana combined images and Jean Paul Gaultier combined different elements in the aspect of purpose and wearing configuration.

• 한국의류학회지
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• 제36권10호
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• pp.1058-1073
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• 2012

This study examines the effects of collaboration type and brand sensitivity on consumer responses toward fashion collaboration brands. For this study, six brands of fashion collaboration were selected by collaboration types: collaboration with same industry (Uniqlo-Jill Sander, H&M-Sonia Rykiel, and Levis-Jean Paul Gaultier) and collaboration with different industries (LG-Prada, Samsung-Armani, and LG-Levis). A selfadministered questionnaire was developed based on the literature that mainly included brand sensitivity, consumer response (brand association, brand values, and purchase intention), and marketing strategic elements in the context of fashion collaboration. For collecting the data, respondents were asked to choose and assess a previously purchased brand. A total of 299 usable data responses were obtained from Korean consumers aged from 15 to 40 years old. The consumer response toward the fashion collaboration brand consisted of four factors: Emotional value, perceived quality, symbolic value, and brand association. The results showed that the collaboration type had the main effect on emotional value, symbolic value, and purchase intention. Brand sensitivity had the main effect on brand association, emotional value, symbolic value, and purchase intention. There was also an interaction effect on emotional value. With respect to strategic marketing elements, product differentiation, premium pricing, and value pricing had partially positive effect on consumer responses; however, promotion had a negative effect on consumer responses (e.g., perceived quality, and emotional value). In addition, collaboration type or brand sensitivity moderated the effect of strategic marketing elements on consumer responses. This study discussed a managerial implication to develop a strategic brand alliance to manage brand equity in the fashion marketplace.

• 한국의상디자인학회지
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• 제18권3호
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• 대한가정학회지
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• 제44권1호
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• pp.25-35
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• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.