• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• Journal of Fashion Business
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• v.14 no.1
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• pp.163-175
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• 2010

This study is a part of the integrated investigation of the design of Yves Saint Laurent, and aims at examining the background of the appearance of art inspiration which the artistic quality and originality are particularly seen. And also, I would like to examine the source of the power that transcends periods, dealing with issues in the design. From the mid 1960 to 1970, Yves Saint Laurent who leaded the global fashion trend, displayed the Art Inspiration works with the innovation of fashion in Paris, rediscovery of the trends and colors in Modern Art, and background of Entourage and so forth. He brought in the various artistic genres to the fashion, and his Haute Couture collections which were created by the passion for the movie and theater art, expressed the freedom through his strong identity in the Modern Art & Culture and the atmosphere of that period. Eventually his works are reappeared transcending the generations as the fundamental power of Modernity, through the restricted line of his own, strong contrast of colors, and insight for the future.

• Journal of Fashion Business
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• v.19 no.6
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• pp.58-73
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• 2015

The purpose of this study is to examine the characteristics of men's wear designs unveiled while Hedi Slimane worked for Dior Homme and Yves Saint Laurent. The study will analyze and focusing on the modernistic characteristics in order to discover the postmodernism trends in his works. The results of the research are as follows. First, Hedi Slimane's fashion style can be cited as grunge and punk due to the trend of expressing the subculture of postmodernism. The design features shown in Dior Homme were straight lines, leather, metallic materials and dark colors used to reinterpret a grungy punk style, romantic patterns, glossy materials, elastic leather, and bright colors were the salient features of Yves Saint Laurent. Second, the feature of cultural pluralism of postmodernism appeared as a type ethnic style. He presented this through the Third World images in the Dior Homme but Spanish matador images, Marrakech's images and North African images in the Yves Saint Laurent. Third, he feature of his style is metrosexual feminizing men's fashion and breaking up gender stereotypes. I-type and X-type silhouettes that emphasize the human body and feminine design motifs such as a skirt are dominated in Dior Homme, and he completed the metrosexual style by using materials, colors and patterns such as bright feminine pink, red, laces, fur, floral and leopard prints, as well as flagrantly expressing body contour.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.2
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• pp.353-364
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• 2016

This study analyzes French designer Hedi Slimane who has received recent attention from the fashion world. He changed sub-culture 'Rock Fashion' into high fashion and altered the stereotype of the existing menswear with the skinny look. His extreme slim-fit style also has changed the menswear market dramatically. Hedi Slimane was mainly inspired by various rock music genres from the 1960 to 2000s such as glam rock, psychedelic rock, grunge rock, and garage rock. He showed in his own rock style when creating his collection. The collections inspired from the specific rock music and style were selected from Dior Homme (2001F/W-2007F/W) and Saint-Laurent (2013F/W-2015F/W), and analyzed by the 4 genres of rock music and fashion style as follows. First, glam rock style appeared in Dior Homme 2005F/W and Saint Laurent 2014S/S with glamorous full make-up, animal printings, and glitter textures. Second, psychedelic rock style appeared in Saint Laurent 2015S/S with flower patterns, afro hair, fur vests, and western & ethnic bohemian styling. Third, grunge rock style appeared at Dior Homme 2005S/S and Saint Laurent 2013F/W with messedup hair, destroyed jeans, and layering style. Fourth, garage rock style appeared mainly at Dior Homme 2006 S/S with messed-up hair, slim suit, fedora, and sneakers. This result is expected to be used for research and development on modern rock style for contemporary menswear.

• Journal of Communication Design
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• v.64
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• pp.64-75
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• 2018

Luxury fashion brands, which have dominated the market of high-priced apparel, bags and shoes, are recently showing changes of stepping into the cosmetics market. The purpose of this study is to examine how luxury fashion brand identity is transferred to cosmetic brand while expanding into luxury cosmetic brand, and to analyze the plastic signs of cosmetic package design and to analyze visual identity through a semi-symbolic system. Therefore, in this study, we tried to analyze the visual semiotic analysis of the package design such as the cushion compact, the lip tint and the brand logo which appeared in the popular product line of the fashion luxury brand such as Yves Saint Laurent and Armani. As a result of the analysis, this study has identified the semantic qualities expressed by each plastic element through the visual semiotic analysis process of the cosmetic package of Yves Saint Laurent and Giorgio Armani. These traits were found to be used as visual signs to reveal the 'Classicism' identity pursued by Yves Saint Laurent and the 'Baroque' identity pursued by Armani. Based on the results of this study, this study finds that the brand identity as a fashion brand is not transferring to the visual identity of cosmetic brands in the case of Yves Saint Laurent. On the other hand, this study found that Armani uses visual communication strategies to effectively transfer the brand identity as a fashion brand to the visual identity of cosmetic brands. On these two different results, it is necessary to examine whether luxury fashion brands and also Korean fashion brands are expanding into the cosmetics market and how they can better grasp the existing brand identity and apply it to the communication strategies of cosmetics brands.

• 발명특허
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• v.36 no.11
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• pp.57-60
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• 2011

최근 Christian Louboutin사(社)는 Yves Saint Lauren사(社)에 구두 외부밑창에 빨간색을 사용하지 말 것을 요청했는데 Yves Saint Lauren사(社)가 이를 거절하자 빨간색 밑창에 대한 상표권에 기초해 뉴욕 남부지방법원에 가처분신청을 했다. 위 사례를 통해 패션산업에서 색채는 미를 표현하고 경쟁하기 위한 필수요소인데, 경쟁자에게 색채 사용을 금지할 수 있는 것인지, 패션산업에서 단색의 색채가 상표로 등록될 수 있는 것인지, 색채상표의 등록요건은 무엇인지를 검토하고자 한다.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.547-558
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• 2017

Recently, the replacement of creative directors of fashion brands has gained attention from both researchers and practitioners. This study selected three representative fashion brands whose creative directors were replaced in the last 10 years, and analyzed the changed characteristics of their magazine advertisements. Literature studies and case studies were conducted as research methods. The subjects of the case studies were three fashion brands - 'Saint Laurent', 'Louis Vuitton', and 'Gucci'. Magazine advertisements were divided into two aspects: fashion photo elements and layout. The former can be classified into three components: the presence of a specific situation, the background of photos and objects, and the atmosphere of models. The latter can be classified into two components: the logo style and pictorial color. In terms of fashion photo elements, the presence of a specific situation in magazine advertisements appeared differently, depending on whether creative directors focus on the brand's own identity or on their own concept of each season. Also, the background of photos and objects, and the atmosphere of models changed depending on the situation. In terms of layout, there is no dramatic change in their logo styles, for they want to preserve their long tradition. And the more a creative director pursues younger sensibility, the more black and white color effect are added towards magazine advertisements. This study has its significance in that it confirms the replacement of creative directors has considerable influence on fashion brands' images and their magazine advertisements.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• Journal of the Korean Home Economics Association
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• v.35 no.6
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• pp.1-13
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• 1997

Hipp8ie style was introduced in 1960s when young generation's movement against industrial society and mass culture was spread. Its value was to go back to "Real and Pure Nature". Hippie originated from "Human Be-in" which was on-violent revolution held in sanfrancisco. American Hippie style was represented through freedom and love based on drug and psychedelic culture which were created by the young generation who were against traditional esthetic value as well as the moral and material value. However, Hippie style was represented differently in France. The privilege classes such as artists who were interested in surrealism, art negro and primitive culture, the intelligentsia like Montparnass in Paris, accepted Hippie style faster than ordinary people did. therefor, Hippie style in france was represented as an esthetic mode not a symbol of anti-culture and anti-policy. The general public imitated the style of the privileged classes and coordinated their style according to their personality without any standard such as blue jeans, ethnic, psychedelic, mini, mods, beatnik, etc. Yves Saint Laurent who was influenced by hippies led the mode of Paris to introduce "Africa", "Saharienne", "Pathwork". therefore, in 1960's fashion in Paris, everything was possible because of too many changes in fashion and refusal of accepting vogue.