• Journal of Fashion Business
• /
• v.15 no.1
• /
• pp.20-33
• /
• 2011

The purpose of this study is to inquire into social and cultural background of modernization and the new woman's life centered around a new woman and a dancer, Choi Seung-hee and its style. The study was carried out centered around analysis of content through photos of 179 pieces and a documentary DVD. We analyzed collected photo data and came to know various bobbed hair style, clear makeup style and Art-Deco fashion. Accordingly, Choi Seung-hee has external appearance as a new woman and we came to know she is a representative woman in Korea. Because she crossed over into North Korea, the study has not been actively carried out but if we consider Choi Seung-hee's influence over the dance world, her women's leader and fashion roles at that age, it is considered that the study on Choi Seung-hee's external style has a significant meaning.

• Journal of Fashion Business
• /
• v.8 no.4
• /
• pp.141-155
• /
• 2004

The purpose of this study was to arrange the korean women's hair styles of the beginning of 21st century and make hair style image making chart to use personal image making consulting data through analyze actress hair styles of broadcasting TV drama. To accomplish this purposes, picked up the two most popular dramas per each broadcasting stations, KBS1, KBS2, MBC, SBS, in february 2004. and analyzed and arranged hair styles of actress and at the last made the hair style image making chart. The results of the research are as belows. 1. Hair trends of february 2004. were Modern Sophisticated, Active and Romantic. 2. The results of three classifications of hair style trends, form, color, accessory, were as belows. 1) Form : Layer, left part, straight, low wave, long hair, no volme, bang were in vogue. Generally, Modern Sophisticated, Active, Romantic feeling were in vogue. 2) Color : Black, brown, two tone color were in vogue. Generally Modern Sophisticated, Romantic, Active feeling were in vogue. 3) Accessory : Hair bands & pins were in vogue. Generally these gave the Modern, Active feeling. 3. Hair style image making chart manufacturing depends on fashion feeling. 1) Classification of feeling, 2) Analysis of form, 3) Analysis of color, 4) Hair style image making chart manufacturing depends on fashion feeling This research will be a historical data of korean women's hair styles of the beginning of 21st century & can be used the basic data of personal hair style image making consulting.

• Journal of Fashion Business
• /
• v.14 no.5
• /
• pp.21-34
• /
• 2010

The purpose of this study is to examine the main characteristics of strategies and fashion styles in fast fashion. Ultimately, this study is aimed to give useful information to develop fast fashion companies in Korean apparel industry. There are several strategies commonly applied in most fast fashion companies. First, they produce a wide range of numerous items. Second, the price is very reasonable. The primary objective of fast fashion is to quickly produce products in a cost efficient manner. Third, fast fashion companies take charge in the whole process from designing and manufacturing to distribution and sales. Forth, while almost all apparel companies invest a large amount in advertisement to promote sales, most fast fashion companies invest in VMD instead. Also, the fashion style of fast fashion were examined. First, casual style dominated a big part in composition of the entire style. Second, they use various kinds of different fabrics. For example, natural fabrics including organic and recycled fabrics, denims, newly invented high-tech fabrics, and decorative fabrics are widely used. Third, fast fashion brands produce fashion product based on the most recent fashion trends. Forth, they pursue high quality design. Retailers' understanding of the target market's wants realizes the consumer to thrive on constant change and the frequent availability of new products. Accordingly, fast fashion is presently taking an important role in fashion although it has a short history compared to the general apparel industry.

• The Research Journal of the Costume Culture
• /
• v.18 no.6
• /
• pp.1090-1111
• /
• 2010

Thanks to both developments in various media such as the internet and TV and China's economic growth, the fashion market in China has gain a lot of attention by global businesses as a newly-raised spending market. Fashion companies in Korea have entered into the china since the late 1990s. For them to get competitive edges, they have to differentiate their brand by creating new design based on the culture becoming mega-trend in fashion market. So in this research, I try to create fashion designs based on Hallyu Stars' fashion styles and images, who come on as a new culture code in China and other Asian. For this, I conducted theological consideration on what the Hallyu is, and looked into fashion styles in soft dramas which 5 Hallyu Stars started in and street fashion in Shanghai in China. Based on the outcomes of analysis, I figured out those star's fashion style and created products targeting young generation born after 1980s in China. The conclusion of this study is as follows. Firstly, the very definition of Hallyu which can be described as a phenomenon in which Korean movies, soap operas, and pop music have become immensely popular throughout Asia.has been expanding to signify the proliferation of Korean culture as a whole. Secondly, having selected the 5 female stars representing Hallyu, we were able to analyze and categorize their fashion styles on the basis of their music videos, movies, and soap-operas. Thirdly, In order to explore the level of influence of Hallyu fashion industry, we studied the street fashion of Shanghai The result was that we could observe both the slim and feminine cool casual style and the cute and affectionate pretty casual style simultaneously.

• Journal of Fashion Business
• /
• v.7 no.4
• /
• pp.105-120
• /
• 2003

Culture and society exist in the present, but they came from the past. So did clothing. As dressing is deeply based on culture pattern of the times, it is affected by various culture patterns and still keeps developing in modern times. This study is intended to examine the features of retro fashion on culture and dressing of the 19th century. The features of retro fashion on Neoclassical and Romantic culture and dressing are objection to the existing pattern, recursion to the past, and creativity characteristic of pattern of those days. Neoclassicism arose as it rejected Baroque and Rococo style, and imitated culture and artistic pattern of Greece and Rome. Romanticism objected to formal and universal pattern of Neoclassicism, and imitated Gothic style while recognizing historical facts and studying medieval times. Dressing in Neoclassicism did not accept exaggerated and luxurious Rococo pattern, and imitated simple, soft and straight silhouette of Greece and Rome and created its unique Empire Style. Romanticism imitated luxurious style of Renaissance, the Middle Ages, Baroque, and Rococo, different from simple and straight neoclassical style during the Bourbon restoration, and created its unique style. Thus, it is shown that retro fashion on Neoclassical and Romantic culture and dressing reflect the style of those days.

• Journal of Fashion Business
• /
• v.16 no.2
• /
• pp.124-137
• /
• 2012

This study aims to identify the meaning and formation cause of a style, and the essential elements of style formation, through psychobiological research as well as an analysis of the designs of Iris Van Herpen, a fashion designer, who in just 6 years has developed into a world-renowned new designer. As a result, it has been found that the psychobiological causes to form a style stem from the action of 'long-term memory', which is consolidated by 'selective attention', 'perceptional subjectivity', the principle of the 'neuron's connection specificity and invariance', and the principle of a 'neuronal signal's unilateral flow'. With such action, Herpen could develop her own original composition techniques. The formative shapes created by such composition techniques are characterized by enumeration, superposition, and hanging. The study has also found that the essential elements for a designer to be able to form his/her own style include 'aesthetic originality' in which the designer views the property of a thing from his/her inherent perspective, and finds the uniqueness from the thing that only he/she can express, 'technical differences' that are creative and original, and 'formative specificity' that is summarized into one property through an impressive shape.

• Journal of Fashion Business
• /
• v.17 no.2
• /
• pp.1-16
• /
• 2013

Subcultural style is the center of subcultural identity and the clothes and adornments are the most visible symbol of membership. The Goth subculture has associated tastes in music, aesthetics, and fashion. The style symbolized the strong subjective subcultural identity held by most Goths and acted as the practical basis to demonstrate their commitment to the subculture. This study investigates the aesthetic and the style of Goth subculture in its heyday of 1980s which has continued to affect mainstream fashion and culture since its birth. In order to inquire the concept of subculture and its style, this study executes literature survey as well as investigates the images of street style magazines to analyze the visual elements. The stylistic and the aesthetic characteristics of Goth subcultural style analyzed in this study are grouped into four categories as follows: first, Victoriana, which embodies the fear of death and the nostalgia for the past using Victorian morning dresses and corsets, second, vampirism, in that some Goths who are fascinated by vampires are costumed in vampire figures to advocate diabolism and decadence, third, sexual ambiguity of male Goths which emphasizes feminine appearance in the pursuit of androgyny, and fourth, sexual fetish of female Goths which represents aggressive eroticism utilizing fetish paraphernalia.

• Journal of Fashion Business
• /
• v.10 no.1
• /
• pp.164-177
• /
• 2006

The purpose of this study was to analyze the differences in the image perception of dress shirts, the shirts style preference, the men's fashion consciousness, the shirt purchase attitude, and the usage of the information source between the Daks group(44 respondents) and Renoma group(21 respondents), for developing the possibility and strategy of the dress shirt market in men's wear market for the apparel marketers and manufacturers. For this study, the data obtained from 65 respondents were analyzed by descriptive statistics, Pearson's simple correlation, ANOVA. The results from the study were as follows ; The 6 stimuli for image perception rated on 5 point Likert-type scales in the 12 features were evaluated by perceivers. By the best 3 features abstracted from each stimulus, the shirts styles were named, they were Basic style, Soft style, Sophisticated style, Modern casual style, Mannish style, and Trendy style. There were significant differences in the image perception of Mannish style, the preferences of shirts style, the fashion consciousness, the shirt purchase attitude, and the usage of the information source between the Daks group and Renoma group.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.33 no.4
• /
• pp.531-542
• /
• 2009

This study examines the correlation between the characteristics of sustainable slow design, The outcome derived from the pro-environmental consciousness in fashion design, and the trends of modern fashion design. The conclusion of this study is as follows. First, slow design for sustainability shows an environmental consciousness and stresses the ethical aspects of fashion design that take into account the wellbeing and sustainable development of human society. It also focuses on the continuos present in which the consistent pace of life endures, rather than pursuing speedy changes of fashion by titillating desire. Second, the five characteristics of slow design have been extracted from the analysis of the examples of fashion industry and other fashion-related areas. They are sustainability, recyclibility, handicraft, naturalness, and simplicity. Third, these characteristics of slow design have much to do with modern fashion genres. For instance, classical style fashions such as Chanel suit and Burberry coat have the same qualities of sustainability, while at the same time the Vintage fashion, which reinterprets the fashions from bygone eras in modern style, has the tendency of recyclibility, and the Hippie style, a resurrection of hand-touch spirit that emerged as a secondhand style expressionism resisting uniform mass production, has not only the quality of handicraft but also recyclibility.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.46 no.6
• /
• pp.1105-1127
• /
• 2022

This study investigated the role of fashion granfluencers as cultural intermediaries in the present digital era. The concept of fashion granfluencer as cultural intermediaries and their fashion style characteristics were defined and examined. The literature on cultural intermediaries, social media, and seniors in the context of fashion was reviewed. Primarily, three characteristics of cultural intermediaries-interactive communication, nonconformist attitude, and aesthetic disposition-were identified and used as analytical variables in this study. Through netnography, 1,452 Instagram posts from the renowned fashion granfluencer Iris Apfel (@iris.apfel) were examined. This study presented Iris as a fashion granfluencer and a senior professional, who uses fashion to express herself and define her identity. As a cultural mediator, she contributes to revitalizing the cultural economy and creating cultural products. Iris Apfel' fashion and style embody her digital persona. Her engagement in fashion activities-producing fashion content or attending fashion events-mediates the relationship between fashion producers and fashion consumers, thereby promoting the aesthetic value of fashion.