• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.117-130
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• 2015

The purpose of this study is to investigate the 'sexy look' of the Paris Haute Couture evening dresses of the past 10 years from 2005 to 2014. The results are as follows: According to the occurrence frequency analysis of the fashion images of sexy look evening dress, the type of sexy look that appeared the most is the romantic sexy look, followed by erotic sexy look, ethnic sexy look, minimal sexy look and avant-garde sexy, respectively. According to the design component-specific analysis of evening dress for each Haute Couture house, 7 Haute Couture houses have used H-line silhouette over the past 10 years, each H-line silhouette being different. In terms of material, Valentino, Elie Saab, Givenchy, Chanel and Dior have shown a trend of favoring see-through material, Gaultier and Armani showed a lot to combine different materials. In terms of color, Valentino, Chanel, Dior, Gaultier, Armani have shown a general trend in the last 10 years to express sexy look by using attractive and mystical black tones, Elie Saab has shown skin color a lot by using brown family colors and Givenchy has used white family colors. According to the design components analysis for each sexy look fashion image, the H-line silhouette showed the most frequency to represent sexy looks. In terms of material, avant-garde sexy look, ethnic sexy look and minimal sexy look showed a lot to combine different materials to express sexy looks, but erotic sexy look and romantic sexy look are characterized by using thin see-through material. As for the color, black series has been most represented in the last 10 years for the Haute Couture evening dress sexy look.

• Fashion & Textile Research Journal
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• v.15 no.6
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• pp.862-873
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• 2013

The purpose of this study is to analyze the formative characteristics and the aesthetic values of the Military style in the 20th century and the images of the Military look shown in recent collections. The results of this study are as follows; 1) The aesthetic values of the Military style includes authority, functionality, resistibility and bisexuality. Authority is represented in suits and coats attaching details such as epaulets, flap pockets, gold buttons and badges. Functionality is represented in pants suits and skirts suits which are comfortable and simple. Resistibility is represented in wrinkled, dirty-old and torn military items. Bisexuality is shown on the military pants suits that a skirt or a mink coat is draped over. 2) The Military look in collections are expressed in classic, romantic, sexual, sporty, avant-garde and ethnic images. Classic images are appeared in suits and coats attaching details such as epaulets, flap pockets, gold buttons and badges. Romantic images are represented in the military items made of pastel-tone lace or splendid colored silk. Sexual images are appeared in designs to expose or to focus in women's body. Sporty images are represented in the military items made of new materials such as cotton-fleece, cotton-jersey and tencel. They have camouflage prints, melange-gray and fluorescent colors. Avant-garde images are appeared in the deformed suits and outer made of special materials with camouflage prints, khaki, gray and black. Ethnic images are represented in wearing military and ethnic items at the same time or military items made of ethnic colors, prints and handmade details.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.11
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• pp.1750-1759
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• 2008

The purpose of this study was to comparatively analyze the color characteristics of the Japanese ethnic look advanced by Japanese and western designers in comparison with the actual traditional colors of Japan. The data determining the traditional colors of Japan was collected through a critical apparatus examination of 250 colors and the color data of what determines Japanese ethnic look was collected through an analysis of the clothing appearing in four fashion collections -Paris, Milan, London, and New York- from the 2004 S/S collections to the 2008 F/W collections. For the analysis of these colors, Photoshop was used with an RGB value measuring under 300dpi resolutions. The RGB values were then converted to H V/C values through Munsell Conversion 8.0.3, and they were analyzed using Munsell's 40 Hue and PCCS. The results of this study are as follows: Japanese designers are expressing their own aesthetic theory by designing fashions in traditionally Japanese hues. However, neutral colors and low-chroma tones appear more often than traditional colors. This study illustrates how these designers use color to reflect their inside ideals being oversensitive traditonal ideals. In contrast, western designers reflect more contemporary trends through the use of hues that more clearly reveal their preconception of the colors of the Orient rather than actual traditional Japanese colors. Moreover, these foreign designers tend to approach fashion design by the means of shape rather than color. Japanese designers systematically analyze and apply their own culture to contemporary fashion design. Their efforts serve as a good reference model for research on traditional culture and fashion design.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.145-156
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• 2004

This study is regarding closed and open forms, which have relatively high recognition among visual perception phenomena in costumes. In particular, this study reviewed closeness and openness of ethnic look, which is a representative open costume. Closed form can be summarized as simple and clear silhouette, conspicuous differentiation from the background, simple construction of the costume and colors with low brightness and clearness. It Is modern, functional, rational and modest. On the other hand, open form can be summarized as complicated and inconspicuous edge line, complicated inner shape and colors with high brightness, high clearness and vividness. It includes concepts of pleasure, entertainment, joy, eroticism, rebel and resistance. Modern costumes have been simplified for a long time and they have functional and closed characteristics in their shape, structure and form. On the other hand, modern open form costumes are usually found in sub-cultural styles such as punk, hippie, kitsch and vintage, and some ethnic looks. Following is a summary of the characteristics of open form shown in the ethnic look. 1. The shape, structure of costumes, hair accessories, lace, ruffle and ornaments are complicated and irregular. 2. The silhouette is inconspicuous because of ambiguity between backgrounds and ABC (Apparel-Body-Construct) or the use of see-through materials. 3. It makes complicated visual shapes because it does not have a single type but is composed of various clothing items together. 4. It gives complex feelings by matching various colors or more than two different fabrics. 5. It looks like the open type because of the complex patterns shown in the costumes.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.940-948
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• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.42-53
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• 2006

The purpose of this research is to study doll's symbolism representing our social culture and the characteristics of clothing design. The ball joint doll was selected, that are pretty much resembled to human body in terms of facial expression, body proportion, joint movement, etc. Results of research are summarized as follows: the ball joint doll is indicated a doll whose joints are free to move with a round shaped joint, which originated by Yochilya simon, who adopted German Hans Bellmer's method.'rho ball joint doll, first, there appeared state of human isolation due to the material civilization and industrial revolution, and trend of adhering to one's own world made human possess dolls. Second, according to the doll play became a representing play culture among Kidult culture, dolls, that are resembled with human being, were recognized as personalized objects. Third, along of expanding digital culture that makes easy to exchange information via Internet, so, ball joint doll market is growing fast, for which various levels of mania are being formed. Take a look at the doll fashion in modern society. In accordance to form of Look, it is largely categorized Young Casual look, Office look, Ethnic look and Military look. When take a look at design specialty, young casual look was presented as a comfortable silhouette and also made of elastic materials and expressed vivid bright tones. Office look image was expressed as a suit of jacket with skirt, and cotton wool polyester materials and acro-matic colors. Ethnic look was represented by Japanese traditional dress and Chinese traditional clothing. The Military look was generally emphasized army uniforms of straight silhouette and shoulder straps.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.1043-1051
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• 1998

The main purpose of this paper was to investigate how ethnic dresses are adopted into modern fashion designs. This research focuses on Japan and Vietnam as a part of an ongoing larger project which examines ethnic dresses of five Asian countries. Fashion designs with influences of Japanese and Vietnames ethnic dresses were anlayzed in order to explore how ethnic dresses coexist with "world fashion" in contemporary society. Eight fashion magazines were examined and the pictures of eigher Japanese or Vietnamese influences were identified. A total of 66 pictures for Japan and 5 for Vietnam were analyzed in terms of eleven characteristics on zero-to-three scales according to authenticity of each characteristic. The characteristics included shape, item, silhouette, color, material, textile print, decorative details, method of dressing, accessories, hairstyle and make-up. The results showed that textile prints and color of Japanese ethnic dresses, and item, silhouette and hat of Vietnamese dresses were most frequently adopted in modern fashion designs. These suggested that fashion world adopts the most distinctive and easy-to-copy characteristics of the ethnic dresses when the designers wanted to incorporate the styles of ethnic dresses.c dresses.

• Journal of Fashion Business
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• v.4 no.1
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• pp.33-44
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• 2000

The purpose of this study is to research Miao ethnic costume which have been distinctly expressed differences according tribes and areas, present fashion design reflecting image of Miao ethnic costume. Two steps was taken in order to achive this purpose. The first step was to put in order formative characteristics of Miao ethnic costume being based on the Chinese books and domestic research materials. The second step was to study formative characteristics of Miao ethnic costume in comparison 2000A/W fashion trend, illustrate and schematize fashion designs. The results of formative characteristics of Miao ethnic costume are summarized as follows 1. X or H silhouette through skirt & jacket and pants & jacket. 2. Layered look that been twisted around several items. 3. Fine pleats skirts. 4. Refined and splendid color. Black was used main color, dark blue & red purple were used coordi color, vivid color were used accent color 5. Geometrical pattern, cross stitch embroidery. 6. Various ornaments being used silver. 7. Various hair styles and hairdressers. Using above characteristics, this study presneted fusion fashion design combined images of ethnic and techno with dark blue, mustard, blue purple. The target was Forties, professional woman.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1844-1858
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• 2010

Ethnical tendency follows the current political, economical, and cultural influence eastwards, highlighting films, architecture and interiors as well as fashion. With this tendency, the ethnic outfits are expressed by various styles. This study analyzes the features of current ethnic styles with 1,535 ethnic image pieces from 2005 S/S to 2010 F/W of Pr${\^{e}}$t-${\'{a}}$-Porte in Paris and Milan. First, 'ethnic' is to refer to the distinct features of an ethnic group or a country. 'Ethnic look' refers to the adaptation or re-arrangement of various ethnic group's traditional costumes, dying, textile, patterns, color, silhouettes, and accessories. Second, the most popular ethnics in the modern fashion is the African style, followed by India, Japan, China, and Latin America in both collections. Third, the proportion of ethnics decreased, 2005 (14.9%), 2006 (12.8%) and 2007 (8.2%). In 2008 the proportion increased again. 2010 (27.3%) and compared 2010 to 2007, it increased by 20%. By season, S/S had 1.4 times more ethnic styles than F/W with the prevalence of African and Indian styles. Fourth, as of 2005, the ethnic style became colorful and went through changes to combine various images. This is from the polycentric tendency of co-existing various styles with a prevalence of low tone and various colors. It also shows warm colors in front to show a sense of nature.

• Journal of Fashion Business
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• v.2 no.1
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• pp.35-48
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• 1998

The purpose of this paper is to examine the street fashion, which is influenced by the youth culture in 1960s. Youth culture is the youth subculture which appeared multiform in the 1960s. It tried to create a new culture by subverting the ruling class culture with their combative life style and peculiar appearance which are distinguished from mother culture. Youth cultures as youth subculture are symbolically expressed in their style which had strong characteristics of sub-fashion and anti-fashion, and which are different from mother fashion in shape. Therefore youth subculture fashion had an effect on street fashion in the 60s. The influence that the youth culture fashion had had on the street fashion is summarized as follows: Beats fashion was intelligency look on black dress, black polo-neck shirts, black trousers, black glasses and heavy black eyeliner. Mods fashion was neat style on Edwardian suit with narrow trousers, pointer-toeshoes and smooth croped hair. Folkis fashion was ethnic look, middle east asian look, peasant look, Indian style, south america look, gypsy style, natural materials, natural dying, tie-dye, beads and hand made ornaments. Rockers fashion was violence appearance categorized 'blue collar' on black leather jacket decorated with metal studs and hand-painted insignia, blue jeans and boots for motor bike. Swinging London & the Psychedelics fashion was blend mods look with pschedelic color and motive pattern. Hippie fashion was intermix pschedelic and natural or ethnic style. It was appear to be a meaningless, unpredictable assortment of diverse items and style. Faded and tattered jeans, army jackets, vintage hat, beads, embroidered headband, white sheets, diverse theatrical costumes, sandals or bare feet, granny dress, peasant blouse, blanket cape, tie-dye T-shirts and long hair. Greasers fashion was adorned black leather jacket with chains, fringing, badges, insignia and sleeves had been crudely ripped off. They came to be known wore jeans so soaked with oil. Skinheads fashion was aggressive working class identity with donkey jacket, jeans rolled up, collarless union shirts, heavy boots, braces and hair cropped short.