• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.133-147
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• 2015

The aim of this study is to review the creative fashion installation of Henrik Vibskov, Danish designer. Its intention is to contribute useful information for more innovative fashion presentation. As a research method, document and case study were performed and his collections from 2004 F/W to 2016 S/S were analyzed. In fashion installation, the designer puts objects in meaningful spaces in order to convey a certain message, to make an integrated artwork, and to interact with spectator. It has been used in fashion exhibitions, as well as in the set design of fashion performance and fashion show. The results were as follows. Henrik Vibskov's fashion installation has three features, which are 1)conceptual theme approach that communicates a twisted and metaphoric message, with a poetic and interesting show title, 2) surrealistic scenography that plays with fragmentation of the human body, clustering of plastic and symbolic objects, innovative color transformations, and visual trickery between figures and the background, and 3) setting for multisensory performance that makes spectators interact by making artistic objects and surroundings, which stimulates the five senses. Henrik Vibskov's fashion installation can exist as an independent artwork, and not just as a supporting piece for a fashion show. It has both artistic and fashionable values, and can be an effective fashion presentation communicating his conceptual fashion themes.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.157-169
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• 2012

The aim of this study is to serve as a stepping stone to outlook changes in men's fashion based on gender characteristics and the design proposal as a reference to shirts design for men's wear brands. This study is a theoretical work extracted from related books, dissertations, and web- resources referenced. Research method is as followed. It is based on the four main collections from S/S 2001 to S/S 2010 and selected designer brands among the most influential foreign men's fashion designer brands which have show cased their collections of 19 seasons in the last 10 years. These are what the study has found out. Firstly, the shoulder-line which used to be straight and hard in men's dress shirt has changed to comfortable curved line which falls from the shoulder to sleeve. Silhouettes were mainly shaped to an hourglass or slim silhouette representing the body curve line. Unlike how the masculine beauty was emphasized through the straight line, men's dress shirts nowadays used curved line for softness. Secondly, there were various designs with decorations added to the basic structure, making it no different from women's blouse and blurring the line between men's and women's fashion. Thirdly, colors were normally in bright ones. Tones were often in pale tone which used to be the women's color. Also choosing shades of yellow or red was a remarkable change in men's wear. Fourthly, through varying patterns and texture there were many shirts that gave clear visual effect. There were approximately equal portions of patterns with feminine image like natural patterns, abstract patterns, or small patterns and patterns with masculine image.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.179-189
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• 2014

Peplums have a great advantage in easy styling for wearers to acquire desired physical and reminiscent images depending on the type and where it is placed on the waist line. However, the study of peplum blouses has not yet recognized. This study suggests a baseline data for visual appraisals as a determined key factor is changes. The result of this study as follows: First, peplums published between 2012 through 2014 collections are used for decorative effects on tops or bottoms as the finest decoration details of fashioning women's physical attractiveness. Its application has been extended to various fashion themes such as belts and overskirt that are made of peplum itself. Second, peplums published between 2012 through 2014 collections have close correlation of how the position, shape, and length of peplums are attached on bottoms. Peplum effects are categorized as extension of tops, expansion of bottoms, connections of tops and bottoms, and separation of tops and bottoms. Third, total of seventy nine peplum blouses that are found in the domestic online shopping mall are analyzed. The total length of peplum blouses are generally produced to 56 to 61cm, which is little shorter than or approximately equal to the hip line of women aged in between twenty to twenty four. In addition, the most popular peplum design is made of flare and cutting lines on the waist line and is 45.56% of samples. The most common location of peplums is identified as 3 to 6 cm above the natural waist line or the natural waist line and is 78.47% of samples. Fourth, the key factor of peplum blouse that can significantly influence the visual image is the total length of blouse, position of peplum, and peplum shape.

• Journal of Fashion Business
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• v.8 no.2
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• pp.126-140
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• 2004

The purpose of this study is to examine the fashion design applying to the hoop, which have become various since 1980. To do this, this study is investigated the origin and the changes of the hoop historically, then classified its types, and finally analyze the collections from 1980 to 2003. The hoop was appeared on the late 15th century. Then in the mid 16th century, bell-shaped farthingale was prevailed, followed by drum-shaped wheel farthingale and hausse-cul in England and France. In the 17th century, slim silhouette was popular, so that the hoop declined gradually. In the 18th century, panier and panier double were introduced which is to make side-expanded skirt silhouette. In the 19th century, crinoline and bustle were created. The hoops applied to modern collections are used various materials, techniques, and forms. It is a main item of historicism which appeared in the trend of post-modernism and the phenomenon of applying underwear to an outer garment like corset. The hoop is adapted into three ways: only with the frame of hoop, wearing a skirt with some parts of the frame exposed on purpose, and wearing a skirt on the frame, thus not showing the frame. Thus, it is thought that wearing a hoop as a frame is used an element of recreation of past fashion, at the same time it was affected by historicism which is a branch of post-modernism. Applying the hoop as an outer garment may be affected by eroticism which changed underwear into an outer wear in postmodernism and deconstructivism.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.82-96
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• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.9-27
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• 2003

The purpose of this research is for confirming that fashion study has to do with industry through the developing of fashion goods which is related to a trend as a cultural code. Recently fashion design trend is focused on 'retro', 'Retro' is the one of the important trends in this century not only fashion but also cultural industry, Therefore, in this research, the processing about development of decorative vest design as fashion goods was showed by using retro image. For this process, research steps were as follows : 1. Confirming the meaning of 'retro fashion'. 2. Studying about the flow of retro fashion from 1960s to 1990s. 3, Finding the characteristics of retro fashion design and the image through abroad and domestic collections from 2000 to 2003. 4. Designing and making vest using new concept from the leading images. Through this processed, it was find that retro fashion design had three images : vintage image, ethnic image and romantic image. Then three vests were made by a concept 'a piece of handicraft' using handcraft technique such as beading, patch-work, fringing, scratching, stitching, mixing which were used in retro fashion design characteristics.

• Fashion & Textile Research Journal
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• v.17 no.6
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• pp.895-906
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• 2015

Seoul Fashion Week aims to be the world’s fifth Fashion Week from the year after 2000. This has involved significant labour and investment, not all of which has been successful. This study analyses the strengths and weaknesses of SFW based on the London Fashion Week as a successful model. By identifying its obvious and less obvious characteristics, this analysis aims to diagnose SFW’s current status in order to upgrade the event at an international level. Key factors are organisational body, designers, visitors, sponsors, schedule, venue, main events and supportive events. The following points have emerged from the research: the success of Seoul Fashion Week was based on the combination of separate collections, an appropriate fashion show venue, and the active role of new designers. The problems were: lack of an independent organisation, non-professional staff, lack of diverse visitors, exclusive governmental funding, late timing, excessive distance from the main European and American fashion markets, lack of sustainability of the main events, a limited variety of supportive events, the absence of online promotion and, last but not least, no distinctive features. The study concludes that Seoul Fashion Week has great potential with its fast growth and young designers. This should be complemented with an independent organisation and effective administration and strategy.

• Journal of the Korean Society of Costume
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• v.46
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• pp.49-66
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• 1999

The bisexuality deconstructivity and diversity that are great characteristics on the comtemporary fashion are showed in the fashion collections. The purpose of this paper is to investigate and analyze the influence of these characteristics made by the post modern-feminism fashion through the cultural pattern analysis. The post modern-feminism was analyzed by dividing the cultural pattern into 1) the deconstructivity of androcentrism -This characteristic was presented in the costume design that breaks the basic from of the line color and quality of the material showing in men's clothes. 2) By rejecting main current fashion -Subculture style appeared in main current fashion the boundary of main and anti-main current fashion was vagued and the phenomena that the identity of subgroup was weakened were showed. 3) In the coexistence of double-sided value -This characteristic was presented in the cross-dressing fashion that cut away women's slender part and men's rough part. 4) In the open-minded thought of gender -This tendency was reached an extreme from excessive exposure to design which gives the sexual stimulus. This paper is expected to be helpful to understand the contemporary fashion by treating the cultural category associated with post-modern feminism in relation to contemporary fashion and to establish the direction of 21 century fashion.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.145-159
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• 2007

Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. As the 20th century art put premium on self-expression, the body itself became a powerful medium of expression in fashion. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the fragmentation of the body in fashion. In order to inquire the formative style and aesthetic values expressed in fragmentation of the body in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century, The results of the study are as follows. Fragmentation of the body in fashion means the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. The formative aspects of fragmentation are achieved through body casting, displacement, and deconstruction. The absence of physicality in fashion opposes the sartorial convention and symbolism that results in the discord between signifiant and $signifi{\tilde{e}}$ of clothing. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze fragmentation of the body in fashion, focusing on the relationship between the clothes and body.

• Journal of Fashion Business
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• v.24 no.6
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• pp.46-62
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• 2020

This study analyzed contextual expression types in modern fashion show space derived from the architecture based on Pepper's Contextualism. Pepper's Contextualism theory was applied to fashion showcases of the world's four largest collections from 2010 to 2020 by analyzing contextual expression in architecture, resulting in six contextual expression types. The first type was natural environmental contextual expression in which a modern fashion was fused with the natural environment using the natural environment's context. The second type was a temporal contextual expression expressed by blending the theme of a fashion show and an artificial environment that could express past, present, and future issues. The third type was a spatial contextual expression that extended in a flat or three-dimensional direction. This expression could connect with customers in the field. The fourth type was an associative contextual expression that could formally present the theme of a fashion show or a designer's inspiration by borrowing a specific place. The fifth type was an ideological contextual expression that could express a designer's concept or value through a fashion show's design. The sixth type was a contextual communication expression that could allow viewers to immerse themselves in the space of a fashion show venue mentally through a morphological or virtual technique and experience a fashion show.