• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.31-40
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• 2014

The purpose of the study was to examine model postures at fashion shows with respect to expressing fashion images including elegance and neutral-gender images. Data were gathered from the fashion shows held 2000 S/S through 2009 F/W, when elegance and neutral-gender fashion images were obvious in fashion collections. Three designer brands representing elegance and neutral-gender fashion images were selected by the researcher and fashion specialists including graduate students majoring in fashion. The fashion collection photos representing each image were selected from style.com, a website which contains four world's biggest fashion collections. The results showed different hand positions as a model posture according to fashion images. In the neutral-gender image, 16 photos (47%) showed a hand position at pockets, in the elegance image, 24 photos (82.3%) showed a hand position laying down by the sides. Also, walking pose was shown to be different between two fashion images. In the neutral-gender fashion image, 16 photos (52.9%) revealed a pose of 'natural walk', while 29 photos (100%) showed a pose of 'walk in a straight line' in the elegance imaged fashion. In conclusion, the neutral-gender image photos showed the pocket-positioned hand and the 'natural walk' poses more than elegance image photos, and elegance image photos revealed the hand position laying down by the sides and the 'walk in a straight line' poses than the photos of the neutral-gender image.

• Journal of the Korean Society of Costume
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• v.66 no.4
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• pp.111-127
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• 2016

The study aims to examine the forms of 'image expression' and utilization of model poses in fashion photos, and to delve into the characteristics and the intents that make certain model poses effective in expressing an image. The study used the fashion photos in the fashion magazine, Vogue, to analyze the different model poses used to express different images. The results are as follows. First, image expression forms in fashion photos were categorized into 'direct product suggestion expression form', 'sensual image expression form', 'sexual image expression form', 'story telling expression form', 'everyday situation expression form', and 'fantastic image expression form'. The different utilization types of model poses were categorized into 'type utilizing intangible elements', 'type utilizing complicated elements', 'type utilizing living organisms', 'type utilizing props', 'type utilizing clothes', 'type utilizing location', 'type utilizing accessories', and 'type utilizing products'. Second, the most common expression form for fashion photos used in advertisements was the 'direct product suggestion expression form', which was followed by the sensual image expression form. The most popular form used in the editorial fashion photos was the direct suggestion product expression form, which was followed by the story telling expression form. Third, the most common model pose type for direct product suggestion form was the 'type utilizing product'. Fourth, 'direct product suggestion expression form' was mostly used in editorial fashion photos. The most common utilization types of model poses were 'type utilizing clothes', 'type utilizing props', and 'type utilizing place'.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.68-68
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• 2003

Recently, street fashion has been regularly introduced in many fashion media because both consumers and marketers began to recognize the importance of street fashion as a meaningful and objective fashion information source. As the globalization proceeds in fashion field,' the street fashion informations in major cities which has led world fashion trends become more influential on domestic fashion, but little concern has been paid on it. This study classified women's street fashion in 4 major world fashion cities such as Paris, London, New York, Tokyo and identified style characteristics of each group. For data collection, 795 front-view photos were selected from the two fashion trade publication 'STREET' and 'VIEW' which has introduced street fashion photos in those cities from 1996. Classification process went on three stages: sorting, naming and grouping. 49 undergraduate students were divided into 12 teams and about 80 photos were given to each team to sort into several sub-groups by overall images or common style characteristics. Then each sub-group was named according to common images or characteristics. Final groups came out after grouping each sub-group with a similar or same title together. For each group, common style characteristics were analyzed.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.132-148
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• 2009

The objective of this article is to examine the possibility of 'story-telling' as united concept of causality and subjectivity through sequence combination, and the 'similarity' between object and image in fashion photographs making diversity of meanings. To analyze and investigate the research, as evidential data this paper used the photos of Steven Meisel from 2002 till 2007 Vogue published in Korea, U.S, and Italy, as well as other visual data like graphic collections, catalogs, art-related data and internet data. This research runs both theoretical and positive investigations to suggest the function of story-telling in the Process of opened-communicative roles of fashion photos. Thus this paper investigated Steven Meisel's storytelling in his fashion photos; short moment of event, continuity of time, compound of sequence, and complexity of viewpoint. This paper also studied the aesthetic characteristics of Steven Meisel's fashion photos as categories of overlapped meaning, arbitrariness of interpretation, exclusivity of message, and decoding. The research result suggests that clothing not only includes current age's value but also among social constitutions it includes multilateral characteristics. Ultimately this paper is also making meaning alive by cutting off the chain of 'firm' meanings of fashion photo. That seems like opening the opportunity for correctly understanding fashion's meaning which has the aspects of ambivalence of changing meanings and values by the motivation of context and text.

• Journal of Fashion Business
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• v.9 no.1
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• pp.34-56
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• 2005

This study analyzed the formative relationship between clothes and hat, and to find out the development direction of next hat design. To do these purposes, Fashion photos were picked up from all kinds of fashion magazines containing in Paris from the 1990's to 2004 S/S and some designers' collections. Then 1,381 photos were selected through two screenings. At first time, 1,500 photos were selected to have the relationship between clothes and hats, and finally 1,381 photos were picked. The method to analyze was the formative analysis by Marian L. Davis and Marilyn R. Delong. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• Journal of the Korean Society of Costume
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• v.55 no.3 s.93
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• pp.108-121
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• 2005

The purposes of this study were to analyze hat design with the focus on the period from the 1990's to 2004 and to find out the development direction of next hat design. To do these purposes, the focus of theoretical approach was literature research, and hat design was attempted on the basis of the research. The focus of theoretical background was on previous research and fashion-related literature. Fashion Photos were picked up from all kinds of fashion magazines containing Haute Couture collection in Paris from the 1990's to 2004 S/S and some designers' collections. Then 1,381 photos were selected through two screenings. At first time, 1,500 photos were selected to have the relationship between clothes and hats, and finally 1,381 photos were picked.

• Journal of Fashion Business
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• v.12 no.3
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• pp.1-15
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• 2008

The purpose of this study is to analyze women's street fashion in Shenyang and to understand the regional design preference. The city, Shenyang is not only known as the one of three major northeastern province in China, but also known as the city where large numbers of Korean fashion companies have launched in. The observation focused mainly on young/young adults and missy in Oe Market and ZungJie(中街) which are the most busy streets in Shenyang. A digital camera or a camcorder were used to take photos of these women. In addition, video captures or photos were analyzed by three fashion experts. Finally, the photos were classified by item and data was coded for statistics and reviewed through frequency and percentage. As a result, it was found that most young women in Shenyang liked to wear a casual style such as easy t-shirt, denim pants or skirt and a feminine style such as a one-piece dress in summer. Top items that were favoured by young women in Shenyang were t-shirts and blouse types, while they favoured to wear denim pants of indigo blue for bottom items. Frequently found colors among these womens' clothing were white, black, vivid blue, red and red purple. I strongly believe this study will provide basic but significant information for the establishment of design and marketing strategies to the Korean fashion brands, who is trying to access Chinese fashion market.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.298-309
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• 2003

This paper was done to identify the types and the characteristics of street fashion of men living in world fashion-leading cities. 608 male photos taken on the main streets of 4 world fashion-leading cities such as London, New York, Paris, Tokyo were used as data. Photos were viewed by students and classified according to overall images and the common aspects of characteristic style. Fashion images of male were classified into 11 groups, which were suits, casual, hip-hop, rockers/punks, hippies, ethnic, western, military, new romantic, skirt, androgynous. Frequency distribution showed that casual image was mostly preferred and 1311owe4 by suit, rocker/punks. Military and hippies were least favored. In each category, almost every style looked unique and creative as a result of mixing and cross-coordination of different clothing items.

• The Research Journal of the Costume Culture
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• v.19 no.4
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• pp.836-850
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• 2011

The modern fashion photograph is interpreted as diverse versions via individual perspectives and thus induces meaning as individuals compose diverse worlds. The researcher perceived the act of reading the significance of the modern fashion photograph from the aspect of the diverse worlds that the receivers comprise, and the researcher sought to highlight this with the ways of worldmaking, as in Nelson Goodman's concept of irrealism. This study sought the transitional structure of the significance of fashion photographs through the irrealism of Goodman and theoretically considered the way in which the worldmaking was organized. The study collected fashion photos shown in fashion magazines and fashion brand catalogs from 2005 to 2010 for a study of the precedent theories and a survey of photographic materials to select characteristics based on Goodman's Ways of Worldmaking. Goodman suggested the five ways of composition and decomposition, deformation, weighting, deletion and supplementation, and ordering as the ways of worldmaking. The composition and decomposition way leads to habit and perpetuation due to existing concepts or intimateness. It can also be considered that the composition and the decomposition way occur coincidentally with other ways due to the previous worlds in which users connote during the process through which the fashion photos were composed and decomposed, deformed, weighted, and ordered. Therefore, this study researched the four ways of composition and decomposition, deformation, weighting, and ordering by integrating them into fashion photos based on the five types of ways reviewed through a theoretical consideration.