• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.181-192
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• 2002

The purpose of this study is to clarify the expression of conceptual image by which the modern graphic artists use for creating new visual images and the characteristics in expression of the major fashion images in fashion illustration. In the present study, major findings on the basis of the analysis of expression of visual images in fashion illustration since 1980s are as follow: The conceptual image expression in the visual arts is based on the eight techniques. They are dual image, operation of image, copying·reproduction of image, deconstruction of image, pictorial image, symbolization of image, mystification of image, and making humorous image. Since 1980s, the major fashion images in fashion illustration are mainly classified as classic image, humor image, fantastic image, natural image, avant-garde image, simple image, casual image and feminine image. The characteristics in expression of these images in fashion illustration are; 1) fortification of dual image in classic image, 2) activation in humor image 3) grotesque fantastic image, 4) the modernization of natural image, etc. In addition that, the image of avant-garde is expressed by Postermodernism, Deconstructionism, Techno etc. since 1980s. Also, simple image of the modern composition, casual image of daily life, and feminine image which is emphasized with eroticism are also included in these characteristic in expression of images since 1980s.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.416-429
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• 2011

Most of precedent studies related to hip hop culture and fashion, which have been conducted till now were progressed under only theoretical background of hiphop, not the changed status of hiphop currently. Practical studies explaining the status of hip hop in popular culture, especially, the area of popular fashion are insufficient. Therefore, this study was conducted by focusing on cultural characteristics and musical characteristics by the stream of period, for which concept hip hop is accepted to people currently and which effect it makes on the area of fashion. Especially, the study was progressed by dividing periodical background into before and after the 2000s because there was the most noticeable change for the genre of hip hop in that period. Because of the appearance of 'Alternative hip hop' which is a sub-genre of hip hop music, hip hop music was changed to be more popular. Also, hip hop fashion also showed big changes. Hip hop fashion before 2000s had showed poor conditions, resistance, complex and alienation of them by their fashion. On the other hand, hip hop fashion after 2000s also showed popular characteristics because of high-level environment and social status. This study intended to understand and grasp hip hop as a kind of cultural situation coexisted by many-sided characteristics as well as redefine the changed concept and contents of new hip hop currently.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.64-78
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• 2006

The purpose of this study is to set a characteristic design by analyzing formative properties for the hat and fashion image shown in fashion collections from the S/S season of 1998 to the F/W season of 2004 in recent seven years. For the study, the 96 stimuli which found frequently in fashion collection were selected. The examines for the image evaluation were women college students majoring fashion design related fields and living in Seoul, Gyeonggi-do, and Gyeongsangnam-do. Data collection was performed in August 2004. As statistical methods for data analysis, internal consistency method, Factor Analysis, MANOVA were used. Based on the analysis of 31 pairs of adjectives for elucidating the total 96 stimuli which were devised by altering the types of garment, the relation between a garment and a color of hat, the types of hat, the length of hair, and the material and design of garment, five factors or attractiveness, gracefulness, concentration, cuteness, and hardness and softness were deduced. And it showed much difference in the types of garment, the relations between a garment and a color of hat, the types of hat, the length of hair, and the material and design of a garment.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.156-160
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• 2006

Poststructuralism gives us a clue to totally understand fashion design, which is in danger of difficulty and frivolous ambiguity caused by indiscreet creating and groundless interpretation of Postmodernism. In addition, it leads us to have a new viewpoint, which is freed from stereotyped past concepts and constraints, with regard to fashion design. The main purpose of this study is to examine the various theoretic systems and characteristic concepts of Poststructuralism, and supply a new cognizance frame to understand the processes of fashion design with free and varied notions of deconstruction and generation, in place of the former systematic and consistent interpretation of meaning. Concerning fashion design, present study employs a two-way research method: analysis of theories and analysis of contents. In analysis of theories, a cognizance frame is proposed that can categorize the concepts of cognizance are classified into Nonboundariness, Otherness, and Textualism, derived from various theories of Poststructuralism, as traits expressed in fashion design. In analysis of contents, 10 fashion designers are chosen who exhibit new works at every Pr$\hat{e}$t-$\acute{a}$-Porter collection. Including 20 works that those designers displayed at Pr$\hat{e}$t-$\acute{a}$-Porter from spring/summer 2001 through autumn/winter 2004-2005, a total of 200 works are analyzed.

• The Research Journal of the Costume Culture
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• v.12 no.2
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• pp.224-238
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• 2004

This paper analyzes the similarity of fashion in the 1920's and 1960's. Fashion is a reflection of Zeitgeist. The similarity of fashion appeared in the similar social ideal period. The fashion of the 1920's and 1960's have a lot of similarity in many respects. Androgyny was the new word. The woman cut her hair short, wore short skirt, and projected a self-confidence that was considered by many to be too masculine. The new fashions also appeared very youthful. The cult of eternal youth was born. The mature woman was no longer requested. Instead, in the face of changing lifestyles and extremely rapid technological development, taste ran in favor of a young, athletic, and mobile ideal. The new fashions do-emphasized curvaceous shapes through short dresses and short hair-both styles were supposed to express youthfulness. Characteristic of the times was the short loose dress: straight silhouette disguised feminine curves. The new dresses were invented for very young, slim, and wide-eyed women. The common Zeitgeist of the 1920's and 1960's represents the cult of youth and the adoption of innovative style, which emphasized decoration-cleared simplicity, functionality, practicality, activity, androgyny. Innovative short skirt, youth fashion, androgynous style, unisex style, tubular silhouette, short hair style, and eyeline-emphasized makeup were analyzed by the similarity of fashion in the 1920's and 1960's.

• Fashion & Textile Research Journal
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• v.19 no.4
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• pp.373-384
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• 2017

This research has its significance on contributing to the establishment of sustainable fashion industry ecosystem of Seongsu area based on the creativity which is the driving force of economic growth in the 21st century. This study reviewed the major activities and processes of Seongsu-dong's regional specialized industries project and the social economic organizations's creation of fashion clusters by using specialized books, previous research, press releases such as newspapers, magazines, and the specialized internet site(www.seoul.go.kr). Also street casual-style clothes were designed based on work-wear that themed Seongsu-dong's industrial scene and social problems. The results of this study are as follows. Seongsu-dong represents the political and economic characteristics of a typical semi-industrial area in which the automobile repair, printing, textile, leather, and handmade industries are concentrated in accordance with the government's business and policy, and shows the technical characteristics through the internal complete industrial ecosystem integration of the handmade industries. In addition, social and cultural characteristics such as various local activities based on creativity are shown by social enterprises, and cultural artists. Based on the results of analyzing the regional characteristics of Seongsu-dong according to political, economic, technological, socio-cultural characteristics, eight fashion designs were made as motifs reflecting the regional characteristics of Seongsu-dong.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.1-15
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• 2013

This study deals with the aesthetic characteristics in Gareth Pugh's fashion film. As fashion films are becoming a newly emerging communication tool in fashion, the aim of this study will be to build a database on these films. For the specific method in this work, literature reviews were performed along with the empirical study of seven pieces of fashion film. The results of the study showed that Gareth Pugh released the fashion films from 2008 to 2012, and he collaborated with SHOW Studio member and photographer Nick Knight and Ruth Hogben. Common themes in their films were fear, fantasy, dynamics, and going off-limits, and these can be summed up in the following ways. First, a sense of fear was expressed via black colors, bizarre mechanical sounds, decalcomania shape in abstract images, and transformed physical body images. Second, an image of fantasy was presented with diverse expression techniques including colorful light presentations and abstract image setups from repeatedly changed image reproduction. Third, dynamic feature was denoted with a combination of fast development of images and quick reproduced layouts, as well as quick beat sounds, and big and powerful action movements. Fourth, characteristic of going off-limits was reflected, by showing the collections with a communication tool called fashion film instead of existing collection concept.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.

• Journal of the Korean Society of Costume
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• v.30
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• pp.227-237
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• 1996

The purpose of this study is to investigate the main characteristics of the environmentalism expressed in contemporary fashion. i.e. 'eco-look'. They can be categorized into naturalism symbolism primitiveness and concern about recycling. First naturalistic tendency can be found in through the method of some contemporary eco-looks which are using natural colors harmonisation of the colors in similarity and in controst and expressing in a realistic manner some natural entities or use some ornaments representing them. Such trends easily let people to feel the clothes unified with the nature and human beings. Secondly some contemporary eco-looks express environmentalistic ideas for examples the idea for protection of the nature or the idea against pollution of the earth and destruction of nature in a symbolistic way. Thirdly primitiveness is one of the most characteristic feature in contemporary eco-looks. It can be found in contemporary eco-looks, In can be found in some eco-looks using primitive or original images of Africa and underdeveloped countries. it reflects the human desire to go back to the nature or to the unity with the nature, Finally recycled materials are commonly used in eco-look. Patchwork and handmade knits are popular methods for this mode. They implicates the idea of pragmatism and simplicity in fashion. One Conclusion of the paper on eco-look: fashion design which can be itself an import-ant environment of human beings Secondly some contemporary eco-looks ex-press environmentalistic ideas for examples the idea for protection of the nature or the idea against pollution of the earth and destruction of nature in a symbolistic way. Thirdly primitiveness is one of the most characteristic feature in contemporary eco-looks. It can be found in some eco-looks using primitive or original images of Africa and underdeveloped countries. it reflects the human desire to go back to the nature or to the unity with the nature. Finally recycled materials are commonly used In eco-look Patchwork and handmade knits are popular methods for this mode. They implicates the idea of pragmatism and simplicity in fashion. One Conclusion of the paper on eco-look ; fashion design which can be itself an import-ant environment of human beings has become a very efficient and significant tool to express the idea of ecology.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.564-576
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• 2016

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for haute-couture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer's image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.