• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1061-1073
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• 2009

Present expression methods have close relations with popular culture in the active acceptance of various kinds of genre. Fashion illustration is no longer limited to sketching garments or technically explaining construction, it is accepted as an art that is expressed by the desire and consciousness of the artist. This study examines the expressional characteristics and effects of photo-image appropriation as an expression method in fashion illustration. The word 'appropriation' (to steal something) is used as euphemism and not meant to be derogatory. The methods of appropriation in art indicate that paintings are not inventions but are self-satisfactory creations that show that the idea of originality is false and that paintings should be uninhibited from the greed of the authority of the genius of artists. In postmodern paintings, the photo-image of appropriation are expressed through the methods of re-photography, photo collage, and photo painting. Photo-image appropriation methods in fashion illustration are re-photography, photo collage, image mixing of photography, drawing, and graphic expression of photography. Fashion illustrators are able to develop expression techniques for expanding a field of expression and enhance the ability of communication through the photo-image appropriation methods.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.4
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• pp.17-27
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• 2017

This study analyzes the trends of photo image components and forms of expression in global fashion advertising photos. First, photo image components are classified into seven categories: location (indoor-outdoor), the model's movement, pose, facial expression, gender, race and number of models. The forms of expression are classified into six categories: direct expression, sensual expression, symbolic expression, storytelling expression, dramatic expression, and sexual expression. With the aforementioned classifications, the trends were studied for three years from 2013 to 2015. The analysis result indicates the following: for the details of photo image components, the portion of indoor photos, static poses and conscious facial expressions was over 60% of the total for every season of the 3 years, while there was a slight increase in the number of models and the diversity of races. For the forms of expression, the sensual expression showed the largest portion accounting for over 50% of the total, followed by direct expression and storytelling expression. The findings from this study show that the trends of photo image components and forms of expression in global fashion advertisements are changing. Therefore, domestic companies will need to develop photo image components and forms of expression in line with the changing global fashion advertisement trends.

• Archives of design research
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• v.16 no.3
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• pp.291-298
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• 2003

In the rapidly advancing modern world, Fashion Illustrations are being utilized in various aspects of art and industrial works. Fashion illustrations are especially useful in fields like trend books thats show advanced trends where photographs are difficult to be utilized due to the fact the real object does not exist. Both the academic and industrial worlds have realized the importance of Fashion illustration and have started to study the field as a way of expressing the general image of a costume rather than a diagram for making clothes. The focus of this study is on Fashion illustrations using Photo Montages that express modern fashion using various and unique textures. The study is composed of a literature review on Fashion illustration and Photo Montages. and five work pieces are made focusing on expressing compounded images.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.33-48
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• 2003

The purpose of this study was to define the moaning and features of humor in modern fashion. by examining how it's being grafted into fashion, based on artistic expression including collage, assemblage, photo montage, graffiti, transformation, distortion, exaggeration and optical illusion. Beside. humor of fashion is to examine not only laugh and fun but also formative expression and creativity. Furthermore, it is to enlarge the range of conception for future fashion. The findings of this study could be described as below: The features of humorous fashion by collage and assemblage boiled down to unexpectedness, disharmony and creativity. The photo montage was marked by popularity, reproduction and recreativity, and graffiti was characterized by attention, simpleness, and amusement. And there were unexpectedness, creativity and strangeness in transformation, distortion, magnification and optical illusion. The meaning of humorous fashion that carries such features could eventually be summarized into the followings : First, the fashion, from which collage, assemblage, photo montage. graffiti, transformation, distortion, magnification and optical illusion were detected. could be sorted out into several categories that used different things : introduction of objects of different nature, dramatic impression and wit based on photo montage technique, introduction of comic components and infant image, and destruction of aesthetic principles. Second, the substance of humor in art could be applied to fashion design as well as visual art. Humor is a property related to accidental, unexpected incident, behavior, situation or idea, and it puts laugh, disharmony or awkwardness in fashion. Third, spicing fashion with humor could serve to draw people's attention, break down the barrier among people exposed to dry sentiment, and connect the public with art.

• Journal of Fashion Business
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• v.18 no.2
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• pp.29-41
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• 2014

As the online shopping mall market faces severe competition, marketers have focused on visual factors that generate positive consumer responses in order to induce more consumers. Although product photos are crucial in the communication of product information as well as in the development of positive images of online shopping mall, there was little intention the effect of diverse types of product photo. In this study, three types of backgrounds (i.e., no background, indoor background, street background) are compared in order to explore whether consumer sensibility factors are different according to photo backgrounds. Moreover, it investigates the effect of sensibility toward photo backgrounds on consumer attitude. A total of 222 consumers participated in the experiments. As a result, six sensibility factors were generated from online model photos, including structure, upscale, uniqueness, interest, simpleness, and easiness factors. Among these factors, simpleness and structure showed the highest means; simpleness was the factor indicating the differences according to photo backgrounds. Sensibility factors affecting attitude toward online shopping malls were uniqueness in the case of no background, interest in the case of indoor background, and upscale in the case of street background photo.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.145-157
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• 2017

This study aimed to investigate the relationship between values orientation and fashion image orientation with a focus on the new senior generation. The study conducted data analysis by using the SPSS 17.0 program for the final 397 copies excluding incomplete questionnaires. The results of this study are as follows. First, values orientation was drawn as the four factors of social orientation, dependent orientation, family-like orientation, and individual orientation. The fashion image orientation was compartmentalized as three factors: urban image, individual image, and feminine image. Second, social orientation had a significant effect on feminine image as shown in Photo 1, while only individual orientation exerted a significant influence on individual image (Photo 2). Social orientation and family-like orientation respectively exercised a significant influence on individual image and feminine image, and feminine image (Photo 3). Third, the four groups did not show a significant difference in the relationship with the sub-elements of fashion image orientation. It appeared that all four groups were felt as a complex image in which modern, feminine, and individual images were mixed. Fourth, the four groups showed a significant difference in the unusual, elegant, refined, youthful, feminine, and modern images among the factors of fashion image orientation.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.109-126
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• 2017

This study aimed to investigate the relationship between oriented quality of life and fashion image with a focus on their futures. The results of this study are as follows. First, oriented quality of life was sampled as six factors such as information preference, job preference, self-preference, leisure preference, health preference, and self-defense preference, whereas an oriented fashion image was drawn as three factors such as urban image, individual image, and feminine image. Second, the self-defense preference had a significant effect on modern image and individual image as in Photo 1, while leisure preference and self-defense preference exerted a significant influence on feminine image in Photo 2. In Photo 3, leisure preference and self-defense preference affected urban image significantly, and health preference and self-defense preference respectively influenced individual image and feminine image. Third, as a result of investigating the difference between oriented quality of life and the sub-element of oriented fashion image according to the type of oriented quality of life, six groups of oriented quality of life (self-preference, job preference, self-defense preference, information preference, leisure preference, and health preference group) displayed significant differences only in individual image as presented in Photo 2. Fourth, in consequence of examining differences in the factor of an oriented fashion image according to the type oriented quality of life, six groups according to the type of oriented quality of life presented significant differences in the individual, splendor, elegant, refined, youthful, feminine, and modern image among the factor of oriented fashion image.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.111-126
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• 2011

Cultural collage phenomena came to the fore where various differing elements combined to make a reality in the post-modern culture. Collage, a technique with which to express a unique sense of texture has been used since a long time ago by fashion illustrators, finds itself expressed in much more diverse forms and characteristics, and its meanings changed, too. The purpose of this study is to analyze the formative characteristics of collage as expressed in fashion illustrations since 2000s and look into its aesthetic meanings, and in doing so, examine effects of changes along the times that have sought plural diversity on fashion illustrations. This study selected and examined from various collage techniques three collage expression techniques including papier colle, photo montage and assemblage frequently used as techniques of fashion illustrations. Papier colle technique expressed in fashion illustration simplify forms, thereby stressing linear elements, and express lines and planes At the same time, such works provide depth to planar spaces by overlapping objects and putting together differing elements, In fashion illustrations utilizing photo montage more than one images taken from photos are cut up and reconstructed, where illusory and sometimes shocking images are conveyed through particular forms or unrealistic compositions created by casual combination of unrelated images. Unique and eccentric images are conveyed by means of assemblage through the combination of various kinds of heterogeneous materials in fashion illustrations. This not only conveys fashion images sensitively but presents each fragment as objets regardless of its original functions, and attempts at new concepts.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.547-558
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• 2017

Recently, the replacement of creative directors of fashion brands has gained attention from both researchers and practitioners. This study selected three representative fashion brands whose creative directors were replaced in the last 10 years, and analyzed the changed characteristics of their magazine advertisements. Literature studies and case studies were conducted as research methods. The subjects of the case studies were three fashion brands - 'Saint Laurent', 'Louis Vuitton', and 'Gucci'. Magazine advertisements were divided into two aspects: fashion photo elements and layout. The former can be classified into three components: the presence of a specific situation, the background of photos and objects, and the atmosphere of models. The latter can be classified into two components: the logo style and pictorial color. In terms of fashion photo elements, the presence of a specific situation in magazine advertisements appeared differently, depending on whether creative directors focus on the brand's own identity or on their own concept of each season. Also, the background of photos and objects, and the atmosphere of models changed depending on the situation. In terms of layout, there is no dramatic change in their logo styles, for they want to preserve their long tradition. And the more a creative director pursues younger sensibility, the more black and white color effect are added towards magazine advertisements. This study has its significance in that it confirms the replacement of creative directors has considerable influence on fashion brands' images and their magazine advertisements.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.3
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• pp.505-516
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• 2008

Image which appears in fashion illustration on the late twentieth century is not the representative image as an equivalence to the real fashion styles but the virtual image which bears no relation to any reality. The purpose of this study is review the concept of virtuality and analyze in which way virtual image is expressed in fashion illustrations on the background of Jean Baudrillard's simulacre theory. In post-modem paintings the expression methods of image-virtualization were image mixing through photo-image appropriation, image overlapping, and the icons inserted unreasonably, the focus-out effect through scrubbing and the over-painting on the photograph. Image-virtualization in fashion illustration was expressed through image mixing and expression of image uncertainty. Image mixing was made by photo-image appropriation, image overlapping, connection of heterogeneous images and using interface image, and uncertain image was expressed through the expression of visual ambiguity and virtual movement.