• 한국의류학회지
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• 제32권5호
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• pp.800-807
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• 2008

The purpose of this study is to compare the subjective texture of actual objects and their picture images on the Internet to find out a method to present visual images in order to supply information similar real objects. For this study, seven knit fabrics and four presentation methods of visual images including twice magnifications and two dimensions of 2D and 3D. The results of this study were as follows: There are significant differences among subjective textures evaluated by touching seven fabrics actually and we can verify the effects of fiber contents and loop length of knit on textures. We can find out differences of texture depending on presentation methods. In case of 2D evaluation of knits fabrics, visual images of real size present a little exact information on roughness and heaviness whereas those of twice magnification do roughness, wetness, softness and luster. And 3D images give us more exact information of textures on softness, heaviness and warmness, but rather twice enlarged 3D image can't supply an information of heaviness texture.

• 복식문화연구
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• 제16권5호
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• pp.924-936
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• 2008

The purpose of this thesis is to discuss corsets that represent an undergarment that later became a popular outerwear. It discusses its forms and distinct characteristics to help create a unique fashion design and its execution. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The results of this study are summarized as follows: The standard look of corsets in modern fashion can be classified into styles of glamour, revival, and dismantle. The materials used vary from traditional fabrics such as satin or lace to newly developed materials such as metal or glass. Its presentation can also differ in that it may be used as an accessory with additional details, as an outerwear, as an extra decorative layer, or as a revealing innerwear by open outerwear. Characteristics of these various looks of corsets are; first, it redefines the revival of the traditional corsets through introduction of its historic elements and its compromise. Second, glamorous and feminine images are maximized through drastic and direct exposure by using tight lacing, a waist nipper or garter belts that emphasize a woman's curve. Third, it represents borderless dismantlement through experimental and irregular images using unconventional materials, new execution techniques, or alteration from the standard forms.

• 복식
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• 제56권4호
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• pp.148-159
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• 2006

The purpose of this study is to understand continuity and discontinuity of the neoclassic style in early twentieth century fashion modernism. Researching relations in fashion between eighteenth to nineteenth century and twentieth century, the theory of 'linked solution' suggested by Kubler and Broadsky has been accepted. The results of this study are as follows: In early twentieth century fashion, continuity of the neoclassic style is considered as presentation of geometric form based on anatomical truth of the human body and moderation of decoration. Also simple construction to present practical purpose of the dress in honesty were continued. On the other hand, discontinuity of the style is found in the imitation of men's classic tailored suits and standardization of sizes and styles. These are considered to reflect such early twentieth century sociocultural contexts as equality of the sexes and mechanical aesthetics. Hopefully this study will contribute to the broadening of insight in fashion connecting traditions.

• 패션비즈니스
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• 제22권6호
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• pp.39-52
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• 2018

The objective of this study was to enhance understanding and appreciation of Pre-Orientalism in costumes and textiles by revealing examples of Oriental influences in Europe from the 16th century to the mid-18th century through in-depth study. The research method used were the presentation and analysis of previous literature research and visual data. The result were as follows; Pre-Orientalism had been influenced by Morocco, Thailand, and Persia as well as Turkey, India, and China. In this study, Pre-Orientalism refers to oriental influence and oriental taste in Western Europe through cultural exchanges from the 16th century to the mid-18th century. The oriental costume was the most popular subspecies of fancy, luxury dress and was a way to show off wealth and intelligence. Textiles were used for decoration and luxury. The Embassy and the court in Versailles and Vienna led to a frenzy of oriental fashion. It appeared that European in the royal family and aristocracy of Europe had been accommodated without an accurate understanding of the Orient. Although in this study, the characteristics, factors, and impacts of Pre-Orientalism have not been clarified, further study can be done. Recognizing a broad perspective on oriental influence in Europe before Orientalism, we can have a balanced view of future Orientalism and global fashion.

• 패션비즈니스
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• 제10권4호
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• pp.16-28
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• 2006

The purpose of this study is to investigate the content and changes of modern Korean men's wear advertisement from the 1960s to the 1990s by reviewing fashion magazines and pictorials. Research problems were as follows.; First, analyze the types and their units of measurement in men's fashion advertisements from 1962 to 1998. Second, examine the differences of quantitative change in men's fashion advertisements according to each period. The total 857 advertisements were selected from Shin Dong-A, Joongang Magazine, and Bokjangwolbo from 1972 to 1998. For analyze the result, frequency analysis and $x^2$-test were used. Results were as follows. First, through the review of literatures and pre-tests, 6 units of measurement were identified. They were product type(formal wear, casual wear, sports wear, dress shirts, accessory, inner wear, fabric and the others), brand type(national brand, licensed brand, imported brand, others), appeal type(image, product, others), representation type(photograph, illustration, others), medium type(man, product, others), and color type of advertisement(black & white picture, color picture). Second, for the types of advertisements, formal wear, national brand, image appeal, figure medium, photograph for presentation and color picture are the most frequently shown in men's fashion advertisements from 1962 to 1998. Third, for product, more accessory advertisements were found than the clothing in the 60s and the 70s, and casual wear advertisements in the 80s and formal wear advertisements in the 90s were dominated. National brand type was dominant through all four period. Product appeal type in the 60s and the 70s and image appeal type in the 80s and the 90s were prevailed. For medium, product type in the 60s and the 70s and figure type in the 80s and the 90s were dominated. Black & white picture in the 60s and the 70s and color picture in the 80s and the 90s were prevailed. Lastly, photograph was the most frequently used for presentation type through all periods.

• 복식문화연구
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• 제29권6호
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• pp.828-848
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• 2021

The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

• 패션비즈니스
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• 제27권5호
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• pp.121-134
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• 2023

With the development of information and communication technology, interest in new educational approaches that can enhance the learning performance of learners with improved information literacy skills is increasing, and universities are actively promoting educational innovation to foster the talents required by society. In the field of fashion studies education, which is closely related to the fashion industry, there is a strong need to develop field-linked educational programs that reflect the trends in the industry and changes in the educational system. The purpose of this study was to introduce industry-coupled problem-based learning (IC-PBL) to the course "Understanding Fashion Consumption Trends" for non-fashion majors to reflect the current needs and strengthen the educational effectiveness of the learners through a survey. A seven-step curriculum (introduction to the class, practitioner's problem, learner's problem analysis, organizing concepts related to variables, information collection and scenario writing, presentation and scenario proposal, and evaluation) not only enhanced learners' understanding of fashion consumption trends and the fashion industry but also greatly amplified learners' satisfaction with the class. The results of the survey showed that the seven-step curriculum was effective in increasing learners' self-directed learning ability, problem-solving ability, and confidence in learning. Self-directed learning ability was stronger than other factors, consistent with the core principle of problem-based learning to empower learners to take the initiative and promote self-directed learning. Each factor analyzed was positively correlated.

• 복식
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• 제56권7호
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 복식
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• 제64권5호
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• pp.18-29
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• 2014

Modern male has displayed an increased desire to express their social influence and image, and the male fashion market has had to provide various styles and images to fill these needs. The current domestic menswear market, however, is unable to satisfy the needs of male consumers who have a need for diversity in a rapidly changing society; more segmented fashion images and styles are needed. The purposes of this study are to classify fashion images and to establish character of the types. This study was done by performing a literature review and a survey. This study proposed 10 categories of fashion style images. Men's fashion style is classified into the classic image, sophisticated image, urban casual image, chic modern image, mods modern image, basic casual image, ethnic image, avant-garde image, active & outdoor image, and street-kitsch image. In the case of the classic images, common in formal setting, men's formal wear is the main focus with the classic suit. The sophisticated image is that of a colorful formal wear seasoned with elegance. Urban casual image is contemporary image, and therefore is meant for city life wear. Chic and modern image conveys an urban image by seeking a simple and chic feel. Mods modern image is retro yet dandy, giving off a sense of youthfulness compared to the other classic images. Ethnic image expresses the exotic quality of folklore as the main representatives of the character casual wear. Avant garde image portrays strong character casual wear with oversized silhouettes or exaggerated details. Active & Outdoor image is leisure life wear conveying active, functional images. Street Kitsch image is men's street casual wear with graphic patterns such as pop art and graffiti. This study's significance lies in its presentation of fashion style data, which can be utilized in the design and marketing of fashion targeted to males.

• 복식
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• 제54권2호
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.