• 대한가정학회지
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• 제44권6호
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• pp.163-174
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• 2006

The purpose of this research was to examine the level and trends in household clothing expenditure in Korea. Raw data sets produced by the National Statistical Office from the Family Income and Expenditure Survey from 1991 to 2004 were used to support time-series and cross-sectional analyses. The clothing expenditures decreased severely and quickly during the economic crisis of late 1997 through 1998, then increased slowly after the economic crisis until 2003, only to slightly decrease again in 2004. The ratio of clothing expenditure to total household expenditure decreased from 8.03% in 1991 to 5.11% in 2004. This decrease in relative clothing expenditure was greater in the lower income group than in the middle and high income groups. Clothing expenditure patterns were unique and differed from other household expenditures. Although the economic crisis in the late 1990s affected Korean consumers' clothing expenditure, clothing expenditure patterns showed a more fundamental and structural change from 1991 to 2004, with the overall decrease in such expenditure resulting from the concurrent increase in educational and information-communication related expenditures. Clothing expenditure was shown to be luxurious through cross-sectional analysis, but necessary through time-series analysis.

• 복식
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• 제51권5호
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• pp.45-59
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• 2001

The purpose of this study is to investigate the religious motive and to clarify the relation between religion and fashion and to predict the trends in the future fashion by analyzing the religious motive in the aspects of inner meanings and methods. 1. We can see ego-superiority as inner meanings of religious motive is expressed mysterious image. Mysterious feeling is reflected in modem fashion in the form of the transparency of light and mysterious color in religious painting that is reemerged as a gorgeous and luxurious sense or it is reflected in modern fashion in the form of borrowing grand ways of art and elements of clothing. And this results from longing for aristocratic gorgeousness and from desire for light that is based on love and salvation. 2. We can see religious motive in modern fashion is a will to be converted to religion because of fin de sie-cle anxiety, and this is reemerged in modem fashion as borrowing of religious symbols in the casual wear or as combination of sacred religious motive with vulgar image and they are going to get mental satisfaction by this. 3. Religious motive has the inner meanings of ethic completion and this is reemerged through covering bodies, minimizing details and using dark tone color by having an inspiration in religious clothing. And this results from antipathy to extreme gorgeousness of modern fashion and excessive exposure and from mental desire for returning to an inner nature.

• 복식
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• 제50권8호
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• pp.177-198
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• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• 한국의류산업학회지
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• 제5권4호
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• pp.331-336
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• 2003

This study is to research the influence of Caesalpinia sappan which was imported through the exchanges between the Chosun dynasty and Japanese envoys during the early Chosun dynasty. Korea interchanged politically and culturally with Japan since ancient times. Particularly, the good-neighbor foreign policy toward Japan grew into trade relations. The diplomatic mission, under the name of Tongshinsa, was dispatched 12 times in total. Plenty of goods were exchanged through the visiting of Japanese envoys as well as through the activities of Korean envoys. In other words, the Korean-Japanese relations were at first focused on the political and diplomatic etiquette and gradually evolved into economic exchanges. Trading goods were various, including food, clothing, etc. Caesalpinia sappan, a red dye, was the most imported goods from Japan, but it was sold at a very high price, which caused luxurious trends in clothing. However, these sumptuous moods of the upper classes were decreased in the 16th century. Some of the reasons are : the difficulties of Japan's trade with the Caesalpinia sappan producing countries in South-east Asia, the transition of the high classes' preference from red clothing into Chinese BaecSa and SaraNeungDan, and the comparative decrease in the demand of Caesalpinia sappan by the changed understanding of Honghwa. Therefore, the early Chosun dynasty's clothing trends were due to the relationships between the Chosun dynasty and Japan.

• 복식문화연구
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• 제17권4호
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• pp.626-639
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• 2009

As the global trend of Retro combined with the tendency of individualism which respects dramatic change and diversity in the 21st century, Goth subculture of Korea developed into various popular styles. This study, noticing the influences of Goth to the Korean youth culture and fashion trends, intends to examine the current fashion trends to analyze the various aspects of the influences of Goth to the Korean youth culture. To do this, various documents and numerous Internet materials on the Korean Goth culture are comprehensively reviewed, and the Goth look images of popular stars, photographs from fashion magazines and fashion collections are gathered, analysed, and classified into types, and the specific characteristics of these types are comprehensively analysed. According to the result of this research, Punk Goth look, departing from the sensational and aggressive style of Punk look, expresses sexy and luxurious images, while Romantic Goth look shows the brilliant and cheerful style by mixing the cute girlish image and the elegant feminine image of exaggerated details and voluminous silhouette. Avant garde Goth look parodies Goth image by using the dramatic effects of Goth images or is expressed in performances. Sexy Goth look, which reveals the sexual attractiveness of men and women much more assertively, tries to do suggestive representation and excessive exposure of human body. Dandy Goth look, which has the simple and modern line, expresses the calm and chic feeling by employing basic items with minimized details and coordinating unique accessories for accent.

• 한국의류산업학회지
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• 제21권3호
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• pp.288-299
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• 2019

This study examined trends in model perceptions in the Asian fashion industry through a survey on the current status of using models, model attributes, and image recognition for companies and brands participating in the Seoul Fashion Week and Hong Kong Fashion Week. The results of the study are as follows. First, an examination of the races of models used for public relations by clothing and accessory companies indicated that the use of Asian and black models was lower than white models. Second, intimacy, reliability, similarity, and professionalism were derived as attributes for a public relation model. Among these factors, only 'intimacy' showed a difference between the countries. Third, Seoul Fashion Week participants gave the highest marks for the strong individuality of the models used for their brands; however, participants in the Hong Kong Fashion Week most appreciated suitability with products and professional appearance. Fourth, the different trends of model image recognition were shown through various analysis results by country or race, in which Seoul Fashion Week participants highly perceived the global and luxurious image of white models, and were generally highly satisfied with the models. In terms of the Hong Kong Fashion Week, Asian models tended to be perceived as a more casual image, and the participants held contributions to brand recognition as the most significant factor when using Asian models.

• 한국주거학회논문집
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• 제23권3호
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• pp.43-52
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• 2012

The purpose of this study is to determine the characteristics of interior coordination in accordance with lifestyles to provide better interior conditions for house dwellers who have many different preferences and needs. For this purpose, this research examined the lifestyles of house dwellers, and their experiences on interior coordination, needs and preferences of dweller groups according to their lifestyles. As the methods of the study, both literature research and empirical survey were conducted. The findings of the study can be summarized as follows; The factor analysis shows that there are five main factors significantly affecting the lifestyles of apartment residents, and the lifestyles of residents were largely classified into four groups. G1 group is characterized by 'demand for luxuriousness' and 'pursuit for beauty', and G2 group has tendency of 'information orientation' and 'pursuit for self-expression', G3 group shows strong tendency for 'pursuit for practicality' and G4 group is characterized by 'pursuit for self-expression' and 'pursuit for beauty'. The four groups showed distinct characteristics in their experiences, needs and preferences of interior coordination. G1 group can be names as 'the style of well-being and luxuriousness', and they are very positive in the interior climate change and prefer artistic items and luxurious atmosphere. G2 group, which can be named as 'the style of expression', tend to have their house interior-coordinated in order to follow fashion trends or express their personality. G3 group is named as 'the style of practicality' and they consider convenience, practicality, and functionality. The last group, G4 can be named as 'the style of personality', and they have much interest in expressing their personality or following trendy fashions.

• 한국의상디자인학회지
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• 제20권2호
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• 한국콘텐츠학회논문지
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• 제12권5호
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• pp.134-143
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• 2012

1957년부터 시작된 미스코리아 대회에서 선발된 미스코리아들은 당 시대를 대표하는 공식적인 미인으로서 전 국민적 관심을 받아왔으며, 사회, 문화, 미용 예술학적 분야 등에서 지대한 영향을 미쳐왔다. 반면에 학문적 관심은 초기 단계에 머물고 있어, 일부 선행연구들 조차도 연구도구의 객관성과 용어의 통일성 등이 결여되어 있다. 본 연구에서는 미스코리아의 드레스 패션 스타일에 나타난 디자인 구성요소의 특징을 살펴보고, 시대별 유행경향과의 관계를 비교 분석하여 미의식 기초자료로서의 활용가치를 높이고자 한다. 본 연구는 1970년부터 2011년까지 미스코리아 시상식 드레스를 기준으로 해당 사진자료들을 수집하고, 관련 전공 교수들과 대학원생들의 예비조사와 본 조사를 거쳐 판독 분석하여 나온 의견을 토대로 연구결과를 도출하였다. 분석 결과, 미스코리아 드레스 패션 스타일에 나타난 디자인 구성요소의 특징들은 미스코리아의 사랑스럽고 지적이며 때로는 섹시하고 고급스러운 여성미를 돋보이고자 연출되었으며 시대별 유행경향과의 관계는 당시대의 웨딩드레스의 유행경향이 미스코리아 드레스에 많이 반영되었음을 본 연구를 통해 확인하였다.

• 복식
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• 제57권4호
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• pp.45-60
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• 2007

Characteristics of Hanbok's traditional coloration have been carried on, based on social/cultural background of the past. Today, Hanbok is classified as traditional Hanbok, improved Hanbok, living Hanbok. Their designs, materials and colorations show significant differences. In this study, first, we have categorized and arranged the coloration trend of the women's Hanbok according to the types of coloration since 2000s. Secondly, Hanbok is classified as traditional Hanbok, improved Hanbok, and living Hanbok. And then examining their coloration trend and coloration characteristics of different types of Hanbok, so we can find the purpose far increasing understanding of various color beauty and coloration of today's Hanbok. The findings of this research are summarized as follows; 1. Traditional Hanbok coloration is influenced by the modern rotor and tone, and is apt to show the trend of emphasizing individuality. 2. Hanbok coloration of middle period in 2000's has become to use high value and chroma, giving more bright and luxurious impression then the early period. 3. For this study, we have categorized the total of 277 women's Hanboks by their coloration trends, through studying traditional Hanbok catalogues that enclosed vividly colored pure silk samples. As a result, it shows the order of contrary coloration(149), tone on tone coloration(56), similar coloration(23), monochrome coloration(20), tone in tone coloration(17), and 화학섬유chrome coloration(12). 4. Traditional, improved and living Hanbok show differences not only in their designs or materials but also in colorations. Using of traditional coloration is applied to traditional Hanbok and improved Hanbok in that order, and mostly the value and chroma of living Hanbok colorations are low, which emphasizes easiness to move and practicality.