• Journal of Fashion Business
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• v.24 no.2
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• pp.44-59
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• 2020

This investigated the romanticism of Alessandro Michele who leads new trends in fashion industry as a creative director for Gucci. In this study, 307 women's wears exhibited by Alessandro Michele for 3 years in Milan collections from 2015 F/W to 2017 F/W are categorized according to the aesthetic characteristics of romanticism. Additionally, the five aesthetic features of Gucci's fashion design are an addition since the appearance of abnormally large size under the influence of postmodernism. The results based on the study purpose are as follows. First, the decoration makes the garments stand out by using fancy materials, splendid multicolor combination, applique embroidery and three-dimensional objects. Second, exotic style is expressed from an occidental perspective using Chinese traditional fashion or textiles, and exotic accessories. Thirdly, sensuality is manifested using see-through materials to emphasize women's breasts, or the beautiful and sexual expression of women's body. Fourth, the new creations are designed by combining contrasting elements, such as disparate materials and, different genders. Furthermore, traditional cultures like baroque and rococo, and the 1970's vintage looks inspires the creation of retro-style. Finally, the appearance of extremely large shoulders, silhouettes, and details of the human body can be explained with expansive tendency. The aforementioned results further suggest that diverse characteristics are expressed via reflection of contemporary art and trends.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.16-32
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• 2014

This study aims to compare the current conditions of fashion education organizations in Korea and China. The results are as follows: 1. As for the departments related to fashion in Korea, the department of clothing was most frequently found in the fields of everyday science and natural science and design was most frequent in art related fields. 2. As for the departments related to fashion in China, the department of design was usually found in the fields of spinning and weaving, art, fashion, and others, and a college was dedicated to is having departments related to the fashion industry, much larger in scale compare to Korea. 3. Subject analysis found that both Korea and China put the most weight on the subject of design than any other fields. 4. Subject analysis of the fashion related departments in Korea found that all three department groups put considerable weight on clothing design and clothing composition subjects with other subjects having greater parts in the curriculum. 5. As for the departments related to fashion in China, design-related subjects were most frequently found, irrespective of the title of the fashion department, and the subjects concerning fashion marketing were widely distributed. 6. It seems that the curriculum for fashion colleges in China have been affected by the characteristics of the university before absorptive integration and setting based on the local characteristics rather than by the characteristics of the college. 7. For the curriculum of Korea, it is necessary to divide theoretical and practical ones and to develop practical subjects in association with experts in actual fields. China needs to take into account the local characteristics due to its global curriculum and large area.

• 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.

• Korea Science and Art Forum
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• v.30
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• pp.217-230
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• 2017

The purpose of this study is to develop a theoretical model identifying how consumers accept a fashionable technology product. A systematic review of 39 influential TAM studies focusing on theory development in the context of information technology results in three tendencies, which become backbone of the model of fashionable technology acceptance. A subsequent review of the nature of fashion fleshes out the backbone with detailed propositions in the more specific context of fashionable technology. The model of fashionable technology acceptance includes key propositions of Theory of Reasoned Action, in which internal beliefs consist of functional, aesthetic and symbolic values, and other factors, such as technology features (i.e., hardware specification, software specification, brand, and price factors), environmental conditions (i.e., technical infrastructure and user occasion), individual differences (i.e., age, gender, experience, personality, aesthetic sense, fashion innovativeness, and income), and social influence (i.e., subjective norms, social reputation, and cultural difference). Implications, limitations, and suggestions for future research are also discussed.

• Journal of the Korean Society of Costume
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• v.20
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• pp.125-135
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• 1993

The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume de-sign, and thirdly to examin the characteristics of movement as shown in modern costume de-sign. For this study, we selected and analyzed some costume designs among those introduced in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L'Officiel that have been issued since 1988. As this research is carried out only through the analysis of pictures, it is not ac-companied by a study on material itself. The result of this study is that the ex-pression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the cloth-ing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual move-ment. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension of the costume. And the illusionistic movement is expressed by the de-sign to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the cos-tume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediated visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the en-largement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monot-ony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of 'movement'. finally, as this paper deals with the ex-pression of movement as shown in the costume design which prevailed after 1988, it is desir-able hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the ex-pression of movement in our Korean designer's and foreign designer's works.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.10
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• pp.1161-1174
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• 2011

An approach method of the semiotics theory is analyzing fashion: the look is that a sign represents one character and the image is interpreted as the destination of the changes. The fashion image interpretation by semiotics is possible because the fashion phenomenon by society has been accumulated in their abbreviation code. It is not possible to produce contradictions of the human imagination coined solution. The myth relieved to people, allowanced a meaning in the world and explained it have been unable to explain and protect us. Today's role of the world myth becomes the star's future. Public resting star's fashion image analysis promote that we understand the inherent desire. Madonna probably is one of the world's most famous women. To Create Madonna's own mythology staged image in various attire reveals symbolism. In this study, Madonna's fashion images, the myth 8 analysis of semiotics represent publicity. Madonna's album jacket 8 analysis of the myth. The fit and the relationship between the star and myths closely is obvious. The Madonna fashion image investigate that so forth implied myth into duality of feminine, upset of gender roles, upset of sexual roles, object of worship. In addition to the creation of these myths are based on sensuality heterosexual fashion images, body-conscious look, lingerie look, Androgynous Look, Dominatrix Look in the fashion style of the images, fashion items made to body suit, bra top, black panties, black boots, long gloves, pink, red, gold, satin, and leather; the addition, there are exaggerated props and accessories. These use such as the human body building wave blond hair. This study through Madonna's fashion image, semiotics analysis is acquainted with suitable means of myth.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.261-275
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• 1995

This paper analyzes the parallelism between the art trend and the fashion. As a representative case, we consider the Modernism and the Flapper look. The Modernism rejected the tradition of the past and pursued something new. This trend was in parallel with the fashion called flapper look which was against the tradition and made drastic change. The factors which represent the spirit of the age the Modernism are the simplicity, the rejection of the tradition, the individualism and the subjectivity, the functionalism, the fragmentation of the self, and the straight line. We discuss the fashion style of the flapper look in terms of these factors.

• Journal of Fashion Business
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• v.17 no.5
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• pp.70-83
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• 2013

This study aims to analyze the physical distortions of fashion design which appear in the 20th century. People have been expressing the hope and beauty by twisting human body since the beginning of mankind. Each period has been showing different forms according to various social and cultural environments. The exaggerated body distortions from the primitive times to the modern are based on human body proportions. Such distortion is to emphasize the inherent beauty within the human body. However, the distortions of the body after the 20th century have been developed with the advent of surrealism which is not affected by reasons but by imaginations. Generally speaking, the reconstruction of the heterogeneous elements is allowed in art. The unexpected surreal elements are creating formative beauty using by distinctly different technique which is unfamiliar and awkward. Physical distortion creates other beauty that is not uniform and absolute beauty but it pursues the diversity of breaking down into categories. Formativeness of surreal physical distortion fashion has the potential for a variety of clothing design, therefore it has intrinsic values for continuous study.

• Fashion & Textile Research Journal
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• v.10 no.3
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• pp.342-352
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• 2008

Picasso and Chanel were the most famous artists of modern art & fashion area in 20th century. It is well known that they have deeply influenced to the current fashion and art. This study is aimed to analyze Channel's works based on the aspects of Picasso's from 1900's to 1930's. There are five common, distinct and formative aspects - flatness, geometry, transparency based on multi-perspective, volume, variety of objects. Their works are based on the simplicity which is expressed by the analyzation, organization, deconstruction influenced by cubism. It is reconfirmed that they gave the general public the new value-functionality-by using the ready-made materials. Nowadays artists model themselves after Picasso and Chanel who made attempt to conversion of ideas, the steady style, the long view, the interchange of other fields and popularization.

• Journal of Fashion Business
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• v.11 no.3
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• pp.124-132
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• 2007

This study aims at inquiring into the image and characteristics of suitable hair style by occupation between movie actresses, TV talents, fashion models, singers and MCs who undergo the biggest influence on the management of international image and the inclination of appearance. For this, it made a survey of the image and characteristics on 177 women in their twenties to thirties living in Seoul city, providing photos of entertainers' six hair styles by image. The results of this study were as follows: First, it showed that movie stars or TV talents shone into one work of movie or TV become accustomed to natural, casual and romantic image. Second, it showed that singers or fashion models become accustomed to ethnic and unique style, as they follow an occupation that adjusts to their concept to show their clothes.