• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.582-593
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• 2002

Metal materials have been used in the clothing design on the spirit of ingenious experiment by fashion designers, and they have been put to practical use by several designers who work out a scheme of popular fashion merchandise. This current starting from the 1960s was weakened in the 1980s, but it was appeared with various shapes of metal materials in the 1990s due to a popularity of techno/cyber fashion. Recently, textile engineering technology causes to develop new-materials which are practical and sanitary. The development of fashionable metal materials brings about the popularization of fashion with metal materials, and it induces that mainstream of modem fashion has been changed into designers of pursuing the spirit of ingenious experiment. This study examines the formative characteristics of metal materials that are based on the spirit of ingenious experiment. As a result, it is evaluated that the formative of metal materials shown in modern fashion is futurism, visual concentration, avast-garde, resistance, precious.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.129-144
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• 2016

The purpose of this study is to identify current trends in hip-hop fashion in korea and how they are influenced by musical characteristics of female hip-hop. This study considers the relationship between female hip-hop music and their fashion through the history of hip-hop. Data has been collected and analyzed from broadcastings, performances, music videos, and album jackets of female musicians who appeared in the cable television program 'Unpretty Rapstar' by MNET during two seasons in 2015. "Unpretty Rapstar" is the first program to focus on the music and fashion of female Korean hip-hop musicians. For the theoretical review, this article examines books and journal articles, which provide insight into the history and formation of hip-hop. It also analyzes the hip-hop styles of female musicians in Korea through Hiphopplaya.com, an Internet site specializing in hip-hop. the results of the analysis of the fashion of female Korean hip hop musicians is as follows: The characteristics of the styles of female hip-hop artists come out of Glam Style, which emphasizes femininity, but is also composed of a practical and dynamic street casual style. Most of the clothes are skinny jeans and sweat suits with vertical and slim-fit silhouettes or stadium jackets and jersey jackets with oversized silhouettes. The main colors of these outfits are prominently yellow and red with darker grayish tones, but also include natural achromatic colors.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.152-162
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• 2012

The Purpose of this study was to investigate research trends of subject matter in fashion design aesthetic field in clothing and textiles and to suggest the information for the future directions for fashion business and research. 1089 articles with clothing and textiles subject matter, 523 articles with fashion design aesthetic field in the Journal of Korean Society of Costume from 2001 through 2010 were analyzed. The major conclusions of the study are as the following: 1. Fashion design aesthetic field took absolute majority in the researches of the clothing and textiles in the Journal of Korean Society of Costume, in the 2000s. 2. Fashion design aesthetic field showed more proportions in the latter half of the decade. 3. History of costume, fashion marketing field were followed. Textiles science field took extremely little proportion. 4. In fashion design aesthetic field, topic of fashion design elements and types took absolute majority. 5. Fashion aesthetics, fashion design development, makeup hair style topics were followed.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.823-838
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• 2018

The article surveys the technique and characteristics of contemporary fashion exhibitions in terms of fashion museography and fashion curation. The article reviewed both a literature study on the history of fashion exhibition focused on the display technique as well as a case study of domestic and international contemporary fashion exhibitions. The results of the article is as follows. Fashion brand exhibitions are about building competitive business advantage by planning differentiated contents. It gives viewers a brand fantasy and increases brand loyalty. This type mainly displays the latest collections on the commercial purpose as well as uses diverse mediums and high technology to make a spectacular space that provides an immersive experience to the viewer. Second, the museum fashion exhibition focuses on the roles of fashion in terms of social, cultural and artistic aspects that also focus on public education. The presentation technique emphasizes careful collection conservation rather than celebrate fashion business. The article is to encourage a further scholar discourse of fashion curatorial practice and theory.

• Journal of Fashion Business
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• v.6 no.3
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• pp.94-109
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• 2002

The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art's horizon. As fashion illustration is gaining recognition as a form of art which mirrors today's realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art & technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression. The concept of fashion illustration, history of fashion illustration from its incepton to modern date is reviewed and the simplicity has been researched throughout past studies published in Korean and overseas Journals.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.43-52
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• 2021

This case study developed and operated "Fashion & Film" as a fashion-related liberal arts course. The class was designed to include fashion styles exhibitted in films, fashion-related PPL, fashion design through film, fashion images of movie characters, considering gender & color images expressed in movie costumes, and the history of western costumes and asian folk costumes in films. The class was counducted through various teaching methods, such as lectures, student's presentation of movie plots, and team discussions, which created a student-led class. The team presentations at the end of the term were intended to enhance the understanding of fashion through movies. The results of subjective lecture evaluation of "Fashion & Film" showed the most satisfaction with the communication with professor. Students said that it was good to understand fashion through film. They expressed a burden with the team project; however, they were satisfied with the team project outcomes. Students said that PowerPoint was used very effectively. On the other hand, there was an prevelent opinion that the content of PowerPoint and workbook did not match. To address this inconvenience, a textbook called "Fashion in Film" was published and used in the first semester of 2020. The multiple-choice evaluation showed that students were generally satisfied with the "Fashion & Film" class.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.200-209
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• 2009

Mirrors often appear in fashion advertisements. This study aimed to analyze meanings of the images represented in fashion advertisements using mirrors. This study analyzed the meanings of mirror image in Western art history, and also studied meanings of female representations in the paintings. Based on previous studies, this study classified mirrors' expressions in three types and analyzed their meanings. To analyze the meanings of the three types, this study researched the symbolic meanings of the mirrors in visual arts chronologically, first. And then, this study interpreted that in the context of consumption cultures and consuming ideologies in view of feminism, consumption ideology, desire theory, and fetishism. The results of this study were as follows; 1. Narcistic body expressions associated with strong and independent women, while associated submissive being overwhelmed by consumption cultures. 2. The method of revealing the female body throughout mirrors was meant to attract the attention of consumer. 3. Multiplied body images meaning was like a commodity in fashion advertisements.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.577-589
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• 2013

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.