• 패션비즈니스
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• 제9권5호
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• pp.65-76
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• 2005

The purpose of this research is to investigate the types of name spectrum and their characteristics of domestic fashion brand names focusing on women' wear and bisex wear, and also studied the differences based on the sex of brand target. 224 of women's wear brands and 99 of bisex wear brands were selected from ‘2002 Korea Fashion Yearbook’ under the criterion that their brand names were made in Korea and they should engage in business in 2002. The data analysis quatitatively evaluate the frequency and qualitatively evalute the image of brand product and the meaning of brand name. The result as follows; 1.The domestic fashion brands for women's and bisex wear appeared to have to three types of name spectrum ; the descriptive name was the most frequently used one, then followed by the arbitrary, and the suggestive name. There were only one coined brand name and no generic brand name. 2. The characteristics of descriptive brand name was that, in most cases, it used the name of designer. For the suggestive brand name, it implied the features or the image of its products. For the arbitrary brand name, some bear the ideology or the foundation belief of company itself. 3. For women's wear, the discriptive name appeared most, and followed by arbitrary, and the suggestive name. For bisex wear, the suggestive brand name appeared most, and followed by arbitrary name, and the discriptive name. 4. For descriptive brand name, the names of designer were used most in women's wear brands. Otherwise, the brand names that directly described the image or the characteristics of products were used most in bisex wear brands. For suggestive brand name, soft and feminine images were prevailed in women's wear brand names but comfotable and casual images were dominent in bisexsual brand names. For arbitrary brand name, as the various types of languages were combined and the various meanings and words were mixed, and imply the various meanings in both cases, it was hard to classify the characteristics into some categories.

• 한국의상디자인학회지
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• 제13권4호
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• pp.127-138
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• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• 한국의류산업학회지
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• 제6권6호
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• 복식문화연구
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• 제4권2호
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• pp.219-245
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• 1996

Throughout her life time, Edith Head produced cinema costumes for over one thousand movies. She was the leading cinema costume designer in Hollywood. Since the Academy Awards added the area of costume design to be recognized [during 33 years of her work(1948∼1981)], she was nominated 35 times an awarded eight times. However, there were no significant studies done on her work or accomplishments although she was acknowledged as an ingenue and creative designer who elicited artistic effects by reflect character's images through their costumes. The purpose of the study was focused on revealing Edith Head's life and work as her creations had a great impact in he field of cinema costumes. It was also to emphasize the forceful affect of cinema costumes on fashion and to disclose the powerful influence of cinema costume designers. The method of the study includes reviews of literature, movies for which she created costumes, her own possessions, and fashion magazines as well as her works that were nominated and chosen for the Academy Awards. Edith head's emphasis in costume design was based on a blend of both simplicity and sophistication avoiding excessive exaggeration and transformation in her work. Her work was also realistic and contemporary. She developed a dramatic ambience through an innovative design while preserving the actor's individual character and uniqueness. Through this accept her her work was highly renowned as an art form as it was gaining popularity. She was also a dominant figure who influenced trends in the areas of fashion magazines, uniforms, and public clothing. In the review of her cinema costumes, it was revealed that the styles of cinema costumes can be as quickly adapted by the public as movies are viewed because the cinema costumes are highly projected through a visual channel. Subsequently, a follow up study on the affect of cinema costumes on fashion would be beneficial.

• 복식문화연구
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• 제19권6호
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• pp.1302-1319
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• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.

• 복식
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• 제55권1호
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• pp.13-24
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• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.

• 패션비즈니스
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• 제14권2호
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• 패션비즈니스
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• 제19권6호
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• pp.42-57
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• 2015

The purpose of this study is to examine a user-centered and interactivity-based user-participatory design that could be completed by users by helping them to better understand a diverse experience and be involved in a design process. The aspects of expression that were marked by direct user participation and subsequent interactivity in the areas of design, the arts and fashion were investigated to determine their characteristics. The kind of fashion that is characterized by interactivity is of significance in that it is variable according to the purpose of the users, it's possible to have sustained communication with them through their direct participation, and that the designer is consequently able to build a new, communicative relationship with the users as co-creators. This study found that the characteristics of interactivity through direct user participation are classified into four characteristics; One is playfulness. which offers a new experience and way to create fun and vale. Another is variability, which is changeability of form; the third is the convergence of technology and function. Lastly, the fourth is virtuality. This is to embody images in virtual space.

• 한국의류학회지
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• 제36권1호
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• pp.27-35
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• 2012

This study locates typical Korean fashion images in domestic and foreign fashion journals to advance Korea's international image in contemporary global fashion markets. The investigation of the frequency of articles and their types (so as to inquire into interest in Korean fashion in the global fashion markets) showed that for the appearance frequency of domestic articles studied, a good number of articles were published in the first half of 2008 and in 2009. In the case of foreign articles, the number of them increased from the second half of 2008 and the majority of articles were shown in the first half of 2010. Second, the investigation of the appearance features by article type studied in order to understand how Korean fashion played a role in the world's markets. The majority of articles were related to fashion brands that entered Chinese market in fashion brand articles in the case of domestic articles; however, many foreign articles introduced designers that participated in global fashion collections in Paris and New York. Third, as a result of analyzing typical key words by article type in order to find key words which could enhance Korea's fashion national image representing, we could confirm that 'Korean designers' can be a typical key words to represent Korean fashion. The key word most exposed in both domestic and foreign articles was 'designer Lie Sang Bong' and only his articles contained the content about influential Korean design materials.

• 복식문화연구
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• 제24권5호
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• pp.626-641
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• 2016

Maximalism in modern fashion, which is contrary to the current fashion market that emphasizes functionality and practicality, is an important notion that has been expressed in a variety of ways through designer's unique sense with a mixture of experimental design. With such creative work that suits a trend in novel fashion design, Rei Kawakubo is a current representative of Comme des Garcons who has not only introduced deconstructivism and Japanese-style avant-garde to the fashion industry for the first time. Our research, thus, analyzed the characteristic of maximalism's expression based on the features represented in her collection. Firstly, Expandability is classified as a method of distorting parts of a body and a method of excessively overinflating the silhouette of clothing. Secondly, decorations are expressed in the other as blending different types of materials together. Thirdly, fantasy evokes a fresh and stimulating surreal sensation that may only be felt in an imagination by assigning supernatural and amusing expression to the garment. The forth, fusion refers to a creation of novelty from combining various types of elements and images. The fifth, experiment is unique trait that develops mysterious images, consisted of various details. The sixth, non-structure is different from an initial form of garment that maintains a bilateral symmetry. The importance of our research lies in proposing a fundamental data for development of creative design as well as in expanding a range of possible expression for maximalism, by analyzing the characteristics of maximalism seen in Rei Kawakubo's collection.