• 한국의상디자인학회지
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• 제9권3호
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• pp.167-180
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• 2007

This study analyzes the Asian, African and Latin American cultural hybrids in modem fashion, and offers a direction for desirable cultural hybrids in modem fashion. First, the cultural hybrids have been considered in two aspect: global hybrids and structural hybrids. Second, the trends of Asian, African and Latin American cultural hybrids have been interpreted differently depending on the cultural backgrounds of each area. However, the cultural hybrid representing the change of tradition in Asia, Africa and Latin America is a common trend, and is used to describe the social changes. Third, this study examines the global hybrid trend in modem fashion based on the hybrid trend of Asian, African and Latin American culture found in the four major collections from 2000 S/S to 2005 F/W. Until recently, the exotic images have been determined in the viewpoint of Western world, and utilization by the world-renowned designers in the four major collections plays the major role in converting the regional cultural elements into global ones. Fourth, this study also examines the structural hybrids in modem fashion based on the hybrid trend found in Asian, African and Latin American designer collections between 2000 S/S and 2005 F/W. The works which are connected to the world trend, but are also rooted from the cultural and regional traditions demonstrate the globalization of the Asian, African and Latin American fashion. Fashion is a messenger of a culture, and its importance as a symbol of a cultural trend is growing.

• 문화기술의 융합
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• 제2권3호
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• pp.15-22
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• 2016

본 연구는 20대 여성에 대한 재킷의 실제착의와 컴퓨터 시뮬레이션으로 재현된 가상착의 상태를 디자이너 집단과 패터너 집단이 비교 분석하여 가상착의 시스템의 개선 방향을 제시하는 것을 목적으로 수행되었다. 착의 방식에 따른 디자이너 집단의 외관평가 차이 분석에 있어서 앞면에 대한 개 항목 옆면에 대한 개 항목 뒷면에 대한 1개 항목 소매에 대한 개 항목 칼라에 대한 개 항목에서 평가에 대한 차이가 있었다. 착의 방식에 따른 패터너 집단의 외관평가 차이 분석에 있어서 옆면에 대한 개 항목 뒷면에 대한 개 항목 소매에 대한 개 항목 칼라에 대한 개 항목에서 평가에 대한 차이가 있었으며 모든 항목에서 가상착의의 모습이 더 아름답다고 하였다. 착의 방식에 따른 외관평가에 있어서 디자이너 집단과 패터너 집단의 평가가 차이가 있었으며 이는 디자이너 집단과 패터너 집단이 의복의 맞음새를 평가하는 기준이 다르다는 것을 시사한다.

• 복식
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• 제58권4호
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• pp.13-25
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• 2008

This study is on the various style and characteristics of mask, and was performed empirically by reviewing the related materials such as the literature, precedent studies, fashion works, and home and foreign fashion magazines. As a result of the study, the style of mask in the modern fashion is roughly categorized by full-covered style, half-covered style, and over-half-covered style which is covered over 50% of a face. And, mask is utilized on a hat or a dress all over, or is produced by a elaborate makeup. Mask with lots of variation has three big characteristics, which are sense of disguise, sense of ornamentation, sense of grotesquery. First, sense of disguise means deviation or tool of affectation instead of cultural standard norm through transforming or masquerading as an imagery person or animal in ancient myths, famous artistes, etc. It could be developed to express a designer's identity. Second, mask decorated with various styles and materials has sense of ornamentation, which means natural human desire of expression for beauty, and at the same time human mind longing for experience a fantastic and ideal inner world being deviated from the present world even indirectly. Third, ignoring the original format of eyes, nose, and mouth, using extraordinarily various techniques such as distortion, extreme, exaggeration, concealment, or combining with animal images, mask has sense of grotesquery inducing humor and horror simultaneously.

• 한국의류학회지
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• 제29권5호
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• pp.715-726
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• 2005

The purpose of this study was to identify the effects of the sensation seeking and body image on female adolescents' clothing behavior and hair style attitude. The data was collected from 390 high school girls living in Seoul, via a self·administered questionnaires, and were analyzed by frequency, factor analysis, reliability test, Pearson's correlation, and multiple regression. The results of this study was as follows : 1) Three factors of body images were self appearance evaluation, appearance orientation and fitness orientation. Five factors of clothing attitudes were fashion/clothing interest, clothing exhibition, social approval, psychological dependence on clothing and fashion leadership. And three factors of hair style attitudes were interest in hair style, individuality in hair style and dependency on hair designer. 2) As the result of analyzing the effects of sensation seeking and body image on clothing behavior, fashion/clothing interest was explained by appearance orientation and fitness orientation, and clothing exhibition by sensation seeking and appearance orientation, and social approval by appearance orientation, self appearance evaluation and body cathexis, and fashion leadership by appearance orientation, fitness orientation and self appearance evaluation, and clothing conformity to the self-entertainer by appearance orientation, sensation seeking and fitness orientation, and appearance related delinquency by sensation seeking, appearance orientation, fitness orientation, self appearance evaluation. 3) As the result of analyzing the effects of sensation seeking and body image on hair style attitudes, interest in hair style was explained by the factors such as appearance orientation, sensation seeking, fitness orientation, and body cathexis, and individuality in hair style by appearance orientation, sensation seeking and self appearance evaluation, and dependency on hair designer by body cathexis.

• 한국의류학회지
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• 제40권4호
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• pp.600-614
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• 2016

This study specifies the definition and characteristics of fake fashion by categorizing cases through an analytical framework that uses the concept of simulacre, which is one of the theories that explains the reproduction of images and symbols in a modern consumer society. The presentation stages of modern fake fashion based on Baudrillard's concept of simulacre are as follows: Stage 1 focuses on the realistic imitation of the original, Stage 2 maintains a similarity with the original while transforming through the distortion of shape or visual perception, Stage 3 is the reality of the original which has become significantly vague and actively involves the designer's creativity, and Stage 4 forms a new value and an independent aura beyond reproducing the original. The presentation techniques of modern fake fashion viewed in the concept of simulacre can be classified into optical illusions by reproduction, use of a fake object, use of unusual shapes, and re-signifying through borrowing. As a result of applying the collected cases to the analytical framework, image reproduction in Stage 1 with imitative nature is a counterfeit that cannot be regarded as fake fashion, and fake fashion in Stage 4 (that can be referred to as simulacre) is fashion with symbolic and multiple meanings with new and creative designs. Modern fake fashion analyzed in the concept of simulacre transforms or reproduces the preexisting original with the purpose of merely creating original designs as well as acts as a new symbolic signal that creates a new aura and sets a trend with a message.

• 복식
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• 제61권1호
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• pp.94-108
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• 2011

The goal of this dissertation is to analyze various Romantic styles appearing in modem fashion based upon the 'Difference' theory developed by Michel Foucault. The characteristics that represent 'difference' in change of dress style are absence and resemblance. They are derived from the Foucault's interpretations of 'difference' represented in the paintings by Vel$\acute{a}$zquez and Magritte. The formative characteristics of the Romantic style dress in the 19th century are suppression of body, fixed form, volume, and ornamentation. And the aesthetic values of that are subordination, sensuality, and maternity. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to absence and resemblance. The results are as follows: first, absence in fashion means that body is more emphasized than dress represented by omitting part or the entire of dress or using the transparent materials. In modem fashion, absence also frees the body from dress and creates ambiguity of boundaries between body and dress. Another characteristic of the absence is lessening the volume, which means the size of dress remains still big but the weight is lightened. Second, resemblance means the formative similarities between the Romantic style of the $19^{th}$ century's and that of modem fashion created through using modem technology and materials. The characteristics of the resemblance are the fixed form, lessening of volume of the dress and ornamentation. Feminine beauty inherent in the original, such as subordination, sensuality, and maternity, looses its symbolic meaning and what is created is a new combination of images and signifiant that contain no or uncertain meanings. Thus totally new and different Romantic style is created. The Romantic style in modem fashion changed into the appropriate style to the modem society under various conditions such as designer's will, postmodernism, changes of femininity and technology.

• 복식
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• 제56권2호
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• pp.70-82
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• 2006

The purpose of this study was to analyze the trends and features of male fashion and hair style image and thereby, determine the relationship between fashion and hair styles, and thus, provide for some basic data for future studies about male hair styles as well as for new male hair style trends. For this purpose, relevant literature was extensively reviewed including some visual materials. The major references for this study were domestic and foreign books, journals and preceding studies about fashion and hair. The visual materials referred to for this study were domestic magazines specialized in fashion and hair, visual data supplied by hair product brands, Korea Beauty Parlor Journal, Beauty and Cosmetic Newspaper, Beauty Today, and such fashion special websites as $S{\cdot}F{\cdot}I,\;C{\cdot}F{\cdot}T$, firstview.com, fashionwide.com, etc. Based on the results from a questionnaire survey of master or Ph degree holders of apparel science, reputed designer were sampled and then, 80 works were finally sampled from their collections published between January, 2002 and April, 2005. As a result of analyzing the images shown in modern male apparel and hair style fashions by classifying them into natural, restored, folklore and eclectic ones, it was confirmed that both male apparels and hair styles have been reinterpreted in modern terms depending on social and cultural settings to be expressed as new styles, and in particular, that male hair styles have evolved diversely into new styles depending on fashion tendencies, while having been versatile in some relationships with their fashion tendencies.

• 한국의상디자인학회지
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• 제24권4호
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• pp.87-99
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• 2022

The purpose of this study is to develop machine embroidery textile designs for each technique that can be expressed using a single-headed computer embroidery sewing machine through a machine embroidery CAD system. For research, embroidery CAD utilized the Artistic digitizer, and the guillotine computer-mechanical magnetization machine used ELNA. The design concept was limited to portraits and relics of independence activists in six memorial halls built in Korea. The results of this study are as follows. First, it was found that the machine embroidery texture, which could only be produced by industries in the past, can be expand in the infinite creative embroidery design area by enabling the digitalization of motif images and the simulation of machine embroidery techniques through various layout options. Second, in the development of machine embroidery textures, it was found that the setting of the width, height, axis ratio, stitch, object, path, length, density, layer order, etc. in embroidery CAD is a very important part of determining the completeness of the embroidery results. Third, mechanical embroidery textile designs, which can be represented by single-head computer machine embroidery machine were able to show colorful embroidery results that differs from the original image by using seven main techniques and five deep technique alone or in combination, according to the designer's intention.

• 복식
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• 제65권8호
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• pp.50-63
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• 2015

The purpose of this study is to explore the potential of digital graffiti as a new creative tool in fashion through analysis of its expressive features and methods merged in fashion. The results from the analysis of fashion cases using digital graffiti may be summarized as follows. First, 'Mixing of Materials and Non-materials' matched immaterial lights and images with physical clothing materials and space, effectively expressing imaginary spheres that were not expressible with the existing materials. Second, 'Fantastic Storytelling' expressed theme such as 'Sun', 'UFO', 'Science Fiction Film', 'Fantasy Fairy Tale', and 'Universe' through lasers, lights, augmented reality and LED graffiti. Third, 'Convergence with Human and Digital Media' accentuated the active participation of spectators thereby causing human and digital media to interact with each other. Designer's ideas and unexpected responses of spectators realized various digital graffiti effects, which came across by sheer chance. Fourth, 'Utilizing of Site-Specificity' met with the best results when the digital graffiti was expressed in context of a place or location where fashion performance is taking place. Fifth, ' Playfulness by Consumer Participation' intended to induce voluntary participation from consumers by providing the fashion digital graffiti as play tools, and created new fashion digital graffiti or altered existing stereotypes, thereby invoking new visual and tactile experiences. Likewise, today's digital graffiti are emerging in various fields, and the trend of fashion-digital graffiti integration has already created interesting works.

• 한국의류산업학회지
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• 제9권6호
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.