• 패션비즈니스
• /
• 제18권5호
• /
• pp.171-183
• /
• 2014

In general, the idea of fun is understood to be associated with interesting things, playfulnesses, joy, pleasure, etc. The "fun culture," which seeks enjoyment and pleasure through life, is a characteristic of elements observed in today's society and culture. This exerts a powerful impacts on the business operation, marketing, and product manufacturing. Moreover, it is accepted as one of remarkable phenomena representing the changing trends of fashion in the 21st century. The objectives of this study were to analyze and categorize the fun motifs observed in fashion designer Walter Van Beirendonck 's collections, to examine their formative characteristics, and to establish academic approaches and analytic framework in studying the fun phenomenon emerging in fashion. As to research methods, this study laid a theoretical ground by reviewing the related literature and previous studies, and conducted a positive case study using the data on Walter Van Beirendonck's collections and exhibitions. According to the results of this study, the fun motifs represented in Walter Van Beirendonck's collections are largely categorized into "deviation from rules," "humorous and obscene graphic images," "introduction and transformation of heterogeneous elements," "women with male gender' etc. On the other side of Walter Van Beirendonck's fashion are sex, sexual humors, sexuality, fetishism, love, form, body, language, social phenomena, harmony between nature and life, consumerism, race, shamanism, tribal rituals, nation, cultural collision, transcendent things, science fictions, cyber Space, dream, alien, future, fairytale, fantasy etc. which are expressed by using fun motifs. Moreover, these themes are led to masculinity and fantasy.

• 한국의류학회지
• /
• 제26권8호
• /
• pp.1196-1204
• /
• 2002

This research was to see if the fashion product ads are standardized or differentiated, and to find what were the determinants if any differentiation existed. The purpose of this study was to identify cultural characteristics significant on marketing fashion produce. In addition, the relative importance of product appeals between rational and emotional in the fashion ads was examined. Hofstede's(l991) three cultural characteristics dimensions such as individualism-collectivism, power distance, masculinity-femininity were used. Content analysis was applied in the study. Magazine ads of apparel, cosmetics and accessories were collected from France, Japan, Korea and the US in 1999-2000. Cultural characteristics of the fashion ads were evaluated and compared in terms of country, product type and product involvement. Also ten consumption appeals were examined for county and product type. ANOVA, Duncan test and $X^2$ test were applied to analyze data. The results were shown as follows: First, all the cultural characteristics such as individualism-collectivism, power distance, and femininity-masculinity were different among countries. Second, two product appeals were significantly different among countries. Hedonic appeals were dominant fur France and the US while those were not for Korea and Japan. Third, product involvement level had significant impact on power distance characteristic and product appeals. Ads of high involvement fashion goods showed larger power distance and more emotional appeals. In conclusion, global fashion ads should be differentiated in terms of some cultural characteristics and product appeals.

• 한국의류산업학회지
• /
• 제11권2호
• /
• pp.210-218
• /
• 2009

The Purpose of this study is to demonstrate Storytelling as an effective device for Fashion Design by establishing relationship between Fashion Design Process and Storytelling. Through researching a social background and a concept of storytelling, found that story used interactively is a powerful tool for attention, understanding and change in both individuals and communities. Analysed the elements and the structure of storytelling and Fashion Design Process, by researching preceding researches. Therefore, we proposed a new four elements -text factor, visual factor, audio factor and virtual factor- and four steps (1)exploring stories, (2)planning a story, (3)building the story, (4)do storytelling- of storytelling and four steps-(1)gathering and analysing informations, (2)building a concept, (3)planning and developing a design, (4)do evaluation and make decision- of fashion design process. Through comparative analysis, we found a closeness between two structures, a use of common factors and also found characteristics to be considered in each stage. In the first stage, we found text, visual and audio factor as common factors. In the second stage, we suggested text and visual factor as common factors and also suggested clarity, realism and probability as characteristics. In the third stage, we found text, visual and virtual factor and also found dynamism, immersion and continuity. In the last stage, we suggested text, visual, virtual and audio factor and also suggested presence and interactivity as characteristics.

• 패션비즈니스
• /
• 제4권3호
• /
• pp.15-33
• /
• 2000

The purpose of this thesis is to suggest the new ecology fashion through the comprehensive approach to analyze the difference of characteristics between ecology fashion established before the early 1990's and new ecology fashion advented in the late 1990's and create the design inspired by the image of new ecology fashion. As a method of accomplishing this research, the articles and magazines related to the fashion were examained. Also internet was surfied for studying social and cultural background of new ecology and examining the trend of new ecology expressed at design at first. Through examining the fashion mode in the late 1990's related to the trend of new ecology, the characteristics of new ecology fashion have been devided by the fabric, color and detail and drown out three images of new ecology fashion. The cultural background of new ecology is advent of fusion, techno and zen culture in the late 1990's. The characteristics of new ecology fashion are as follows. As regards of the fabrics, It's been used naturalized synthetic fabrics such as lycra and tencel produced by the advanced technology as well as luxurious natural fabrics. As the aspect of colors, on the basis of neutral colors shown to the previous ecology fashion, the wide range of colors including the vivid colors has been presented sophisticatedly. The most evident characteristic of new ecology fashion is the increase of details, along with keeping the minimal style. According to this trend of new ecology fashion, three charicteristic images can be extracted ; the techno ecology, the modern ecology and the romantic ecology. As the megatrend sustained during the late 1990's, the trend of new ecology was the mainstream not only of the fashion but also of the human life style, and has the potential continued in the 2000's.

• 한국의상디자인학회지
• /
• 제11권1호
• /
• pp.155-167
• /
• 2009

This study reviewed the basic principle of "Maximalism" fashion and analyzed the properties of fashion types with found the frequencies of various styles and design factors of "Maximalism" fashion in collection. The limits of this study is from 2001, s/s, maximalism was embossed in a modem fashion, to 2007, f/w, and collected the fashion collection pictures from www.samsungdesign.net and www.style.com. The results of this study are as follows. First, the most frequent style of "Maximalism" design showed in International fashion collection was "exaggerated style." Second, the design factors of "Maximalism" fashion were also examined. In case of silhouette, "hourglass silhouette" was the most frequent silhouette. In case of pattern, "solid" color was the most frequently used. In case of materials, the soft materials were the most frequently used. Third, the frequencies of design factors of maximalism by presentation types was compared and analyzed. In case of expansion, "bulk silhouette" was the most frequent silhouette to be appeared, and about multi-ethnic, futurelism, and elegance, "hourglass silhouette" was frequent appeared. In case of pattern, "solid" color was the most frequently used in all types. In case of materials, the hard materials were the most frequently used in expansion, multi-ethnic and futurelism. "Maximalism" fashion which is most splendid trend would grow up rapidly in the modem fashion market and influence on the other fashion trend in our every day life. Consequently, this research can be referred as practical information in fashion marketing and it will contribute to the future fashion research as well.

• 한국의상디자인학회지
• /
• 제8권2호
• /
• pp.17-26
• /
• 2006

As fashion is a reflection of a way of life, jean fashion seems to be a reflection of the background and process of social-human psychology. Modern jeans reflect personality and trend rather than traditional practicality as indicated by the concept and emphasis of fashion. Since the early 1990s, practical use of jeans has appeared consistently in products for interior use, various kinds of fashion-ware and fashion properties, as well as in fashion that is a conversion and interpretation of an outstanding fashion trend. And the search, providing that various symbols of jeans are sensualism, deviation, ostentation, amusement and multi-culture, shows that jeans represent the multifarious aspects of fashion culture. For the purpose and necessity of this search to meet different consumers' desires by the practical use of jeans and the development of fashion-ware. First, investigate the trend of jeans in 2005. Second, try to change the various uses of jeans by reflecting the trend of jeans. Finally, extend the range of choice by developing various goods. As a result, basic jeans have the strength of function, activity, and originality. Use of ornamental jeans can fully show their value as well as their emphasis of individuality in beauty. If we consider these points, we can minimize the limitations of jeans and make a practical use of the fashion trend, If we make the function of jeans stand out through the use of varieties of materials, the modem characteristic consumption will be met by the various change of use as well as by the clothes.

• 패션비즈니스
• /
• 제1권2호
• /
• pp.1-19
• /
• 1997

This thesis is a reflection of Korean aestheticism and how it has evolved and influenced Korean contemporary fashion throughout the last century. Up to the current, there have been five notable trends of fashion that have been influenced from and have reflected the qualities emblematic of various periods in Korean history. They can be characterized as the era of Missionary fashion, Uniform fashion, Salon fashion, Brand Name Fashion, and finally, fashion from the current era of diversification. The specific characteristics of each fashion era have been analized and illustrated in a comprehensive table. Design characteristics of Korean contemporary fashion are as follows : 1. A point of emphasis is given to facial feature, unconstructive design and ample silhouette and A silhouette, two-piece and pants. Korean style wrap skirt, a smooth curve and layered style. 2. Effect of flatness from material; as methods of quilting, reinforced dual stitching(Kaeki), patchwork, embroidery and goldfoil thread extra, it is turned up that texture of cloth stuff and effects of flatness. 3. Simple color combinations give effects in two different directions For instance, white and a variety of vivid colors, a dull color and bright colors, black, blue. 4. Over-design, diffusion of fashion. Based on the design characteristics described above, the essence of Korea's beauty consciousness can be captured and summarized through the following points: 1. Emotionalism and non-characterism: traditional and simple natural beauty and modernized natural beauty. 2. From authoritism to non-authoritism: traditional and formal personal beauty and casual characteristic beauty. 3. Polaris (antithesis) phenomenon: chastic beauty and ostentatious beauty, simplicity and lavishness, conformity of fashion and originality. Although the beauty consciousness of Korean contemporary fashion is changing from traditional passive metaphor to aesthetic expressionism for the new generation, after all the basic foundation or root of the spiritual beauty of idealism is usually recognized by focusing on the face.

• 복식문화연구
• /
• 제30권6호
• /
• pp.779-798
• /
• 2022

The purpose of this study was to propose the direction of veganism-based fashion design in environmental and animal protection through the theoretical consideration of vegan fashion and the analysis of the practical design characteristics of veganism in Stella McCartney's fashion. The research was conducted through literature research and case studies. After investigating the concept and characteristics of vegan fashion, focusing on previous studies and various fashion-related Internet data, Stella McCartney's fashion was examined with particular attention on vegan characteristics. The results of the study are as follows: First, imitative nature pursues animal and environmental protection, but the motif or appearance is a characteristic of pursuing a multi-purpose design that imitates animals and nature. Second, expression of value is based on slow fashion, simplicity, and sustainable minimal design. It is expressed indirectly by pursuing permanence, simplicity, and long-wearable design, or directly expressing vegan values through phrases expressed in performances or costumes in the collection. Third, alternative eco-friendliness is characterized by using cruelties-free materials such as faux fur, recycling materials, new bio-materials, and regenerated materials. These vegan characteristics are comprehensively and organically expressed in the works of the collection, and through this, sustainable and eco-friendly vegan fashion is pursued. It is anticipated that by deriving the vegan fashion characteristics of Stella McCartney, who represents vegan fashion, it will be possible to provide the basis for practical direction and design methods for fashion brands aiming for vegan fashion styles.

• International Journal of Costume and Fashion
• /
• 제4권2호
• /
• pp.30-39
• /
• 2004

This study aims to investigate various cultural activities of the Korean youth including the subcultural and popular cultural activities and their characteristics and influences on the youth fashion during the period 1996-2004. This study employs a qualitative approach based on the previous discussions of relevant literatures dealing with Korean youth culture and their fashion styles. The result of the study shows that the most prominent characteristic in youth fashion of the period was 'bricolage.' The appearance of 'Seotaiji' and the activities of his group laid the cornerstone of youth culture in the early 1990's. The influence of postmodernism changed the conventional sexism and androgynous outfit thrived. The androgynous effect also had strong influence on men's fashion in what turned out to be Metro-Sexual in early 2004. During the period 2000-2004 the postmodernism regained its popularity both in culture and fashion. 'Body' was also an important part of youth culture and has become the most popular and prevalent word of this era. At the same time the 'Well-Being' and sports look were the new trend of youth fashion. Sports look, also known as Caports, is one of these new trends and the most important youth fashion style like mix & match reformation. The youth became more and more aware of the body image and were interested in fashion as well. This trend awareness of their body and Well-Being image as well as their inclination to the fashion in the youth is expected to continue. Therefore the fashion industry, as their marketing strategy, needs to analyze the characteristics of the cultural trends among the youth and to prepare for the future need of youth fashion.

• 패션비즈니스
• /
• 제24권4호
• /
• pp.144-160
• /
• 2020

Today, the development of innovative technologies is accompanied by changes in the industrial structure and the Big Blur phenomenon, where the boundaries in various fields are blurred. The purpose of this study was to view the Big Blur phenomenon as a big paradigm shift in the 21st century and derive environmental changes and characteristics of the Korean fashion market. The research method included an analysis of the fashion brands after 2015. Through this study, we intended to establish a framework for understanding the changes in the fashion market from the perspective of Big Blur and discuss the direction of brand marketing. The research results showed the hyperlinks, connectivity, openness, homeostasis, synchronicity, mobility, interactivity, and brand experience of online and offline spaces beyond the boundaries of virtual space and offline physical spaces such as online physical and spatial viewpoints. It also showed the characteristics. The characteristics from the socio-cultural point of view were characteristic of diversity, mixture, coexistence, composability, and pluralism beyond the traditional socio-cultural and regulatory scopes. Hip hop fashion, street fashion, unisex, genderless, androgynous fashion, and kid fashion are the backbone of the Big Blur and are becoming important factors in fashion. The characteristics of the market and economic viewpoint are prosumers that play roles both as producers and consumers. It shows the extensibility of consumers as producers, the cohesiveness of producers and consumers, the cooperation, and the interconnectivity.