• 복식문화연구
• /
• 제19권2호
• /
• pp.416-429
• /
• 2011

Most of precedent studies related to hip hop culture and fashion, which have been conducted till now were progressed under only theoretical background of hiphop, not the changed status of hiphop currently. Practical studies explaining the status of hip hop in popular culture, especially, the area of popular fashion are insufficient. Therefore, this study was conducted by focusing on cultural characteristics and musical characteristics by the stream of period, for which concept hip hop is accepted to people currently and which effect it makes on the area of fashion. Especially, the study was progressed by dividing periodical background into before and after the 2000s because there was the most noticeable change for the genre of hip hop in that period. Because of the appearance of 'Alternative hip hop' which is a sub-genre of hip hop music, hip hop music was changed to be more popular. Also, hip hop fashion also showed big changes. Hip hop fashion before 2000s had showed poor conditions, resistance, complex and alienation of them by their fashion. On the other hand, hip hop fashion after 2000s also showed popular characteristics because of high-level environment and social status. This study intended to understand and grasp hip hop as a kind of cultural situation coexisted by many-sided characteristics as well as redefine the changed concept and contents of new hip hop currently.

• 패션비즈니스
• /
• 제4권4호
• /
• pp.55-70
• /
• 2000

The purpose of this thesis is to suggest the new orientalism fashion through the comprehensive approach to analyze the art of the Tang dynasty, China. Tang dynasty has high culture, economy, polity and art. Also the character of Tang's culture is very international. Therefore that point is coincide with fusion culture in the early 2000's. As a method of accomplishing this research, the documents and fashion magazines related to the art and fashion were examined. Through analyzing the art in the Tang's related to fusion culture, reach a conclusion that the modern fashion has four characters. 1. The cause of high culture and economy, the trend of fashion was decorative 2. The cause of realism, the trend of fashion were modern and simple. 3. The cause of rhythmical line, the trend of fashion had natural drape. 4. The cause of globalism, the trend of fashion mixed east with west This research keep going for showing new orientalism and coinciding with 21th century's trend.

• The International Journal of Costume Culture
• /
• 제4권3호
• /
• pp.195-202
• /
• 2001

Re purpose of this study is to indicate the framework to analyze the contemporary fashion phenomena taking on aspect as above by grafting the mass culture theory onto the study for fashion phenomena. The contemporary culture phenomena look like a same thing apparently, but various individual characters appeared in them. And all cultures are mixed in the name of mass culture, but the subordinate concepts which can classify the culture are still in existence. And this equally appear in the contemporary fashion, one of culture phenomena. The concept of the contemporary mass culture can be explained with the taste culture, Cans' theory indicated, divided into highbrow culture, middlebrow culture, and lowbrow culture. And the phenomena of the contemporary mass culture also can be explained with globalization that came down to homogenization, regionalization hybridization.

• 한국패션뷰티학회지
• /
• 제1권1호
• /
• pp.11-26
• /
• 2003

It is an important means of expressing oneself and is affected by the social and cultural environment, too. People are creating another new lower culture, it's Sub Culture, that is, their own unique new fashion through the coordination status of a lower culture and its components to reveal the visual symbol of such garments and body decorations most clearly. The Punk formed as an reaction to 1960's hippie appeared as the most unpleasant image to the established generations with their ultimate resisting action and new aesthetic-consciousness. Their coordination by the use of the disorder and stimulative tool which gives abhorrence appears again as Cyber Punk being influenced by optical art and multimedia in '90s. It can be seen that the form of lower culture mentioned above became a storehouse of new fashion creation through the most nuclear role of lower culture and the unique characteristic coordination by age and that each lower culture fashion can become a style icon of new fashion through free coordination.

• 복식
• /
• 제56권7호
• /
• pp.101-114
• /
• 2006

The purpose of this study was to delve into the features of paradigm in conjunction with changing convergence culture in the 21st century's knowledge-based society, the influence of convergence paradigm on fashion, and changes in convergence culture. After identifying the features of the paradigm of knowledge-based society in association with changing convergence culture, the characteristics of fashion paradigm were examined in con=junction with the characteristics of the paradigm, and the convergence phenomena of modern fashion were investigated to figure out fashion trends. The findings of the study were as follows: According to the features of ubiquitous technology based on the theories of Mark Weiser and other futurologists, the characteristics of changing convergence culture in knowledge-based society could be classified into invisibility, relationship and materialized virtuality. When relevant theories were reviewed, invisibility, relationship and materialized virtuality are identified as the unique features of the paradigm of changing convergence culture in knowledge-based society. But those characteristics aren't separate concepts. Instead, they are being connected and fused together, thanks to universalized digital technology and ubiquitous technology. Changing convergence culture has brought a change to fashion paradigm as well. There is a type of design that lets all the characteristics stand out, and another design fuses just some of them together conceptually or formally. That is, fashion paradigm is marked by a combination of invisibility, relationship and an embodiment of virtual reality to be in line with changes in convergence culture.

• 복식
• /
• 제57권8호
• /
• pp.1-13
• /
• 2007

The cold image of digital culture and its realistic limits force modern people to yearn for an emotional world characterized by a warm humanity. The kind of digital technology that appeals to such a human emotion is accepted as a new digital concept in the 21st century. The purpose of this study was to examine the characteristics of emotionality, which was a new trend in digital culture, and to discuss its form and meaning in fashion sector. It's basically meant to figure out a major trend in the 21st century's digital culture, to delve into its relationship with fashion reflecting sociocultural phenomena, and ultimately to describe in which direction future fashion would be led. Emotionality was highlighted as a reaction against an absolute pursuit of speed and cold digital technology. Emotionality of digital culture in fashion design were inserting of funology, Zen-based design and development of a clothing mixture. The emphasis of emotionality in digital culture is a new sociocultural trend that stresses the recovery of human nature. As futurologists predict that a human-centered and humanistic culture will reappear in the 21st century, fashion also will be in pursuit of human-oriented design.

• 한국의상디자인학회지
• /
• 제9권2호
• /
• pp.167-178
• /
• 2007

The purpose of this study is to systematically examine fusion phenomenon in the cultural aspect aiming to grasp the characteristics of fusion phenomenon, which has a steady impact on fashion trend. A reason for fusion to be noted as a cultural code is because diversely cultural interpretations are impossible from one viewpoint. Therefore, it is aimed to inquire into the characteristics of fusion culture, which is one phenomenon of newly mass culture, and to examine which cultural fusion phenomenon in modern fashion is being displayed in fashion design. First, the culturally fusion phenomenon, which was indicated in modern fashion, is displayed as repetition. The fusion, which integrates into fashion as a cultural code, is a trend of pursuing the experience with different culture. The needs of consumers are shown as fusion fashion that repeatedly uses the traditional detail and the modern detail through cultural repetition. Second, it is displayed as transformation. A concept of fusion is not the simple aggregate in [1+1=2], but the creation of new culture called [1+1=1]. In modern fashion, the cultures in the East and the West are harmoniously transformed, and through transformation, each culture is being compressively delivered. Third, it is displayed as interdependency. The fusion fashion which was newly re-interpreted while having reciprocal influence upon mutual culture, is re-interpreted by forming the equal relationship in heterogeneous elements without destroying fashion that was made previously.

• 한국콘텐츠학회논문지
• /
• 제16권9호
• /
• pp.612-627
• /
• 2016

본 연구는 오늘날 현대인의 일상에 하나의 문화현상으로 자리 잡은 스낵 컬처와 가성비 및 트렌드를 중시하는 소비패턴에 빠르게 대응하고 있는 패스트 패션에 관한 연구이다. 연구의 목적은 문화현상으로서의 스낵 컬처와 패스트 패션이 갖는 공통적인 속성을 파악하는데 있으며, 연구의 결과는 다음과 같다. 첫째, 스낵 컬처와 패스트 패션은 속도와 짧은 시간, 간편화로 대표되는 3S의 속성을 지닌다. 둘째, 스낵 컬처는 재미있고 다양한 콘텐츠로 사용자의 욕구에 집중하며, 패스트 패션은 다양한 디자인으로 소비자의 요구에 부응한다. 셋째, 스낵 컬처는 IT기술을 근간으로 패스트 패션은 업무와 조직, 유통 체계의 기술적 혁신을 기반으로 성장하였다. 넷째, 스낵 컬처는 개방과 공유를 통해 세계와 소통하며 하나의 맥락을 글로벌화 시키고, 패스트 패션은 매출확대와 규모의 성장을 통해 다국적 기업으로 글로벌화 되고 있다. 다섯째, 스낵 컬처는 다-대-다의 관계로 소통하는 속성을 기초로 소셜 캠페인을 통해 다중의 상호 작용을 극대화시켜 시너지효과를 발휘하며, 패스트 패션은 협업의 전략적 제휴를 통하여 시너지 효과를 창출하고 있다.

• 복식
• /
• 제54권2호
• /
• pp.105-119
• /
• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• 한국의류산업학회지
• /
• 제23권1호
• /
• pp.57-69
• /
• 2021

This study investigated the influences of experiential marketing components on shopping flow, store satisfaction, and purchase intention in fashion complex culture stores. The mediating effects of shopping flow and store satisfaction were also explored in the relationship between experiential marketing components of fashion multi-tasking culture stores and purchase intention. An online survey was conducted with male and female shoppers between the ages of 20 and 30 in Shanghai, China who visited fashion multi-tasking culture stores. Data from 165 participants were analyzed employing SPSS 24.0 and AMOS 24.0. There were several meaningful results of this study. First, the analysis of the subdimension of experiential marketing components (Sense, Feel, Think, and Act-Relate) clearly showed a factorial construct. Second, the components of experiential marketing showed significantly positive effects on shopping flow and store satisfaction in the fashion multi-tasking culture store. Third, the shopping flow and store satisfaction played important medicating roles in the relationship between experiential marketing components (Act-Relate on shopping flow, Sense and Act-Relate on store satisfaction) and purchase intention. The results suggest that experiential marketing components with shopping flow and store satisfaction should be promoted among Chinese consumers to enhance purchase intentions in fashion multi-tasking culture stores.