• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.2
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• pp.272-283
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• 1999

Fetishism originated from the cultural and social products is related to many aspects of arts and sciences ; postmodernism psychoanalysis and subculture of pornography. Fetishism was reflected on fashion and now has been one of hot issues in high fashion, Waist was one of the erotic zone of body both in man and woman and sadomasockhistic fetishism was originated from physical damages on this zone. The aim of this experiment was to study what kind of fetishism was revealed on fashion especially in women and men's underwear fetish. In conclusion fetishism which has a long history and now been a one of popular high fashions in Western society is still unfamiliar to Korean fashion society. Researches of fetishism including deviant sex was still restricted in Korean society due to "Confuncianism" which has been a ruling philosophies in Korean culture. However the sex moral in modern Korean society is now being generous year by year and sex is no more a toboo to talk with. Fashion fashion will increase its market share in near future in Korea and 력\ulcorner studies of fetishism is needed.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.105-120
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• 2006

Today's radical change of environment and technology spreaded high-technology art by cutting across a general idea of art, expressed machine aesthetic in fashion style by influencing materials and production processes of fashion. The purpose of this research is to take another look at the value and the importance of ornaments in terms of fashion design, to overcome the negative aspect of Technology Fashion by designing Retro Technology Fashion that harmonizes reason with sensibilities through floral patterns. The results of this study are as followings. 1. If Retro technology Fashion was analyzed by time and space element that are postmodernism techniques, there are Ethnic Technology Fashion that are based on space and historical Technology Fashion that are based on time. In terms of spare element, there is the hybrid of revival of exotic folklore with Technology fashion. In terms of time element, there is the hybrid of costumes of before 20th Century with Technology Fashion. It means unifying detail or silhouette of costumes of ancient time to modern time wit Technology Fashion. For another time element, the hybrid of retro fashion after 20th Century with Technology Fashion. The retro nostalgia is revived by the floral patterns or silhouette of Hippie fashion unified with Technology Fashion. 2. Based on above research, Retro Technology Fashion with floral pattern on CAD were designed. As the results, for Ethno Fashion that is spatial retro, 'Asian Technology fashion' was designed with bright colors, China collar that are oriental, and vinyl material. For historical Technology fashion that are based on time, 'Space Middle Age' was designed with tight silhouette, party colored pants and plastic material.

• Journal of the Korean Home Economics Association
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• v.40 no.8
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• pp.167-182
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• 2002

The purpose of this study is to observe the meaning of Minimalism and the characteristics in modem fashion design. The Minimalism appeared in 1960's has affect on fashion design which are simple miniskirt or Courrage look of those days. It leads a fashion system to the simple style goes with the life style of modem persons although the characteristics are somewhat different the styles in 1960's with those of 1990's. Minimal style is not just simple style but abbriviate expression constrained at the minimum. The styles appeared to be an undecorated simple line which are a sleeveless onepiece, a simple suit with no pocket and no collar and narrow shoulder. Colors are monochrome coordination and pursue a simplicity which is monotone variation. Patterns also appeared to be a geometric or abstract pattern for example check and stripe, which intend to minimum expression. Matirials are hightech glossy coating textures which have a futuristic image. In conclusion, the Minimalism in 1990's appeared to be a post-minimalism associated with postmodernism and a hightech-minimal under the technology development.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.502-515
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• 1997

The purpose of this thesisis to show that, on the basis of a reconstructed theoretical framework of postmodernisuL the seemingly chaotic phenomena in recent fashion specta ole- i.e. extensive eclecticism and deconstruction of styles - can be systematically explained and that it is by no means a transient anomaly. The main task of this thesis is to distill out from the apparently chaotic scene in the Catwalk such distinctive features as 1. the bona fide postmodern subculture fashion as a non-mainstream,2. the subculture elements introduced in the mainstream, pastiche a la Jameson. Our theoretical framework enables us to establish these features as the necessary outcomes and tendencies of postmodern logic.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.4
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• pp.644-654
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• 2009

The purpose of this study is to analyze the characteristics of current fashion illustrations within the framework of Multi-space method. Multi-space means being piled up one moment & space on others, and being amassed in a scene. This method is related with Dadaism, Surrealism and Postmodernism, and also influences on the current fashion illustration. In this study, the types of Multi-space method could be classified into 4 types; Repetitive Time Mixture in Multi-space, Juxtaposed Time Mixture in Multi-space, Reiterated Space Mixture in Multi-space, Projected Space Mixture in Multi-space. The characteristics of Multi-space were analyzed and the results are as followed. The distinctive methods for Time Mixture in Multi-space are repetition and juxtaposition in a scene. Time Mixture in Multi-space can make the nonlinear narration and unreal illusory space in fashion illustrations more effectively. Reiterated Space Mixture in Multi-space can be related with the heterogeneous, surrealistic illusions in current fashion illustrations. Projected Space Mixture in Multi-space can be characterized into inter-penetration. It can derive spectators to mix the projected & transparent images in a scene for their own imaginary stories. The final imagination can be made differently according to the personal experiences of spectators.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.98-112
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• 2014

Since 2010, Goth styles have risen rapidly in prominence as one of the major trends of fashion. This study intends to understand the Goth style shown from the modern fashion by examining its historically formative characteristics and internal meanings of the Goth style. With mystic attitude toward the medieval Gothic culture, Goth style refers to its reproduction over the cultural circles including music, literature and arts. From the result of the historical review, the formative characteristics of the Goth style may be divided into darkness, distortion, memento mori and bricolage. The historical review of the Goth style contains symbolic meaning of mystery, terror, escape and theatricality. After 2000, Goth style, in combination with factors such as postmodernism and human desire, has been established as the main trend of modern fashion, going with the popular culture. The formativeness of modern Goth fashion is the same as that of Goth style examined from the historic review. However, in modern Goth fashion, the symbolic meaning has the processes of the new: unconsciousness, kitsch, overthrow and popularity.

• Journal of Fashion Business
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• v.8 no.1
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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.

• Journal of the Korean Society of Costume
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• v.25
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• pp.21-39
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• 1995

By 1980, there are two main flows in the world fashion. One is the traditional Paris fashion by Houte Couture, and the other is the American casual fashion by mass production. However, the appearance of Japanese designers and their new styles on the stage of Paris fashion have had a strong influence on the change of the world fashion since 1980s. So, the purposes of this study were first to research the process, the background and the power which let the Japanese stand and suc-ceed in the stage of Paris fashion, second to research on the Fashion World and Fashion Trend from the beginning of 1980s to present (1994). The results were as follow ; Hanae Mori and Kenzo were the pioneers who let the West know the existence and the level of Japanese fashion. Issey Miyake was the new innovator in the 20th century Fashion. and became the foundation of the New Wave Fashion in 1980s. Rei kawakubo completed the philosophy of beauty by the imperfection and has led the Postmodernism in the Fashion. The constant efforts of the these Japanese designers have inspired the orientalism and Art-to Wear, showed up the new construction and material in clothing by layering and drap-ing and stimulated the traditional Paris fashion to become popular, casual and diverse. The success of Japanese designers and the boom of Japanese fashion were not only the effort of individuality but also the power of economics, the spirit of cooperation and the affection to the culture and tradition on the background. The New Wave fashion by Japanese designers in the beginning of 1980s have promoted the appearance of Avant-garde fashion in London, the new fashion spirit in Milano, and the various fashion styles of different sections in the West and East. Finally, it becomes popular in 1990s and leads the fashion spirit in the end of 20th century.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.30-44
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• 2020

Bootleg fashion emerged from the fashion industry after 2010, and has been used across a range of different genres. However, it has yet to be theoretically established; therefore, this study will explain bootleg fashion as a new genre, which will help in the planning and designing of products within domestic fashion brands. The purpose of this study was to examine the characteristics and internal meaning of bootleg fashion as a recently emerged fashion phenomenon that borrows from other brands without permission. The research methodology included a theoretical literature review of fashion sites and related materials and empirical research using case analysis. Results of the analysis of both characteristics and internal meaning of bootleg fashion suggest the following characteristics: "unauthorized use of symbolic elements," "disorganization of boundaries between fashion," "multiplicity through globalization," and "newness through deconstruction and recombination." Internal meanings derived from the analysis were "parody through symbol," which is seen as "a parody and homage resulting from the unauthorized use of a brand," while "decomposition through disorganization" is seen as a break-up of the boundaries between different fashions from a mainstream-oriented perspective. A juxtaposition of elements was demonstrated by "playfulness through transformation," which showed that such fashion cannot coexist with positional transposition. Finally, "spread as a cultural phenomenon" was derived through the diffusion through digital media with DIY culture. As such, bootleg fashion has been reborn as an innovative fashion genre, breaking the taboo of the illegitimate from the past and demonstrating new endeavors.

• Journal of Fashion Business
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• v.7 no.2
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• pp.26-36
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• 2003

The purpose of this study is to examine the concept of modern consumer society and to analyze how the meaning of postmodern-feminism is consumed into what image of preference in fashion. The function of modern society has changed into the system which is centered around consumption from the one that emphasizes labor and production of mass consumption age by mass production. In this consumer society, consumption means just not to waste of production but to consume the commodity sign reflected on the desire of a moderner. In other words, it means what is consumed will be the meaning, preference, symbol, and image mood not goods itself with physical feature. Existing feminism has affected by postmodernism. Due to that, postmodern-feminism has developed, taking to pieces the paternal argument since the late 1960s. It has tried to give up hope this idea, regarding sex distinction as a socially organized category contrary to women's identity of biological aspect suppressed in the paternal system of value. Especially it has demanded only one type on sex should be translated into a distinctive quality, multiple meaning, and sex. Accordingly in modern fashion, this aspect is expressed like the followings : distinction into women's image evaded fixation, multiple meaning into image of androgyny, multiple sex into that of mixture. And this is used as the image of symbolic goods, also the purpose of brand difference.