• Journal of Fashion Business
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• v.15 no.5
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.209-216
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• 1998

The results of the study of diving the 21st century's Korea fashion market into consumer market, fashion market, and a new marketing strategy are as follows. The 21st consumer market is First, a fashion democracy phenomenon. As many people try to leave unconditional fashion following, consumer show a phenomenon to choose and create their own fashion by subjective judgements. Second, a phenomenon of total fashion pursuit. Consumer in the future are likely to put their goals not in differentiating small item products, but considering various fashion elements based on their individuality and sense of value. Third, world quality-oriented. With the improvement of life level, it accomplishes to emphasize consumers' fashion mind on the world wide popular use of materials, quality, design and brand image. Fourth, with the entrance of neo-rationalism, consumers show increasing trends to emphasize wisdom, solidity in goods strategy pursuing high quality fashion and to demand resonable prices. Fifth, concept-oriented. Consumers are changing into pursuing concept appropriate to individual life scene. Prospecting the composition of the 21st century's fashion market, First, sportive casual zone will draw attention more than any other zone. This is because interest in sports will grow according to the increase of leisure time and the expasion of time and space in the 21st century, and also ecology will become the important issue of sports sense because of human beings's natural habit toward nature. Second, the down aging phenomenon will accelerate its speed as a big trend. Third, a retro phenomenon, a concept contrary to digital and high-tech, will become another big trend for its remake, antique, and classic concept in fashion market with ecology trend. New marketing strategy to cope with changing fashion market is as follows. First, with the trend of borderless concept, borders between apparels are becoming vague, for example, they offer custom-made products to consumers. Second, as more enterprises take the way of gorilla and guerrilla where guerrillas who aim at niche market show up will develop. Basically, they think highly of individual creative study, and pursue the scene adherence with high sensitiveness. However this polarization becomes mutually-supplementing relationship showing gorilla's guerilla movement, and guerilla's gorilla high-tech. Third with the development of value retailing, enterprises pursuing mass merchandising of groups called category killers are expanded and amplified to new product fields, and expand business' share. Fourth, using outsourcing, the trend to use exterior function leaving each enterprise's strength by inspecting its own work is gradually strong. Fifth, with the expansion of none store sale, the entrance of the internet and the CD-ROM sales added to communication sales such as catalogues are specified. An eminent American think tank expect that 5-5% of the total sale of clothes and home goods in 2010 will be done by none store sale. Accordingly, to overcome the problems, First international, global level marketing, Second, the improvement of technology, Third, knowledge-creating marketing are needed.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.5
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• pp.489-500
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• 2012

This work surveys the trend and dissolution characteristics in headdress that appear in Jean Paul Gaultier's collection. Along with a related literature review, a total of 903 headdress pieces shown in collections 40 times (excluding the common caps and hats) were analyzed, covering from 2001S/S to 2010 F/W of Jean Paul Gaultier's Haute Couture and Pret-a-Porter. The headdress trend indicated in his collections was divided into such subgroup forms of folklore, usage of natural things, usage of artificial things, religion, retro, scarf, variations in headgear, mask and veil, atypical type and abstract. Such an expression tendency was so unique and mixed characteristic that it was hard to define its form and structure thanks to enlargement and exaggeration, extremity in ornaments, and use of foreign materials, which led to creative dynamics. Gaultier's headdress also reflected the following characteristics: first, expression of difference indicative of time deconstruction; second, uncertainty of meanings via deconstruction; third, text interactivity via deconstruction of gender and material adopted; fourth, decentralization through dissolution of the Orient and the Occident.

• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.429-445
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• 2020

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.