• 한국의류학회지
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• 제23권5호
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• pp.623-634
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• 1999

The purpose of this study is to explore the culture of clothing of subgroups among adolescents by residence. In this research informants were selected by selective sampling and ethnographic methods such as field work depth interviews and open-ended descriptions were employed to interpret their culture of clothing. The results were followed. First our adolescents enjoyed the popular song as leisure and these popular culture was their inspiration source of style. Second adolescents were grouping the Kang-Bouk and the adolescents group preferred the style of popular singers and the Kang-Nam adolescents group preferred the musical competence of singers and specific type particularly Hip-Hop style. And in acception pattern of fashion style the Kang-Bouk groups accepted the recent fashion style continuously and wanted to be striking while the Kang-Nam groups accepted the various Hip-Hop styles and sought to comfort and suitability of that style. Third to consider the connotations of marketing the Kan-Bouk groups shopped on the street perceived as fashionable among peer groups and sought to the lower price but the Kang-Nam groups used the shops selling their original ip-Hop style without regard to the price and sites. Although there existed a two years' difference between the first and the second research(1996-1998) subgroups among adolescents according to the residence have had their own culture of clothing constantly. And a segmentation tendency by clothing behavior within the same adolescent generation is revealed more visibly.

• 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.

• 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.

• 대한가정학회지
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• 제36권9호
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• pp.13-33
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• 1998

The purpose of this study is to examine the styles of street fashion in youth sub-culture which has the leading power of 1990's Korean fashion flow. This topic has been explored in documentary studies about the youth sub-culture and the background of street fashion. Then, it also continued to classify street fashion styles in order to grasp the meaning as a young fashion. The results of this study are as follows. Street fashio of Korean youth are composed of four styles. ; The first is a hip-hop style. The hip-hop of Korea is started by 'Taiji Boys' and their representative apperances are the big-baggy pants, the reversed cap, the thrown backpack. The second is a reggae style. It is formed by the singer 'Kim Gun Mo'. It features the primary color and the use of ethnic fabrics. The third is a kitch style. The kitch is definitely represented by the old, the childish and the satire appearances. It came up with the rock band 'pipiband'. The forth is a sporty style. It comes from 'basketball' and 'skateboarding' which the young people prefer. Its designs are applied from the back-number of players, the names of the teams, the stripes of active-feeling. Based on this study, I designed cloths with 3 concepts to present a new design direction of Street Fashion. Work 1, 「JOY-RIDE」 represented the freedom and the release which are shown by pop music and dance. Work 2, 「GAMMA ENERGY」 represented the dynamic energy through sports games. Work 3, 「AROUND THE CORNER」 represented the form of street including comers, walls, roads etc.

• 비교문화연구
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• 제39권
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• pp.97-125
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• 2015

Significance of the R16 Korea Contest as Culture Contents. Known for relentless practice and intense moves, widespread presence on the Internet, strong ethnic elements highlighting Korean physical attributes and collective culture, b-boying occupies a special place in Korea today. News of four consecutive wins in major b-boy contests around the world have changed the common public conception that b-boys are simply a group of problem boys and students in hip-hop clothes intent on showing off their dance moves. B-boying is no longer perceived as a dance that is performed in the shadowy underground but as a dynamic and beautiful art form of physical expression that is part of today's popular culture. This paper examines the significance of R-16 Korea as culture contents and its main event, the World B-boy Masters Championship. It introduces how the contest has developed since 2007 to reach popular influence and gain international recognition. The paper also compares R-16 Korea to the world's four major b-boy contests, Battle Of The Year, UK B-boy Championship, Free Style Session, and Red Bull BC One to see if any distinctions could be found among them and to evaluate the significance of R-16 Korea as cultural content in its rise to one of the world's top 5 major b-boy contests. Finally, this study makes suggestions for b-boying to become more established as part of Korea's culture contents.

• 복식
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• 제59권1호
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• pp.119-135
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• 2009

The purpose of this study was to examine formative aesthetic characteristics and aesthetical value of the intraculturalism expressed in contemporary fashion and to confirm the functions of intraculturalism to establish, visualize, perform the racially indeterminate, ethnically neutral, culturally diverse or ambiguous identity. For this study, the applications of the intraculturalism shown in mass media and consumer culture, such as music, fashion advertisements and collections of high fashion designers from 2004 to 2008 have been analyzed and compared. The results were as follows: The Intraculturalism is reflected in the muticultural music such as Afropean, Jawaiian, Reggaeton and Asian Hip Hop. Intracultural music genres create the hybrid music and fashion culture through mixing, matching and blending one and another culture. Advertisement campaigns for Louis Vuitton, YSL Beauty, Gap and H&M stores have all purposely highlighted models with mixed racial heritage. It is reflected in the latest youth fashion market trend using face that are ethnically ambiguous. The increasingly multiracial, multicultural population is due to intermarriage and waves of immigration. The rising mixed race designers, Narciso Rodriguez, Hussein Chalayan, Vera Wang and DooRi Chung, not only compromise and amalgamate different cultural elements of their heritage and contemporary life but also create new look and fashion image. The characteristics of intraculturalism expressed in the 21st century fashion could categorized into de-genre, de-nationality, de-race and de-culture.

• 패션비즈니스
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• 제10권4호
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• pp.114-129
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• 2006

This purpose of this study is to research on the influence on the creation of young generation's street fashion of pop stars focused on pop music given the fact that fashion can be created by popular culture in this multi-media era. Also, this study is to provide useful data for the activation of the creation of young fashion culture and the fashion industry through pop stars' fashion. The pop stars' fashion that has affected young street fashion is as follows : Elvis Presley's rock'n'roll style, Beatles' mods style, Janis Joplin's hippy style, Sex Pistols's punk style, Madonna's boy-toy and corset style, Michael Jackson's androgynous style, Puff Daddy and L.L Cool J's hip-hop style, Bob Marley's reggae style, Spice Girls, Jennifer Lopez and Britney Spears's sexy style. The young street fashion culture of pop stars and its industrial meaning withdrawn from the above are as follows : Creation of a fashion icon, Creation of anti-fashion, Liberation of a sex role, Costume play culture, Activation of the young fashion industry through star marketing.

• 한국의류학회지
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• 제21권3호
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• 한국의류학회지
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• 제28권1호
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• pp.154-164
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• 2004

The purpose of this theses is to review Hanliu phenomenon, a kind of social and cultural phenomenon, in China around A. D. 2000 in the view of the culture-diffusion theory, and analyze its effect to the fashion style of the new young generation of China. In this theses, Hanliu phenomenon means the enthusiasm of Asian people for Korean mass cultures such as Korean dramas, pop songs and fashions from late 1990's. This research adopts two kinds of methods for analyzing Hanliu phenomenon: a qualitative research method and a quantitative one. As a qualitative research method, we analyzed Hanliu phenomenon with several sources of documentaries and audio-visual materials on it. As a quantitative research method, we conducted a survey of about 100 university students in Beijing for how they feel of korean culture and fashions. The Hanliu phenomenon leads to the popularity of Korean products and the general Korean cultures. Also, it affected the Chinese young generation so much that the Korean fashion becomes popular among them. Its effects to the fashion styles of Chinese youths can be summarized in three factors as follows. Firstly, the fashions of Korean entertainers such as H.O.T hair style and Hip-hop fashion style are widely imitated. Secondly, the preference of Korean fashion products has been widely increased. The number of stores dealing with Korean fashion products has been increased. Finally, Korean culture and products have actively been imitated in China according to the increased popularity of Korean fashion products.

• 패션비즈니스
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• 제8권1호
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• pp.91-106
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• 2004

This study focuses on the sportism expressed in the modern fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time, new fashion materials resulting from new technologies, youth culture and postmodernism. Designers gazing into the future are inspired by the details and functionality of clothing for snow boarding, skiing, rock-climbing and fitness. While the sportswear is the term whith stemmed from the need for functionally in sports, the Sportism is the style inspired by the formative elements, that is, the details, the silhouette, and the colors of the sportswear. New technologies for sports, the powerful influence of youthful culture, and the celebritizations of the sports stars made the sports look more popular. It can be categorized into three aesthetic values, i.e., the functional sportism, the street sportism, and the futuristic sportism. The functional sportism is expressed with the details of function, simplicity, and no useless ornament, the street sportism with fun, androgynous and unisex mode and the image of hip-hop look and traditional look, the futuristic sportism with new high tech fabrics and cyber style. The characters of these are a sence of unisex, sensualness, ostentation, renovation.