• 한국의류학회지
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• 제30권8호
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• pp.1288-1300
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• 2006

Glamour in fashion, which stands for attractive physical feature with certain mystique, has been used without accurate analysis thereof. This thesis is purported to provide comprehensive study of glamour in fashion and to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the basis which can be utilized in the categorical basis of fashion design. For such purposes, this thesis first provides the study on the glamour in fashion, and to conduct a case study by analyzing photographic materials. The glamour expressed in the fashion design can be classified into the following six aesthetic values: luxury, excess, masquerade, appropriation, sensuality and decadence. In the modern history, glamour looks in fashion design started out as so-called Blooming Age Glamour Look, dating from the late nineteenth century to the late 1920s, which was represented by luxurious haute couture style of courtesans. Thereafter Golden Age Glamour Look appeared in the movie costumes in the Hollywood from the late 1920s to mid-1950s. Sensuality, decadence and masquerade are the central features. Subsequently, Pop Age Glamour Look appeared with fashion styles of pop stars, which can be characterized by appropriation and excess. In the 1980s and the 1990s, Glamour Renaissance Look appeared as glamour looks which were spread out to people in various classes, which is characterized by luxury and appropriation. Based upon the foregoing historical survey, there are four representative styles in glamour looks, including (1) luxury glamour derived from Blooming Age Glamour Look, (2) hyperfeminine glamour derived from Golden Age Glamour Look, (3) kitsch glamour derived from Pop Age Glamour Look, and (4) romantic glamour derived from Glamour Renaissance Look.

• 복식
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• 제65권8호
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• pp.35-49
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• 2015

When parents and their children wear matching clothes, ranging from one item to the entire wardrobe, we call this the "family look." The purpose of this study was to identify the factors that influence family look clothes consumption. It was proposed that mothers' familism tendencies, playfulness, and demographic characteristics were the main factors that decided the extent of the purchase and usage of family look clothes. A survey was conducted between September 23 and 29, 2013 with mothers who have purchased and wore family look clothes. The age of the women ranged from 20s to 40s. The results showed that the number of family look items is influenced by mothers' familism tendencies and playfulness. Also the favorite family look style depended on the familism tendency, playfulness, and the age of the child(ren). The results of this study are expected to provide implications to apparel companies that produce family looks.

• 복식
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• 제60권6호
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• pp.74-88
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• 2010

This study investigates the relevance between the subjective age and clothing shopping orientation by adults women located in the cities of Seoul and Gyeonggi. The results are following. First, subjective age was identified with interest age, look age, and physical age. Customers were segmented into following five subdivisions: young activity group, actual age group, young appearance group, physical aging group and youth-oriented group. When the study examined differences between real age and subjective age, the study could see that they perceived themselves younger four years than real age- 50s: 7 years, 40s: 5 years, the latter half of 30s: 2.7 years and the former half of 30s: 1.7 years. Second, clothing shopping orientation was identified with planned shopping orientation, leisure shopping orientation, loyal shopping orientation, economic shopping orientation and convenient shopping orientation. Customers were segmented into following three subdivisions: shopping low-involved group, loyal leisure group and planned leisure oriented group. Third, interest age was of no relevance to clothing shopping orientation. On the other hand, look age had negative correlation with leisure shopping orientation and convenient shopping orientation and physical age had a negative relationship with leisure shopping orientation and loyal shopping orientation but had positive correlation with economic shopping orientation. Fourth, in clothing purchase, clothing purchase answerers who were younger five years than actual age had the highest frequency. It means that they purchase clothing according to subjective age perceived younger four years on average.

• 복식
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• 제61권3호
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• pp.83-96
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• 2011

It will be very effective in studying fashion images that reflect society to investigate the process of the images of military uniforms becoming fashion with the images as the original or image changes in the military look in relation to The hyperreal of the Simulation phenomenon. The foundation of the study was set up by studying simulation and simulacra. Studying the simulation phenomenon in fashion was followed by explaining the aspects of simulacra and the hyperreal in image changes in fashion to study and analyze the simulation phenomenon of the military look based on the findings. The study examined the military look from the Industrial Age to modern times through simulation and the hyperreal in the military look of modern fashion through the changes of images that started with military uniforms. Those research efforts led to the following conclusions: Looking into fashion through the military look reveals that The hyperreal made its appearance in most cases with few cases of the 1st and 2nd simulacrum. And hyperreality was closely related to media in fashion under the influence of media. In short, fashion and copy are in an inseparable relation, and the hyperreality phenomenon has always been present in modern fashion.

• 패션비즈니스
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• 제11권4호
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• pp.52-68
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• 2007

[ $Courr{\grave{e}}ges$ ]Look style has been showing up continuously since 1980s in the fashion world. In response to that, this study aimed to look into the trend of design in 1960s and examine the formative artistic characteristics in $Courr{\grave{e}}ges$ Look in order to explore the $Courr{\grave{e}}ges$ Look of Andre Courregs. Following the flow of the times, the $Courr{\grave{e}}ges$'s design has transformed and developed through the styles of the pants suit look, the space age look, the mini look and the sporty look. His own style constructed by simple line like a mini skirts, accurate rates, geometric patterns, high tech materials, vivid color and etc, in 1960s. He has also innovated the fields of textile, garment cutting, details, and accessories. The $Courr{\grave{e}}ges$ Style was expressed by pure&avant-garde style, sporty&modern style, cheerful&reveal style and dynamic&funny style. Functionality with humor to $Courr{\grave{e}}ges$ was an important element that expresses both youth and casual. For the active, new woman, not only a funtional beauty but also a futuristic sensibility is expressed in the $Courr{\grave{e}}ges$ Style.

• The International Journal of Costume Culture
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• 제4권1호
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• pp.9-17
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• 2001

The purposes of the study are to find out the effect of clothing colors on perception of stimulus ages, occupations and images using stereotyping and color vision theories. The research method is a qualitative study and materials developed for the study are a set of stimuli and open-ended responses. The subjects were 1138 undergraduate students in Taejoen city, Chungbuk province. The data is analyze using content analysis, supplementary frequency and χ²analysis. The results are as follows : 1) The colors in Korean traditional costumes affected on the wearer's age perception : The red ensemble give the wearer the youngest look while the gray give the oldest look. 2) Mono-color ensemble wearers tend to give older look than bi-color ensemble wearers. 3) The chima colors and the jogori colors have similar impact on the wearer's age perception. 4) On image perception the jogori colors have more impact than the chima colors. 5) The colors in Korean traditional costumes are the clues to estimate the wearer's occupation.

• 복식
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• 제50권2호
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• pp.15-28
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• 2000

This paper focuses on the sports look expressed in 20th century fashion. It is Age of Sport just as rock'n roll became dominant cultural form of the 1960's and 1970's . In the 1990's the sportsware is fashion. Designers gazing into the future are inspired by the details and functionality of clothing for snow boarding , skiing , motorbike racing and fitness. No doubt fashion in 2000 will also be full of references to it. Since the late 1960's the sportswear that was originally a term for clothing worn for various sports activities in the 1890's has changed and is now considered as fashion for day as well as evening. This has occurred primarily in the U.S. due to the adoption of less formal lifestyles by Americans. while the sportwear is the term which stemmed from the need for functionality in sports, sports look is the style inspired by the formative elements, that is, the details, the shilhouette, and the colors of the sportswear. New technologies for sports, the powerful influence of youthful culture, and the celebritizations of the sports stars made the sports look much hipper and more popular. It can be categoried into three aesthetic values, I. e., the functional sports look,, purism and no useless ornament, the street sports look with fun, androgynous and unisex mode and the mix and match of different texture and colors, and the futuristic sports look with new high tech fabrics and avant-garde style.

• 한국의류학회지
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• 제26권11호
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• pp.1547-1557
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• 2002

The purpose of this study is to find the profitable clothes design of middle-aged men by examining visual effects in physical design. The methode of study is experimentation. The sample of this study is people who live in Kwangiu, Korea and 20-50 age's 719. The difference of physical design effect by arrangement, pattern and the shape of body. There are partly resemblance difference in physical design visual effect by the shape of body and clothes design(arrangement and pattern)In weak type, single suit with striped pattern and double suit with check pattern make the upper body look short. Otherwise, double suit with striped pattern have man look tall. In standard type, single arrangement suit with striped pattern make the lower half of body long, so make man look tall. And double arrangement suit with striped pattern have man look tall. The suit without pattern have one's shoulder look wide. In pyknic type, striped pattern make the lower half of one's body look long. But single arrangement with striped pattern have the upper body look big. sing1e suit with striped pattern make lower half of body look long and check pattern make it look short. Totally, arrangement, and pattern are very important clothes due to give an effect on whole visual effect man's suit. Also, these dues were felt differently by each types of body. So, it is confirmed that the type of body is important fluent to make people perceive.

• 한국의류산업학회지
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• 제13권1호
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• pp.55-65
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• 2011

The purposes of this study were to measure Shangri-La Syndrome through the difference age(i.e. chronological age-cognitive age) of Korean in their 40s and 50s, and to examine the variables which have an effect on the syndrome, requirements of Shangri-La Syndrome and means to look young. The research was conducted on 365 men and women in their 40s and 50s from Ulsan, Busan, and Seoul. The statistical analysis methods used for the study were reliability analysis, factor analysis, frequencies analysis, t-test, correlation analysis, ANOVA, Duncan test, and regression analysis. The results of this study are as follows : First, difference age showed to be 9.5 on the average and appeared to be largest in terms of feel and interests ages and smallest in terms of look and health ages. Second, it was found that Shangri-La Syndrome was influenced by health and self-love factors from among physical and social-psychological characteristics, and age, educational status, job, and hobby out of demographic characteristics. Third, it was shown that health body was the most important condition for a living with Shangri-La Syndrome and clothing was the most effective tool available for young appearances.

• 복식
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• 제33권
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• pp.189-199
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• 1997

The following contents are the results from the examination of unisex fetishism minimal and active which are Mods look. Unisex-becasue of the changing in musician and the role of sex Mods girl adopted much from men's clothing. The unisex mods look expressed in the 1990s is not the expression confronting the estab-lished value and the confusion of sex as it did in the '60s but possibly the appearance of a fashion trend. Fetishism-in the '60s the Mods look changed mens clothing into more wonman-like clothing which expressed their internal and external values of thinking. this fetishism phenomenon is also strongly expressed among the in the 1990s. This gives a future-orientid feeling by expressing with a modern sense the 60's fetish dress which used woman-like silhouettes bright and stretch fabric colorful and vivid tone. Minimal-The 60's Mods put on mini skirts called the revolution of length as a mode of re-sistance and mininmal dress as a way of ex-pressing the liberation of body and the con-sciousness of beauty. Minimal is reflected well on slim and fit jackets and pants and short and fit pants etc. mods look in the '90s also consists of the general trend of slim and fit silhouette. Active-Mods that reject the value of estab-lished generation in the 60s showed a sporty and casual trend on fashion. Mods works around clubs wore polo shirts and cadigan and Mods enjoys scooter often wore anorak parkas This active style of Mods approched to the young' casual with freshness expressing newly in the '90s polo shirts took a seat as an item of street fashion especially in the beginning of 1996. Mods in the 1960s shows well a fashion flow of the age as a street fashion which expresses the mental world reflected in politics econo-mics society and culture within the people of the age. These Mods looks revived in the early 1990's awaken an importance of the culture of the young as the cultural qualities included in Mods of the past life and this fashion trend expected to take a part as a symbol of fashion culture.