• Journal of the Korean Society of Costume
• /
• v.65 no.4
• /
• pp.76-90
• /
• 2015

Based on a concept of Nietzschean nihilism, this study aimed at interpreting the nihilism in arts and its expressions, also analyzing the modern fashion collection from the same angle. The research was centered on arts after 1980, when post-modern formal destruction expanded in earnest and on the fashion collection after the 20th century, easily accessible to data. Particularly, it set 1994 nihilism collection by Alexander McQueen, a representative nihilist fashion designer as a starting point. Nietzsche mentioned that true arts may be achieved when Apollonian characteristics including a bodily sensory system and an idealization process and Dionysian characteristics including every human feeling are integrated. Besides, he emphasized the importance of an artist being represented as an image of ${\ddot{U}}bermensch$. The ${\ddot{U}}bermensch$ image, reflected in arts and artistic nihilism, represents themes of violence/death, realistic/unrealistic expressions, human body/inhuman aversion materials and the transmutation of a form. Fashion collection expressions, owing to the special characteristic of the show form unlike other arts, were segmented as a realistic ${\ddot{U}}bermensch$ image using a model in a theme, expression, material and form. The theme of violence/death was divided into the death of human and a society. Human life/death was expressed as destruction of human weakness and self-identity, sexual objectification and violence, and social death as destruction and conflict of a class, nation, culture and nature. As for the expression, it was divided into the realistic expression of the primitive/natural and directing of an unrealistic atmosphere using a show.

• The Research Journal of the Costume Culture
• /
• v.13 no.6 s.59
• /
• pp.883-895
• /
• 2005

Exaggeration is to express an object or a situation in an excessive way. As the desire for aesthetic expression grows greater today, we tended to focus on the exaggerative expression as a means to acquire other's attention and praise. Also people more actively express their own intention or opinion in an exaggerated manner. The purpose of this study is to identify the social and cultural functions of modern fashion via exaggerative expression, one of the formative characteristics, and its meaning. To do so, the exaggerative features of modern fashion have been analyzed, and the social and cultural meaning of those have been examined through the background of the times and aesthetic sense. The formative form in the exaggerative expression shown in the modern fashion was classified into a body priority type emphasizing woman's body contour, a body disregarded type shown oversized silhouette regardless of body contour and a body distorted type expressing free and diverse form in various shapes of asymmetry and imbalance. The symbolic meanings of those include the changing of the body consciousness and the notions of feminity, and the desire fur formative and playable expression. The exaggeration of the costume in history meant aesthetic value of the woman's body in the society led by men. However, the exaggerative expression shown in the modern fashion is a method to express more actively, as compared with the costume in the past.

• The Research Journal of the Costume Culture
• /
• v.30 no.5
• /
• pp.752-765
• /
• 2022

Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers' designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers' design characteristics through Greimas' Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas' and Floch's semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas' semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.

• Korean Institute of Interior Design Journal
• /
• no.15
• /
• pp.3-16
• /
• 1998

Fashion specialty store is based on one theme called "Fashion", to pursue originality of facilities in one concept from merchandising, environmental planning and facilities management and satisfy consumer's urge quantitatively as well as qualitative]y also congreqation of characteristic space, distingtion from commor store, not only selling goods but also jointly owned funtiona] space such as information and culture. So this research. with the importance of image. to present the basic information of interior design, study on the analyzing the type of image and the factor of composition focused on the complex fashion specialty store in own brand. Ana]yzing thr type of image with preliminary research and the first and second questionnair, with this make a comparision between the factor of composition and image. The conclusion was summertized as follows : '||'&'||'#8226; Firstly, the interior image of complex fashion specialty store in own brand divided into ;) different images, Such as :VIodern, Semi Classic. Hi-Tech Ylodern, Natural. and casual image '||'&'||'#8226; Secondly, according to the factor of composition is as follows, Such as Architecture, Surface. Furniture, Lighting and Display, the factor of composition is as follows : Architectura] factor divided into vertical. horizental. flexibility and exterior, Surface : material. and main color, Furniture : form and material. Lighting : lighting fixture and genera] lighting system, and Display: window and interior display . '||'&'||'#8226; Third]y, make a comparision of image. simple and feminine with Hi-Tech, Semi-Classic toward natural. complicated, feminine. and Low-Tech, Hi Tech ~.Iodern image, toward modem. natural. simple feel and somehow feminine. Natrual image, toward modem. natura], simple, and Hi Tech, Casual image toward modm, simple, and Hi Tech. '||'&'||'#8226; Fourthly, with builaing up new space, alteration infashion specialty store focused on the customers seiling space with rest and resources, also huge character is found in fashion specialty store

• Journal of the Korean Society of Costume
• /
• v.60 no.2
• /
• pp.1-19
• /
• 2010

The purpose of this research is to examine the rise of hip-hop culture and its characteristics which have been established as a part of popular culture amid other subcultures and to examine the overall concept of hip-hop fashion which has been developing since its rise in the 1970s and particularly to examine the hip-hop after the turn of the new century when it has gone through several iterations and changes while simultaneously accommodating different trends and reflecting a highly diverse larger culture. The research methodology is a literature-based research that uses classification and analysis based on the preceding research including related books and dissertations and, considering that this research focuses on the characteristics of hip-hop from the 2000s to the present, mainstream news media such as newspapers and magazines around New York images of famous hip-hop culture & stores websites were used in this research. The most characteristic hip-hop fashions since the 2000s examined by this research comprise prep-hop, slim formal suits, skurban, hip-hop Goth, and hip-hop Tatto. First, prep-hop is a mixed match of a preppy look with latest hip-hop sentiments and hip-hop styles. Second, there are slim formal suits that reflect a change of trends that strongly show changes of hip-hop fashion consumers who have been following sports stars' fashions. Third, skurban is a hip-hop fashion combined with the look of skaters. Fourth, hip-hop Goth is what emphasizes strong Goth images such as grunge, skull, and devil in hip-hop fashions based on vintage fashion. Fifth, hip-hop Tatto style designs have appeared in diverse items such as trendy clothes and accessories that were most popular since the 2000s. Hip-hop fashion since the 2000s up to the present is beginning to be integrated with diverse other cultures and its most prominent characteristics is a change into slimmer silhouette.

• The Research Journal of the Costume Culture
• /
• v.13 no.5 s.58
• /
• pp.790-803
• /
• 2005

This study purposes to examine the background of the sexual concept and femininity, masculinity and gender role in the fields of social psychology and cultural anthropology and investigate the traditional gender role and the fashion's changes according to its role and the examples of the masculinity and femininity expressed in the contemporary fashion and finally analyze the gender identity expressed in fashion. The image changes which appeared in the modern fashion can be considered to be Masculine Look, Garconne Look, Feminine Look, Unisex Look, Androgynous Look and Genderless Look. The Garconne Look caused lots of changes to masculinity in the 1920's along with the changes of femininity. With the effect of feminism, many females wore clothing which had been thought as male's clothing by the appearance of Masculine Look. The major formation reason of Unisex Look can be regarded as the attitude change of the society toward to females and a meaning which doesn't want the differences of the distinction of gender to appear any longer as a characteristic external factor is implied. Androgynous Look which appeared in the 1980's means the integration of femininity and masculinity which is the same meaning with 'androgyny' in itself, Not denying its gender characteristics individually, the Androgynous Look means that women aim at the masculine image in men's clothing or men do at the feminine image in women's clothing. Genderless Look can be considered to a look with a notion to wear clothing freely even in fashion transcending the border of masculinity and femininity differentiated socially and culturally.

• Journal of the Korean Society of Costume
• /
• v.61 no.8
• /
• pp.18-31
• /
• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• Journal of the Korean Society of Costume
• /
• v.64 no.1
• /
• pp.136-151
• /
• 2014

This study systematically analyzed types of fashion brand application focusing on accounts created in Korea. While referring to 'Chanel' which has developed a fashion brand app for the first time in August of 2008, not only for App store by Apple Inc. of the greatest market share but also for Android market, the one and only competitor of App store, the study examined cases of fashion brand app in Korea and foreign countries which have been in service till August of 2013 since the year of 2008. To achieve the research goal, the study conducted a literature research and a case review, categorizing the app by their distinctive functions which were Basic Information, SNS, AR, LBS, Entertainment, Mobile Shopping and Live Streaming. As for the first function, Basic Information, it was considered to provide information on a brand such as prices, sizes and colors of products which should be the most fundamental function of a fashion brand. The function would include look book, catalogues, photographs and others of products, helping users of the app with their understanding on images and concepts of the brand. Second, SNS function was considered useful for its mobility and communication and with the help of theirs, the users share fashion information with each other. Third, AR function as in a filed of virtual reality would edit virtual objects to look real in an actual environment. This would eventually offer the users a chance to try for clothes virtually. The fourth function, LBS, would work with GPS to find a store closest from a present location. This would be a help when the users try to find stores holding promotion events or trails while hiking in mountains. The fifth Entertainment function would include all sorts of games and chances for the users to listen to music and keep fashion diaries. The sixth function, Mobile Shopping, would help the users purchase items online via the app as they would not visit a store in person. The seventh function, Live Streaming, would give the users chances to actually see fashion collections in real time, held all over the world in every season. Because of this function, not only fashion experts but also regular people have become able to enjoy the fashion shows. The distinctive characteristics of the fashion brand application discussed in the study will be a useful reference when any relevant fields try to design other new fashion brand application.

• Journal of Fashion Business
• /
• v.26 no.4
• /
• pp.83-99
• /
• 2022

The purpose of this study was to analyze the form and meaning of shaman's costumes worn by each gutgeori in Seoul jaesugut and to derive the characteristics of Shaman's costume at gutgeori. Observational research was conducted for three years by participating in the site of two types of gut, which are divided into local jaesugut for the well-being of the region and individual jaesugut that takes place based on personal request. Seoul jaesugut consists of 12 different gutgeori according to the deity it serves and meaning: Bujeongcheongbae, Gamangcheongbae, Bulsageori, Sangeori, Josanggeori, Sangsangeori, Byulsanggeori, Sinjanggeori, Daegamgeori, Seongjugeori, Changbugeori, and Duitjeon. The shape and colour of the shaman's costume worn in each gutgeori are related to the meaning of the gutgeori. Followings are the characteristics of the shaman's costume from gutgeori. First, shaman's costume adopted traditional costumes that symbolized the characteristics of god represented in each gutgeori. Second, gutgeori consists of multiple gods, and shaman's costumes were adopt to represent the superior god among these gods. Third, sometimes the costumes were adopted according to the characteristic of the god instead of its divinity. Fourth, even if the gods were different, if the roles of the gods were the same, the same form of shaman's costume could be taken. Fifth, the process of gut showed the harmony of yin and yang using the principle of five elements through the colour of shaman's costume.

• Fashion & Textile Research Journal
• /
• v.6 no.3
• /
• pp.307-313
• /
• 2004

The Purpose of this study is to investigated characteristics of many pleated skirt of Miao women's Guizhou province in China. The method of this study is referd to sundry recordes and demonstrated traditional clothing of several region in Guizhou province. The most important characteristic of the costume of the Miao is the many pleated skirt, worn by most but not all groups. Pleats are pulled into place with a sharp pointed instrument and sprinkled constantly with starch. The length of the pleated skirt depends on the group. The long skirts reach to the ankle, the medium-sized to the shank and the short ones not below the knee. The design of the pleated skirt is simple but most pleated skirt ornamented with fine, cross-stiched or batic designs of geometrical figures. The figures decorated on the pleated skirt has been handed down with little change from generation to generation and has become an important mark of Miao women's each area. Seeing the many pleated skirt of Miaos investigated in these several respects by the standard of contemporary beauty, it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristics of almost perfect costume.