• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.91-107
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• 2014

This purpose of this study is to analyze the pursuit of current fashion trends and fashion image types of middle-aged women in Korea. This study attempted to investigate the standards and properties of these different types of fashion images. The overall characteristics of middle-aged women and the concepts of personal image and fashion image were investigated through literature research. Survey and analysis based on Q methodology was conducted. Factors of personal image, fashion image and components of fashion image were analyzed by collecting information from in-depth workshops and focus group interview of an expert group. The results of this study are as follows: 1) The main factors influencing the current fashion image of women in their forties and fifties in Korea are classified into six types. 2) The elements of fashion image that Korean women in their 40s and 50s pursue are divide into four types. 3) Each type can be recognized by specific fashion image components and colors. 4) This shows that middle-aged Korean women are highly conscious of how others perceive them and have a desire to not stand out from others. It also shows that they are very active in pursuing fashion and following trends, which is the image of an active and dignified woman. This study provides the framework that enables sorting of the fashion images types that middle-aged Korean women want to pursue. The results from analyzing the factors can be used to recognize specific fashion images, and can be used in the planning and designing of fashion items for middle-aged Korean women.

• 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.

• Fashion & Textile Research Journal
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• v.19 no.5
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• pp.608-619
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• 2017

In this research, we analyze jackets from the Paris Haute Couture Collection from 2000 S/S~2015 F/W to investigate how shape, tailoring component, and design of jackets have changed. Our analysis of 2,493 jackets from the collection shows that the hour-glass silhouette was the most popular among silhouettes and that standard-length was the most popular jacket length. Such jacket shape expresses the natural beauty of human body. Regarding Tailoring Components, our analysis shows that tight sleeve and natural shoulder line, which is neither too wide, padded, nor low, were prevalent. The analysis also shows that tailored collar and button closure were the most common. Tight sleeve and natural shoulder line, which fit the body outline, allow the silhouette to show natural curves of the human body. As for jacket design, popular colors differed by season, but single-colored jackets prevailed, and woven was the most used material. Since 2000, the most favored form of jacket in women's fashion was a standard-length jacket with an hour-glass silhouette, tight sleeve, natural shoulder line, and tailored collar. This suggests that jackets emphasizing natural curves of the body were favored. Overall, silhouette, length, sleeve, and shoulder line remained consistent while collar and closure varied. This indicates that collar and closure method play a significant role in changes in fashion. Seasonally, elements of shape, tailoring component, and design coexist, but once the shape is determined, the tailoring component and design change in relation to each other.

• Journal of Fashion Business
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• v.22 no.2
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• pp.118-133
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• 2018

This study investigated the effect a fashion model's self-expression has on stage confidence, commitment, and satisfaction. The differences in stage confidence, commitment and satisfaction were analyzed by comparing the frequency of fashion show experiences. A survey was conducted using convenience sampling of professional male and female fashion models at fashion venues (Dongdaemoon Design Plaza) and model agencies from March 2, 2017 through April 10, 2017. A total of 248 questionnaires were obtained and SPSS 21.0 was used for data analysis. The results of this study are as follows. First, the analysis indicated a fashion model's self-expression factors, including movement, meaning, and individuality, had positively impacted the model's psychological and physical confidence, while acting ability negatively impacted such confidences. Secondly, movement meaning, expressive impulse, and individuality had positive impacts on behavioral commitment. A model's expressive impulse was also found to have a positive impact on cognitive commitment. In addition, acting ability negatively impacted behavioral commitment, while it affected cognitive commitment positively. Third, a high level of psychological and physical confidences about fashion shows, as well as a high level of behavioral and cognitive commitment, had a positive impact on fashion-show satisfaction. There were significant differences in cognitive commitment and fashion-show satisfaction by frequency of fashion show experiences. The findings can be utilized to understand the psychological factors that affect a fashion model's performance in order to increase the model's fashion-show satisfaction. It is also expected to provide useful information to enhance the quality of fashion shows.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.79-89
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• 2002

We can see various cultural elements appeared in modern fashion, of which Korean traditional cultural elements are being reinterpreted in many different ways. This study is to analyse on the basis of togetherness concept Korean traditional elements, which have been considered difficult to interpret by postmodernism and find the ways how to carry on our traditional culture practically in order to prepare the foundation for globalization of our tradition. Togetherness means 'with' or 'simultaneously', which also conveys the meaning of common cause and result, addition and annex, opposition and juxtaposition, or accumulation and integration. Characteristics of the togetherness appeared in Korean fashion are as follows. First of all, it shows the aspect of mixing and integration of different cultural fashion elements around the globe, which have been made possible in the course of globalization and development of information technology. The second characteristic is crossing and synchronization, which means that many different individual fashion elements in terms of time and space are being crossed over and integrated these days. Thirdly, continuation meaning 'without cease' and 'keep going' shows that togetherness is to create a whole new fashion trend by mixing postmodern revivalism and past clothing elements. Togetherness makes it possible for us to find reasons why tradition aspects are expressed so vividly in the modern clothing, gives us a standard to classify the reasons, establishes an identity and offers theoretical background for globalization of traditional clothing in the course of modernization of our tradition.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.9
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• pp.1085-1098
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• 2011

In the $21^{st}$ century, technology is a tool for the expansion of the five senses and physical ability that works as an element for posthuman identity. This study analyzes and theorizes on the characteristics of the posthuman body in fashion illustration. The method of this study analyzes documentaries about posthuman and fashion illustration. The results are as follow. Posthuman body types are classed as hybrid body, plastic surgery body, and digital body. The characteristics of the posthuman body are categorized as ultra- functional prosthetic, mythical undifferentiated, radical plastic surgery type and post-physical digitization type. The ultra-functional prosthetic type shows a restored body and upgraded functional body through a machine hybrid, cyborg suit and mannequin hybrid. It is a break from classical gender identity to form a nerve sense extension that displays physical and abstract power. The mythical undifferentiated type shows a therianthropic form, parts of an animal body, radical skin and gender bending. It represents the return to an undifferentiated world, the desire of a powerful being and the possibility of radical transformation. The radical plastic surgery type shows a photomontage of an ideal body, transgendered body, grotesque body marking, absence of partial or overall face organ and the expansion of abnormal body organs. It represents the expression of narcissism, unconscious desire, fantasy, fear and suggests an alternative ideality, sexual attachment and ambiguous gender identity. The post-physical digitization type shows an imperfect form or duplicated ego image through the omission of the body silhouette or detailed form, fragmented image using net, representative self like optical illusion using typography, an imperfect vague silhouette and immaterial body outline through the use of virtual light. It represents the lack of desire, narcissism, fluidity in a virtual space, the continued creation of a new self, ambiguous gender identity and the liberation of environment, sex, and race. Likewise, the posthuman in fashion illustration shows the absence of a species boundary, destruction of classical gender identity, a new personality and virtual self image.

• Journal of Fashion Business
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• v.24 no.1
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• pp.88-101
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• 2020

The music videos of BTS go beyond the limit of media promoting music and shows their meaning in various ways and complete the visual message of music through fashion style. BTS' fashion style in the music videos shows a change in symbolic representation of the genre of each album and song, of which gender images are changing aligned with the music messages of BTS. The purpose of this study was to derive gender images of fashion style in BTS music videos and to interpret their meaning based on Judith Butler's theory that performativity creates discourse through iterative process. It is conducted as a research method, an analytical study was conducted in parallel with literature studies and empirical case analysis. The scope of the study was limited to 301 costumes that appeared in 21 official music videos from debut single album '2Cool 4 Skool' released in 2013 to the mini album 'Map of the Soul: Persona' released in 2019. As a result of the analysis, the controversial fashion style, challenging fashion style, boyish fashion style, hybrid fashion style, the playful fashion style were revealed. The conclusion of studying the gender image of BTS, interpreted by this analysis using Judith Butler's theory, is as follows. The gender image of BTS is the traditional image that identifies with the dominant gender discourse, the resistive gender image that intentionally distances mainstream culture, the eclectic image parodying the gender of the opposing term, and the deconstructive image that transcends the dominant gender discourse.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.367-384
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• 2016

The aim of this paper is to examine relationship characteristics and the relevance there of in the context of the Chanel collection, between the contemporary fashion show viewed from the artistic side and intermedia on interaction. This study analyzed the relationship characteristics between intermedia and fashion shows by focusing on Chanel fashion shows from 2010 S/S to 2016 F/W as actual case. The results are as follow: First, participational accessibility indicates the experience of a designer and audience in active participation changing into passive participation. Second, audience immersion is represented by the perception of being involved by the audience in the place and acting. Third, conceptual symbolism is sending of messages through the designer's concept manifesting in the specific features of the design. Finally, expandability of media explains trans-boundaries in experimental attempts. It concludes that fashion show is a space where the audience can have visual as well as new knowledge and experience through multi-sensory channels. The Chanel collection which is considered a huge art project at the fashion show, showed a relationship between philosophy and the direction through season concepts and brands. The Chanel collection has brought a new experience through the convergence of communications and cultural media, such as music and art according to traditional brand image.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.1-14
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• 2011

A dress is commonly designed and worn as a work of art. It is developed through various ways to show the expression of our bodies with functional aspects. Light plays a role in everyday life functionally and aesthetically. We can use the light in many different ways in order to enhance the beauty of the designs. The purpose of this study is to suggest sensible designs with the active expression of light reflection. The designs are especially focused on utilizing light that shows the combination between natural human body's movement and reflection of the light. The use of reflective materials shows the character of movement when it exposes to light. The methods allow to amplify the aesthetic effects of the designs. Reflective materials were used in the resulting design to show the various effects of light by applying the movement which is artistic and aesthetic pleasing aspect for the clothing. The movement is accentuated when the wearer moves, or the air flows through the adding materials on the clothing. In addition, the beads attached to the end of the springs to show the movement of the light. The combination of the spring and the light movement resulted in a dazzling effect. I hope in the future, more studies will be conducted to further use of fiber optics and other innovative ways to use light in fashion.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1064-1075
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• 2008

The purpose of this study is to grasp the change of modern space concept and analyze how to adopt and embody the change in modern fashion. The study researched wearer's costume space and analyzed space shown in supermodern fashion design by classifying it into response to non-space, allowance of wearer-based space, scientific space of architectural skill and embodiment of space image. As a study method, literature and study material of sociology, anthropology, fashion sociology and design field were referred. For picture data of supermodern fashion work, specialized book, designer, brand collection material and internet site pictures were collected and analyzed. The study result shows the following features of fashion design space embodiment corresponding to the change of supermodern environment. First, supermodern design secures closet space like pocket for portable objects and uses design space in order to provide the space for convenience of movement. Second, supermodern design creates wearer-based independent space in order to secure person's physical and mental stability in city environment. Third, supermodern design uses space scientifically from the aspect of detail and shape by applying space of architectural skill to space. Fourth, supermodern design shows aesthetic feature that embodies interpretation of space by conceptualizing space image and using fashion.