• Journal of the Korean Society of Costume
• /
• v.52 no.2
• /
• pp.1-17
• /
• 2002

The Traditional Look, a class of fashion, represents image based on British aristocratic authenticity and cultural heritage as unchangeable and lasting classic fashion style. And recently, it keeps up with the trend of modern and young consumers' desire by putting various images. The purpose of the study is to investigate the concept, image and present market condition and to analyze degree of consumers' brand awareness of Traditional brand in pursuit of developing new market and ensuring power between competitive brands. From above work, surveyed on degree of brand awareness and interest, preference, associable image and purchase factors coming from consumers. 606 data were analyzed with SPSS package. Frequency, Factor analysis, one-way ANOVA, Multiple response, and correlation were applied. The results of this study were as follows. 1. Traditional brand has a high degree at consumers' brand awareness but comparatively lower at interest in it. In band name, while the Burberry has the highest brand awareness, the Polo and the Hunt take first and second position in a purchasing rate. Brand preference has tendency to be concentrated on certain brands showing the outstanding highest degree like the Polo in the 20s, and the Burberry in the 50s in aspect of age structure. 2. In associable image of Traditional brand, it is associate with noble image as dignified, classical and intellectual with itself strongly among practical, individuality, confidential and noble image. 3. As the purchase factors of traditional brand products, it depends on mainly the reliability and esthetic factors like design and quality rather than ostentatious and practical factors. 4. Associable image except individuality image is correlated with the purchase factors of traditional brand.

• The Research Journal of the Costume Culture
• /
• v.26 no.6
• /
• pp.823-835
• /
• 2018

The body is an important object of costume expression, and the reflection of the aesthetics of the body according to age, culture, individual or group determines the form of the costume. In particular, British artist Leigh Bowery provided many designers and celebrities with original design ideas. Leigh Bowery's costumes are related to the carnival concept. Thus, this study analyzed Leigh Bowery's life and works, and examined Michael Bakhtin's grotesque carnivalesque theory. Based on Bakhtin's carnival theory around 100 works by Leigh Bowery, in the form of YouTube videos and DVD clips were analyzed in this study. The results of the analysis Leigh Bowery's body and costume research are as follows. First, this study can define fetishism as a characteristic of costumes such as body suits, harnesses, high-heeled boots, and stockings, that stress the body. Second, the character of the body is not expressed as that of an idealized body, but the fat and ugly aspect are revealed. Third, Leigh Bowery's costumes are characterized by ambiguity. The costumes blur the boundaries between women and men. Fourth, common sense, combined with normal and bizarre, brings out a strong sense of carnival humor with ridiculousness arising from the gap between reality and reality. His performance has had a significant impact on victims of discrimination or unequal treatment in sexual, racial, and age-related situations. This study should inspire many designers through the study of Leigh Bowery's body expression and dress, but it also introduces fashion icons that are not well known in Korea.

• Archives of design research
• /
• v.20 no.2 s.70
• /
• pp.41-52
• /
• 2007

Today, many pregnant women also advance up the business ladder and remain very active. They are consequently increasingly aware of the clothes they can wear. Despite these social changes, maternity wear has not been specially designed to satisfy the consumer's demands. From this, the purposes of this study are to investigate the current status of maternity wear and the apparent buying trends of pregnant women through a customers' opinion survey and interviews for the future maternity markets. In summary, the survey and interviews illustrate some important points which are that: Firstly, not all pregnant women buy maternity wear. Some pregnant women said they couldn't find enough difference in maternity wear prices even though they would like to buy some, commenting that maternity clothes were too expensive for such a short period of time. Also some already had maternity wear from a previous pregnancy, or had been passed on from friends and family. Secondly, on the other hand, many respondents were strongly concerned with style and quality rather than price because they agreed that there were not enough suitable maternity clothes for work and special occasions. Therefore some respondents would buy a maternity outfit for a special occasion. It also indicates that for a particular time, place or occasion like a party, wedding or other celebration, some respondents would buy a special outfit to make themselves feel good. Finally, according to the survey, the most important design concept is for wearable designs which change with the body during pregnancy; followed closely by designs which are able to be re-used when the pregnancy has finished. Nowadays, as recycling and saving resources are the biggest issues, if maternity manufacturers are encouraged to develop new products incorporating these new design concepts, more maternity markets will be developed to buy maternity wear.

• Journal of the Korean Society of Costume
• /
• v.67 no.2
• /
• pp.68-87
• /
• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• Journal of the Korean Society of Costume
• /
• v.56 no.3 s.102
• /
• pp.129-142
• /
• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.

• Journal of English Language & Literature
• /
• v.53 no.2
• /
• pp.203-218
• /
• 2007

The early eighteenth century witnessed the birth of homosexuality as an identity and the emergence of a homosexual subculture in Britain. The homosexual subculture revealed itself through identified walkways and parks, gestures by which men might signal their interests to each other, and meeting places called "molly houses" where homosexuals could gather in relative safety. As early as 1703 the homosexuals seem to have overrun London. Homosexuals in eighteenth-century Britain provides a figure on which a variety of social anxieties could be displaced. Homosexuality is partly sexual transgression; mostly, it represents a variety of class, national, political transgressions. The association of British homosexuality with the fashion for Italian tastes was commonplace, and the growth of homosexuality was regarded as the greatest threat to the glorious Britain by destroying all its masculine virtues. Homosexuality was widely believed to be particularly common among the aristocracy and to be symptomatic of the increasing depravity of that class. The radicals in eighteenth-century Britain did not hesitate to exploit the surge in homophobia. They identified aristocratic patronage as one of the aristocratic practices that encouraged homosexuality and thus stigmatized the sort of male bonding that helped sustain aristocratic hegemony.

• Journal of the Korea Convergence Society
• /
• v.10 no.10
• /
• pp.91-97
• /
• 2019

In recent years, as feminism has emerged as a main value in Korean society, related design studies are also increasing. This research archived domestic feminist design studies to provide researchers with a genealogy of feminist design research. The research defines 'feminist design' prior to the collection of domestic feminist design studies, and examine the British-American history of the feminist design studies as an origin of the term. As a feature of the period, the number of feminist design studies surged in 1999, and since the 2000s, an average of 5.1 studies have been published annually. As a feature of each field, there were a lot of studies in fashion, visual, architecture, design science, product order in the whole studies. Feminist design researchers accumulate discourse on a clear line of studies and hope that this research will be renewed in the not too distant future.

• Journal of Fashion Business
• /
• v.15 no.1
• /
• pp.185-204
• /
• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.