• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1619-1628
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• 2008

The aim of this study was to compare and contrast the changes in wedding coordination between the end of 20th and the beginning 21st centuries. one wedding magazine was selected and used to supply data. four hundred and thirty one wedding photos were examined from a popular wedding magazine called "My Wedding", issued between 1993 and 2007. the results are described below. First, changes in make-up and hair style: from the end of 20th to the beginning of 21 st centuries, the style of make-up changed from being exaggerated with strong colors which made the typical brides make-up to utilizing the minimal color selection which made natural-looking. the hair style has also changed from up style to natural hair style. Second, changes in wedding gowns: the style of wedding gowns changed from the shapes of X line which was to cover the body figure of bride to simple shapes such as an strapless and fish-tail style of gowns. Third, changes in wedding jewelry and accessories: hair pieces consisted of large flower crowns and hair bands with flowers in the end of 20th century. the various sizes and colors of tiaras and crowns were popular in the beginning of 21 st century. for wedding accessories, large shapes of earrings and necklaces were popular at the end of 20th century, whereas various size and styles were more fashionable later on. in conclusion, brides in the beginning of 21 st century prefer to wear sexy or alluring dresses with natural hair styles and make-up, in contrast to the classic or traditional wedding outfits that were more popular at the end of 20th century.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.102-119
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• 2014

The purpose of this study is to develop various designs through renewing and changing perception of accessories by examining various and arbitrary Kitsch. For the method of this study, literature review was mainly used for research of formative characteristics in Kitsch fashion. 798 pieces of work from fashion magazines and website with a focus on Milan, Paris, London and New York collections, in the decade of 2000-2010 were collected. The results of this study are as follows. First, the characteristic of exaggeration is classified into two types: the visual exaggeration, which is characterized by psychological expression through excessive images and (2) the collecting exaggeration, which is not simple but a want of large quantities. Second, the characteristic of satire is classified into two types: (1) the imitation-satire, which satirizes messages to societies with creative humor by using easily consumed materials and (2) the resistance-satire, which is destructive and offensive against isolation and desolation of a capitalistic society. Third, the characteristic of amusement is classified into two types: (1) the playful-amusement, which raises a laugh slyly by using clever materials and (2) the childish-amusement, which involves childish imagination and humor-sense because of desire to be a child. Fourth, the characteristic of nostalgia is classified into two types: (1) the romantic character expressing a departure from modern society, which is desolate because of the urbanization process, and (2) the intermediate character recreating an esthetic category by interacting with different and relative elements. Fifth, the characteristic of inappropriateness is expressed through a deliberate mistake, and it denies existing senses of beauty by overturning common sense and creating new senses of beauty, expressions in distortion and modification of stereotype.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.1-15
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• 2005

For every country, the flag is a major symbol that represents the country. Establishing image though the use of the country's symbol is more important for achieving national competitiveness in this global age. In Korea, Taekuki has not been actively applied to fashion products, however Korean people began to realize the Taekuki as a motif of fashion with 2002 World Cup. Thus, research on fashion product development applying Taekuki is needed. This research developed designs for fashion product development applying Taekuki. In addition, through suggesting various applied motives, this research explored the product possibility of global fashion design that represents Korean identity and fashion. For research method, after research on fashion design process, design development was progressed according to the 4-phases that comprehends processes previous researchers presented. First, in the problem recognition phase, background on the introduction of Taekuki to products and Taekuki fashion during 2002 World Cup was analyzed. Then, the need and possibility of fashion product development applying Taekuki's formative characteristics were found. Second, in research and analysis phase, meaning and history of Taekuki as well as flag fashion product developments in the U.S. and England examples were reviewed. Also, individual interviews with experts and consumers were conducted to collect qualitative data regarding product and design direction. Third, in idealization for problem solving phase, 62 designs including 43 apparels and 19 accessories were emerged. Finally, in evaluation phase, 40 university students majoring design evaluated designs' creativity, function, uniqueness, symbol, aesthetics, and harmony. Through this research, it is expected that fashion products applying Taekuki will be formly established as a fashion item. Furthermore, it is also expected that product development in other categories, brand planning, and product development using other national symbols such as name, anthem, and flower will be followed.

• Journal of Fashion Business
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• v.28 no.4
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• pp.113-128
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• 2024

This study explored boundaryless characteristics of Posthumanist black color fashion by examining fashion collections from 2018 to 2023 that explicitly incorporated Posthumanist paradigms through literature review and case analysis. Black color fashion reflects key Posthumanist attributes such as dissolution of boundaries in ecology, academia, gender, and Western-centrism. These characteristics are manifested as 'organic expression of nature and technology encompassing the body,' 'robust expression of hybridized imagery,' and 'fusion of Eastern traditional cultural expressions.' In the 'organic expression of nature and technology,' flora and fauna motifs are applied or an advanced technology is employed to realize organic forms, offering an experimental representation of post-anthropocentrism, focusing on avant-garde and sensuous fashion images. 'Robust expression of hybridized imagery' combines masculine body expressions with bold accessories to convey a resistant fashion image to gender identity norms while utilizing traditional male fashion items to present a strong and charismatic image. 'Fusion of Eastern traditional cultural expressions' integrates traditional elements from various Eastern cultures into materials, producing opulent yet ascetic fashion images through designs that can conceal the body's silhouette, reflecting a restrained image of black in Eastern cultures. This study provides a multi-layered interpretation of black color fashion in the Posthuman era, addressing themes such as 'representation of diverse organic life forms, gender fluidity, and challenges to Western-centric narratives,' contributing to a deeper understanding of how fashion interacts with socio-cultural contexts.

• Korean Journal of Human Ecology
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• v.17 no.2
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• pp.335-344
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• 2008

The purpose of this study was to examine male students' awareness and receptivity of cross-sexual fashion. The subjects in this study were 480 male university students and 320 high school boys. After a survey was conducted in August 2007, the following findings were given: 1. How much the students were interested in fashion was investigated, and they thought of fashion often, Even though nothing any fashion shopping plan they were interested display of fashion market and logged onto online fashion shopping malls frequently. 2. As for awareness of cross-sexual, they got a mean of 2.79(1.10), which indicated their awareness level was below the average. Those who were more intrigued by fashion, who were university students and who had a girl friend were better cognizant of cross-sexual. 3. To what extent they were receptive to cross-sexual fashion was checked in terms of clothes, haircare, skin care, accessories and perfume/cosmetic surgery and they were most receptive to cross-sexual haircare(3.49). Those who cared more about fashion were more receptive to cross-sexual. The Value of clothes and perfume/cosmetic surgery for university students was higher than the high school students. 4. They were most receptive to other's cross-sexual haircare(3.51) and to other's cross-sexual clothes(2.77) the least. Those who were more intrigued by fashion were more receptive to others seeking after cross-sexual. The Value of clothes sand perfume/cosmetic surgery for university students was higher than the high school students. 5. There was a strong correlational relationship among their interest in fashion, awareness of cross-sexual, receptivity to their own being a cross-sexual man and receptivity to others who are cross-sexual. The findings of the study illustrated that those who were more intrigued by fashion and who were better aware of cross-sexual were more receptive to cross-sexual fashion.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.95-109
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• 2016

The process of making fashion accessories brings many benefits to visually impaired people. It helps the development of their tactile sensation, improves their aesthetic attitude, creativity, and imagination, and brings energy to their life. The current accessory making education in Korea is targeted to people with normal vision, and does not reflect the specific needs of the visually impaired. This causes a lot of trouble in educating the visually impaired. Therefore, this study aims to increase the efficiency of accessory making education by selecting curriculum and material that are appropriate and systematic for the visually impaired. In order to understand visual impairment, literature review was conducted to examine the definition and classifications of the impairment. Research was also done regarding material types and production method of fashion accessory. The study also designed an education program, including teaching guidelines, by referring to literature related to fashion accessory design, teaching guideline. The study conducted 12 experiments based on the results from April to June 2014. After revising and supplementing the teaching method, 2nd set of experiments were conducted from July to September 2014. Each class lasted for one and a half hour every week, and the class was composed of 6 students, 1 instructor and 1 volunteer. After each class, interviews were done to collect student opinions about the curriculum and material. Total experiment results and interview were reflected in constructing the final education program. The result of the experiments and interviews showed that selecting the accessory materials for class must be selected carefully. The visually-impaired students were very sensitive to the size, texture, shape, hole size of beads and length of material. After the experiments, all the students were able to distinguish the size and shape of the beads well, and finished the accessories using the given materials. The study verified that there is a need for another approach when educating the visually impaired about fashion accessory design. Many factors need to be considered from selecting materials to class contents. This study will contribute as a reference to fashion accessory making education as well as other design education for the visually impaired.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.10
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• pp.1161-1174
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• 2011

An approach method of the semiotics theory is analyzing fashion: the look is that a sign represents one character and the image is interpreted as the destination of the changes. The fashion image interpretation by semiotics is possible because the fashion phenomenon by society has been accumulated in their abbreviation code. It is not possible to produce contradictions of the human imagination coined solution. The myth relieved to people, allowanced a meaning in the world and explained it have been unable to explain and protect us. Today's role of the world myth becomes the star's future. Public resting star's fashion image analysis promote that we understand the inherent desire. Madonna probably is one of the world's most famous women. To Create Madonna's own mythology staged image in various attire reveals symbolism. In this study, Madonna's fashion images, the myth 8 analysis of semiotics represent publicity. Madonna's album jacket 8 analysis of the myth. The fit and the relationship between the star and myths closely is obvious. The Madonna fashion image investigate that so forth implied myth into duality of feminine, upset of gender roles, upset of sexual roles, object of worship. In addition to the creation of these myths are based on sensuality heterosexual fashion images, body-conscious look, lingerie look, Androgynous Look, Dominatrix Look in the fashion style of the images, fashion items made to body suit, bra top, black panties, black boots, long gloves, pink, red, gold, satin, and leather; the addition, there are exaggerated props and accessories. These use such as the human body building wave blond hair. This study through Madonna's fashion image, semiotics analysis is acquainted with suitable means of myth.

• Fashion & Textile Research Journal
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• v.12 no.3
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• pp.279-290
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• 2010

The purpose of this study was to investigate the clothing purchasing behavior, clothing preference images of the elderly woman according the fashion Items by 3 age groups(65-69 yr, 70-74 yr, over 75 yr). The subjects in this study were 372 elderly women over sixty-five years old in Kimhae and Busan. The major objectives of this study were as follow; 1. Compare the differences in the fashion interest according to the age groups. 2. Compare the differences in the clothing behaviors according to the age groups. 3. Compare the differences in the preference styles of the clothing items according to the age groups. 4. Relationship between age and clothing preference images according the fashion items. The results were as follows: 1. In the fashion interests, 3 age groups of the elderly woman showed significant difference in following fashion interest. 2. In the clothing behaviors according the fashion items, 3 age groups of the elderly woman showed significant difference in the outer, the upper, the underwear, the sportswear and the accessories. 3. In the clothing preference styles according the fashion items, 3 age groups of the elderly woman showed significant difference in the length of jacket, the pants, the skirt. 4. In the clothing preference images according the fashion items, 3 age groups of the elderly woman showed significant difference in all images of the jacket, the pants, the skirt and the one-piece dress.