• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.108-108
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• 1995

This study, on the American hippies and their fashion, is composed of an examination of the following; the social and cultural circumstances of America in the late 1960's, the charac? teristics of the hippies that appeared in the midst of the foresaid background, how those factors materialized in the hippies' distinctive fashion and how they influenced tahion to come. The hippies were composed of the young generation that revolted against all general conventional values of American society and seceded from it, seeking for the ideas of love and freedom. They expressed their newly defined culture-rock music based on drug culture, psychedelic art, rejection of an established society and ethnic tastes that sprang up from nostalgia concerning nature-by means of their own distinctive fashion. And as a revival of the hippies' fashion, neo-hippie and grunge fashions newly appeared in the F /W season of 1992 and afterwards, adding fresher and more abundant sensibility to the original image and layered look of the hippies. The hippies' fashion has not only played a significant part in modem fashion history but will continue to exert its influence in the 1990's as the hippies generation are presently the center of American culture and leaders of world culture. In conclusion, various sorts of "individ- uality" and "the pleasure in the wearing itself" expressed by the original layering of the hippies' fashion presents new promise in the coming development at fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.278-286
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• 1995

This study, on the American hippies and their fashion, is composed of an examination of the following; the social and cultural circumstances of America in the late 1960's, the charac\ulcorner teristics of the hippies that appeared in the midst of the foresaid background, how those factors materialized in the hippies' distinctive fashion and how they influenced tahion to come. The hippies were composed of the young generation that revolted against all general conventional values of American society and seceded from it, seeking for the ideas of love and freedom. They expressed their newly defined culture-rock music based on drug culture, psychedelic art, rejection of an established society and ethnic tastes that sprang up from nostalgia concerning nature-by means of their own distinctive fashion. And as a revival of the hippies' fashion, neo-hippie and grunge fashions newly appeared in the F /W season of 1992 and afterwards, adding fresher and more abundant sensibility to the original image and layered look of the hippies. The hippies' fashion has not only played a significant part in modem fashion history but will continue to exert its influence in the 1990's as the hippies generation are presently the center of American culture and leaders of world culture. In conclusion, various sorts of "individ- uality" and "the pleasure in the wearing itself" expressed by the original layering of the hippies' fashion presents new promise in the coming development at fashion.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Fashion & Textile Research Journal
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• v.6 no.5
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• pp.539-548
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• 2004

The purpose of this study is to know outer and inner characteristics of Bobos style regarded the latest fashion and to estimate the characteristics of fashion trend in 21st century and direction of fashion in the future, In terms of contentions of this study, we firstly studied concept, background, general characteristics which had been introduced in Sociology. And then, we studied the effect which the style of Bobos had been given by investigating the concept and style of Hippies and Yuppies. Also, we analysed trend of Bobos represented in modem fashion and tried to examine outer and inner features of Bobos through the result of analysis. Bobos can defined as 'Bourgeois Bohemian' who have both mundane desire about success and are high-educated elite class in information-oriented society. The fashion styles which had affected Bobos were psychedelic, naturalism, unisex, ethnic, layered, grunge of Hippies in 1960s and traditional, power-look, contemporary-look, sports wear, casual wear of Yuppies in 1980s. As a result of examining features of Bobos style, we can know that outer feature of Bobos style showed a reasonable harmony regardless of formalities and inner features showed a tendency to seek comforts. Also, Bobos style showed various and free styles, textile materials and colors and complex features to transcend the time and region, and culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.11 no.2 s.24
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• pp.69-89
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• 1987

The objective of this paper was to identify the general concept of subculture; to assess the symbolism of youth subculture style, such as Teds in the 40's, Mods in the 50's, Skinheads and Hippies in the 60's, and Punks in the 80's, giving an inspiration to many high fashion designers. The data were collected from eye-wittness reports, interviews, magazines such as Vogue, The Face, and The Sunday Times, postcards, and photos taken by authors. Youth subcultures were symbolized as 1) a social protest and disaffection against social class and racism, 2) an expression of shock value for nihilism, anarchism, and vandalism, 3) a meaningful sexual fetishism concerning gender confusion, and 4) an emotion of rage, fear, and alienation among working class youth. One cultural form in a subculture is its 'style.' Costumes, appearances, and accessories such as hair style, make-up, and jewellery were playing an important role in forming a subcultural style. The symbolism of youth subculture was well depicted on their clothing styles, which had influences on Zandra Rhodes's, Body Maps', and Hyper and Hyper's fashion design.

• 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.

• Journal of the Korean Society of Costume
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• v.52 no.2
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• pp.45-57
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• 2002

21th century is evolving from physical to brain-oriented society, and from class oriented society to network society. In the midst of it, bobos is the new enlightened elite group. In depth analyzationon of the beat generation from the 1950's and hippies from the 1960's, which had influenced the bobos, were done to study on such new and core elite group. According to the research, the emerging of bobos was originated and created from the long gone conflict between the beat and bourgeois, and the hippie and the conservative. And this mixed culture of both free-spirited hippie and materialistic yuppies from the 80's is rapidly growing, and they are easily seem from various commercial advertisements, accessories and fashion designs. In addition, the bobo's were targeted by the main designers, and expressed through bohemian luxury and romantic hippie mood. Naive and childish floral prints, paisley prints that were influenced by the hippies, the hair styles from the 80's and washed denims were seen at the collections. However, the symbolism of the 60's defiant fashion styles seem to fade away but remains only as a style. The comparison and analyzation between the fashion of bobos, hidden meaning of those defiant fashion styles and the aesthetics of it are arranged in the following conclusions.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.336-352
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• 2019

This study examines the characteristics of expressing hippie styles in contemporary women's collections and analyzes them to benefit future fashion design and research. This study reviewed advanced research, fashion magazines, and information providers. The advanced research determined the study's scope by pinpointing the designers who introduced the hippie style into their collections. The results are as follows: First, the reproduced hippie style appears as the combination of various colors and materials, a convergence or mixture of styles, or the use of collage or patchwork. It employs natural silhouettes or varied colors and materials, which makes the renewed hippie style more luxurious than in the past. Second, the reproduced hippie style emphasizes and distinguishes between two types of femininity: a girlish, romantic image using A-line silhouettes and, bright, gleaming colors, and a sexy version that boldly exposes the body or women's curves and, uses soft and flexible materials. Third, the exotic tendencies found in the reproduced hippie style reflect the characteristics of the times, folk costume, or eastern or western features perceived as exotic. Recently, traditional costumes have changed slightly to recall characteristics found in the past. Fourth, the reproduced hippie style reflects hippies' affection for and interest in nature by using environmentally-friendly materials like natural fibers. Flowers, the symbol of hippies, appear most frequently.

• Journal of the Korean Society of Costume
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• v.28
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• pp.239-253
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• 1996

The purpose of this dissertation is to exam-ine the hippie look which is one of the most popular fashion trends in the early 90s, in re-lation to the hippie style in 60s and cultural restoration. in order to investigate the re-lationship this dissertation studies the trans-feral phenomenon of anti-fashion into mother fashion in the basis of social and clutural theories. hippie culture is the anti-culture which appeared in America in the late 60s, it tried to create a new culture by subverting the ruling class culture with their combative life style and peculiar appearance which are distinguished from mother culture. First of all to examine the inner symbolic meaning and outer shape of the hippie style I divided the characteristics of the hippies into ideology social value and attitude on sex. in the aspect of ideology the hippie show strong subjectivity while mother culture shows ob-jectivity. in social value the hippie has the resisting chaacteristics while mother culture has the conformative characteristics. In the aspect of sex the hippie tries to break the fixed idea of mother culture. Hippie culture as anti-culture is symbolically expressed in hippie style fashion which is dif-ferent from mother fashion in shape. There-fore the inner meaning and the outer shape of the hippie style shows strong characteristics of anti-fashion. Hippie style as anti-fashion has an effect on high fashion in the late 60s and the early 70s and on hippie look which is restored in 90s. however hippie-look in 90s is a mother-fashion in which all symbolic mean-ings of the hippie style are weakened and the only outer shape of hippie style is presented and suggested. It doesn't show any cultural backgrounds ideology social value and new attitude on sex of the hippies. The transferal phenomenon of anti-fashion into mother-fashion is summarized as follows. First in the process of tranference to highfashion in 60s and 70s and hippie-look in 90s the resistance of the hippie style is weakened and only suggested through the outer look. Second the hippie style which reappeared in the high fashion and mother fashion in 90s are layered look military uniform mode flower print grunge look romantic look peasant look ethnic look gypsy style handicraft ornaments working suit style handicraft ornaments working suit style and the use of the see-through cloth. Third the fact that the popular and high fashion were influenced by anti fashion in 60s proves filter-up theory in fashion adaption theory. As I examined before the ideology of the hippies are faded in high fashion in 60s-70s and hippie-look in 90s. The symbolic meaning of the hippie style is also weakened and only presented as a fashion trend.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.578-590
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• 2003

The purpose of this study was to analyze the formative characteristics appeared in modem Kitsch fashion which has been shown through the empirical data photogrphes from the 2000's to 2003 and the formative characteristics of Kitsch were divided into the material, ornament, color, pattern to understand the modem Kitsch fashion. The findings of this study could be summarized as follows: First, the modem Kitsch fashion in the material was used cheap, counterfeit materials like vinyl, artificial leather, immitation fur, beads and non-artistic materials like metal, plastic, paper and voluptuous material like seethrough to express eroticism and superficiality as the characteristic of Kitsch. Second, Kitsch fashion in the ornament was shown over-decoration by using the various accessories like bracelet, metal belt, gloves, etc to express as childish and coarse mixtures as the characteristic of Kitsch. Third, the modem Kitsch fashion was using splendid and bright, primary colors to express the image of complicated accumulation. Fourth, the modern Kitsch fashion mainly in the pattern was using ethnic, folklore and pop art pattern or print used hippies and pop art fashion to express the primitive purity as bounding of civilized society.