• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.1-20
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• 2017

Centered on Kathleen Kye, a designer who conveyed messages on social issues through her dresses, and established her own identity, this study aimed to examine what theme, method of expression and inner meaning her 'statement' had, as a way of expressing a critical awareness. After reviewing discussions by Duggan G. G. as well as dictionary definitions, statement fashion design can be defined as a work or fashion shows containing a message of a designer who is free from a particular trend or consumerism in various social issues. Statement fashion designers give opposing messages on social issues through their fashion collections. As a result, research shows that contemporary statement fashion designers are expressing themes of a fashion systems, fetishism, body image, collision, environment, as well as the socially disadvantaged by appropriation, reuse, slogan, metaphorical pattern and performance. Satire, awakening, challenge and support can be derived from the inner meaning of contemporary statement fashion design. In terms of the theme, method of expression and inner meaning, this study showed that KYE collection of the designer Kathleen Kye expresses critical awareness on the modern society. Research findings reveal that KYE collection include the following themes: long-term youth unemployment, conflict collision in war or on the Internet, fetishism by youth in a get-rich-quick fever, environmental issue causing destruction of an ecosystem by decrease in bee population, school violence and the socially disadvantaged related to alienated immigrants. Also, as a method of expression themes, such as metaphorical patterns, were used. The patterns used images including a skeleton, gun, heart, rope, plaster, homeless box, bee, honeycomb, chain and a slot machine. On the other hand, the inner meaning of statement in KYE collection showed satire on social issues, awakening on social issues unrecognized by the masses, and support for the socially disadvantaged.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.711-720
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• 2003

The purposes of the study were to categorize eroticism expressed in modern fashion and to find out any significant difference in erotic expressions among designer brands and fashion seasons. The research methods was a documentary analysis. The documentary materials were 180 photographs randomly selected from fashion photographs of 3 major designer brand collections, from 1995 S/S to 2000 A/W. The data were analyzed by contents analysis, frequency, crosstabs. Results were as follows; 1) The existence of erotic expressions in modern fashion was found in 107 (59.4%) out of 180 fashion photographs and the eroticism was one of the major themes in the later 1990's fashion. 2) The erotic expression in the modern fashion were categorized into 5 categories exposure, adhesion, transparency, exposure+adhesion, and adhesion+transparency. The major erotic expression was exposure which was followed by adhesion and transparency. 3) The degree of erotic expression were separated into 3 levels-strong, medium, weak. The erotic levels in the modern fashion ranged between medium and weak; medium level 43%, weak 42% and strong 15%. 4) The erotic expression and the degree of erotic expression showed differences according to three designer brands. Chanel brand used less erotic expression than Christian Dior or Givenchy. Christian Dior brand showed the tendency of strongest erotic level while the Chanel brand showed the weakest level. 5) The erotic expression and the degree of erotic expression showed differences according to fashion seasons. Spring and summer seasons used more erotic expression than autumn and winter. In spring and summer seasons, exposure and transparency were methods used more frequently for erotic expressions, while adhesion was stronger themes in autumn and winter seasons.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.3 s.9
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• pp.25-34
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• 2006

This study was carried out to examine the level and relevant factors of influencing quality of lift of Hair Designer and to provide basic data to prepare intervention program for them. The data were collected from 733 Hair Designer who worked in beauty shops located in big and small cities including Seoul, Busan, Daegu, Daejon, Gwangju, Gyeongju, Changwon, Andong, using self-administered questionnaire for four months from February to June 2005. The results of this study show that the level of quality of life of Hair Designer are lower than one of workers in other jobs. Particularly, there is a close relationship quality of life, and that the lower the income and the shorter working hours, the lower the level of quality of life. Thus, the health promotion and education program to improve the quality of life of Hair Designer should be developed considering working conditions.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.4
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• pp.743-759
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• 2023

Collaboration between AI and fashion designers is becoming essential. Thus, this study explored (1) 321 consumer responses to fashion designers, comparing their capabilities and product quality across different designer types, (2) the relationship between designer capabilities and perceived product quality, and (3) the moderating role of AI knowledge in the effect of capabilities on perceived product quality. Data were analyzed using EFA, ANOVA, regression, and moderation analysis. The results indicated that subjects perceived human designers as having higher capabilities and perceived product quality than AI designers. All subjects' perceived creativity and empathy significantly impacted the perceived functionality, aesthetics, and symbolism-sociality of clothing. Additionally, the perceived creativity of AI and human+AI designers, and the perceived empathy of human and human+AI designers, significantly influenced the perceived functionality and symbolism-sociality, but the perceived creativity of human designers and empathy of AI designers did not directly impact perceived functionality and symbolism-sociality. Moreover, perceptions of the designers' capabilities significantly aesthetics in all subjects. Furthermore, low levels of perceived consumer AI knowledge enhanced the positive impact of perceived human+AI designers' creativity and empathy on perceived functionality and aesthetics. The study suggests that fashion companies should refrain from revealing AI designers at this time.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.39-52
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• 2004

The purpose of this comparative study what is the way to express difference fashion design between Japanese fashion designers and Western fashion designers in the 1990s. The design data were 422 pictures of contemporary fashion designs which represented the Japanism style design from fashion collections and analyzed by literature study and classification categories. The results were as follows : 1) Early general Japanism expression was directly borrowed from traditional fashion design elements and has changed indirectly with fashion trend. 2) Japanese fashion designers have used color, fabric, and pattern than shape to express Japanese traditional images. 3) Western fashion designers have directly borrowed aesthetic elements of Kimono design, that is, layering. bending, neck-line, sleeve, and traditional Japanese men's wear to express Japanism.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.64-80
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• 2013

The purpose of this study is to examine the cases of Korean requesting fashion designers for uniform design, that were created from the combination of designer's ideas with company identity, and analyze its design characteristics. For research methods, the uniform design cases were investigated and analyzed from 2000 to 2012. Uniform design cases were classified by job categories( airlines, banks, distributions, constructions, communications and restaurants). The most frequently applied trait on the part of uniform design proved to be for the fashion trend, followed by emblematic and functional factor and lastly, by korean tradition. This might be ascribed to the occupational characteristics of the fashion designers, which is the most emphasis on the fashion trend. The uniform of the construction and the distribution companies showed very fashionable designs that would be regarded to be associated with the trendy life styles in these companies' consumers. To the contrary, the uniform of the financial and communication companies showed the functional and emblematic trend that might be due to work conditions with long hours of sitting, coming from the occupational characteristics of these companies.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.191-200
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• 2014

Employees overseas have a need to prepare according to the different environments and industrial structures between countries. Therefore, to investigate qualities for fashion designers to possess when they work abroad, especially in the United States, this study compared the level of knowledge required to fulfill the work of fashion design in both South Korea and the United States. Responses from workers who are engaged to fashion design from the representative online career information systems of two countries, 'Worknet' in South Korea and '$O^*Net$' in the United States, were used as data. Looking at the result derived from the analysis of this study, first by comparing various statistical indicators, results showed the difference between knowledge level required to fashion designer in South Korea and in the United States. Even with the same type of job, because environments and industrial structures of each country are dissimilar, a different level of knowledge will be required in order to perform their tasks. Second, fashion designers in both South Korea and the United States required a high level of knowledge in the 'fine arts', 'administration and management', 'production and processing', and 'design' to perform their duties as a fashion designer. As a result, both countries have similarities that fashion designers need to possess a high level of the knowledge in areas such as 'production of products' as well as 'sales of products'. Furthermore, human relationship field of knowledge such as 'counseling', 'psychology', and 'communication' appeared to be more necessary to fashion designers in South Korea than those in the United States. On the other hand, higher degree of knowledge of 'machines and tools', ' fine arts', and 'transportation' appeared to be more necessary to fashion designers in the United States than those in South Korea.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.97-113
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• 2014

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer's creative world, the formation of styles and the expression of a fashion designer's identity.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.2
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• pp.273-294
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• 2020

Considering the complex relationship between fashion curating and the critical approach of fashion exhibition reviews, this study explores the current state of fashion criticism in museology, focusing on fashion designer exhibition reviews of Fashion Theory. The author selected eighteen exhibition reviews of individual fashion designers' works from 1997 on to the current 2020 issues of Fashion Theory, which provides an interdisciplinary forum to analyze fashion as a cultural construction. The author performed a systematic review that qualitatively summarizes and/or synthesizes the findings of the studies on the topic with the process of a systematic review, such as key question formulation, analytic framework building, evidence mapping, critical appraisal, and evidence synthesis. The results of this study are as follows. First, the exhibition reviews included almost all stages of the inclusive fashion criticism model, based on an artifact study. Second, they reflected various critical discourses that offered current interpretations of historical and contemporary fashion. Third, they showed that fashion criticism in the museum context is the result of an interdisciplinary collaboration of various fashion agents. Finally, they offered a bridge for crossing the boundaries of various scholarly fields, as they combine multidisciplinary scholarship with object-based methods.