• 복식
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• 제47권
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.

• Human Ecology Research
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• 제51권3호
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• pp.263-273
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• 2013

The purpose of this research is to examine track suits which appear in mass media and to attempt to understand their embedded symbolism. Hence, a theoretical inquiry and case study on suit tracks were carried out. The case study was confined to the period since 2000, when sportswear emerged as a megatrend in fashion, to 2012. Occurrences of track suits in film, TV dramas, music videos, advertisements, and fashion collections were examined. Research indicated that the track suits in film or TV drama worked as items to give a change to coordination, material and decoration, so that the track suits highlighted the characters in them rather than emphasizing external factors or their own design. They were used as tools to indicate the sensual and dynamical feminine image in the rap and hip hop genres in music video. They also showed the dynamic image of modern woman via advertisements of sports brands. In the case of celebrity fashion, both inside and outside Korea, they introduced the track suits in a comfortable and sensual manner through both official and unofficial image releases. In the fashion collections, transboundary deconstructiveness was strongly expressed in terms of design, material, color, and production method. The case study in this research indicated that the symbolism in track suits was characterized as transboundary deconstruction as well as value in dynamic femininity, and products from reactionary nostalgia.

• 복식
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• 제50권8호
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• pp.177-198
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• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• 한국의류학회지
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• 제35권9호
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• pp.1112-1124
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• 2011

The development of computer graphics and Internet technology has created a 3D Web-based virtual world that has transformed the global fashion industry environment. In this study, the application cases of 3D virtual fashion education were analyzed to discuss the necessity and application of a 3D apparel CAD curriculum as part of a special education for global fashion talent at Korean fashion-related colleges. Prior studies, literature, photo data and Internet data (in and out of Korea) were used for this study. The demonstration case studies were conducted for the virtual fashion education 'SLCC 2007' of Buffalo State College (U.S.), 'Ratava's Line (2004)' of SFU/FIT Collaborative Design Project (Canada and U.S.) and '2011 Graduation Fashion Show' of Ueda Fashion College (Japan). The results of the study show that the 3D apparel CAD system (as a core technology of the IT fashion industry) would allow the current mass production concept to change to a new paradigm of 'mass customization' along with new fashion business types that include global fashion companies and Web-based Internet, mobile and virtual-world shopping malls. In addition, it appears that the system should be included in the curriculum of fashion-related colleges and institutes to educate technical designers for the global fashion industry and global fashion talent with comprehensive system operation and management ability, and to promote single proprietor companies.

• 한국의류학회지
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• 제16권3호
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• pp.233-242
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• 1992

This study primarily concentrates on the Fashion Style of the New Generation which has come into being in 1980 with reference to the contents of the newspaper and magazine in 1950's. . The New Generation has undergone the social and cultural change under the effect of mass communication, mass consumption brought by the economic development, sports boom promoted during the period of Asian Games and Seoul Olympic Games and the adoption of the policy for the autonomous school uniform. In the process of the social and cultural change, they have the common peculiarity such as sensitivity, anthoritarianism and polarity and they have taken an important part in the development of the 'Young Fashion' The characteristics of their fashion styles are divided into three periods as follows; 1. The rising period (1980-1982): The most important pecuriality of the first step can be sum up to the following point. The free fashion style replaced the formal one such as T-shirt or casual wear comes into as a everyday dress. Moreover, many people become interested in the New Fashion which is gradually diversified and high-qualified. As a natural consequence, the lively interest of the people has brought into the appearance and competition of the New Brand in fashion industry 2. The growing period (1983-1986): Mannish Look, so-called 'New Fashion' gained the summit of the fashion and change over conservatively. However, 'Mannish Look' have great effect on the Fashion Style until now on. Specially in Korea, 'Punk Style'and 'Androgynous Look' can be an example among many. 3. The diversifying period (1987-1989): The Fashion Style has developed variously even though the Reactionism takes the lead as the main current of the Korean Fashion. Moreover, it is noticeable that man comes into the stage as a new fashion group and the fashion market begins to dear in various lines of goods with moderate and low prices. These various aspects can be regarded as diversification in the Fashion Style as the needs in the times and society.

• 한국의류학회지
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• 제10권1호
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

• 한국의류학회지
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• 제24권4호
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• pp.538-548
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• 2000

A study analyzes the eclectic trend shown in Andy Warhol look to explain the pluralistic aspect which is expressed in the late 20th century's fashion. Eclecticism is a trial to dismantle the barriers between pure art and popular art, high culture and low culture. This pursues harmonious accommodation and coexistence of all areas without being confined in the conventional lofty taste or high art. This thesis studies the characteristic aspects of the eclectic trend by classifying this trend into sell culture, mass media and fashion around the Andy Warhol look. The sexual eclectic trend in Warhol look is bisexual one shown in clubland and the world of modeling and supplies fashion with abundant expression and ambiguity. Warhol established cultural eclecticism by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion and escaped from the fixed idea on materials and design. Also he generalized and democratized specialty or nobility conventional paintings had possessed through introducing repetition and mediocrity and fully utilized every kind of mass media, Hollywood movie stars and daily necessaries in producing works. Andy Warhol who asserted‘Business Art’that was the mixed form of artistry and commercialism had creative and futuristic taste and proposed the direction to develop current fashion and art where the concept of economy is importantly brought into relief.

• 한국의류학회지
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• 제34권5호
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• pp.831-843
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• 2010

This paper examines the advertisements for mass-produced women's clothing, which appeared in the 1980s issues of the fashion magazine Wolganmeot. This study explores the communicative aspect of fashion advertisements of the 1980s as a platform for complex and dynamic interactions between fashion brands, female consumers, and the rapidly changing social, cultural, and economic conditions of the period. The research focuses on advertisements in the formal and character casual categories that targeted young, urban, and career-seeking women. Based on the analysis of the visual and textual elements of the advertisements from a pragmatics perspective, this paper concludes that fashion brands sought to highlight an 'intelligent', 'urban', and 'individualistic' image of women. It also proposes that the prevalence of assertive and straightforward textual elements, copies, indicates the efforts of fashion brands to stabilize and reinforce the advertising messages in the fast-evolving landscapes of the fashion industry and changing consumption habits.

• 패션비즈니스
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• 제5권4호
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• pp.14-26
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• 2001

A lot of designers are adopting a mixed imitation as techniques of cretion because cultural boundary and structure of meaning in the era of post-modernism are collapsed and dissolved. I raise up a question mark to how can genuine and creative designers can be identified at this epoch when we are today familiar with the trend of informationalization, opening and globalization. Characterisitics of multi-culturalism and compromising blending are meshed with appearance of a theory of disorganization and consumer-driven economic activity of multi-national enterprises in the age of post capitalism. Accordingly it can be said that designers are leaning upon public and consumeroriented pattern rather than pursuing a creative cultural production. With mass media in rapid advancement and public culture in father dissemination, mass production and mass re-production became a natural cultural phenomenon strengthen ing its root. Creative designers somewhat slow and limitative in pace of adaption to rapid changing society amid such social backgrounds and flooded information are coming to dead-end of wall. A mixed imitation as techniques of creation is a result of borrowing, duplicating or re-combining of existing things because the mixed imitation is equivalent to borrowing, copying, compilation and recombination of well-known artworks, motive, diverse people's cultural features, image, techniques and the likes. It is too delicate thing for one to definitely distinguish such cultural phenomenon from either one as creative work or a plagiarized work. Looking into the facts as they are, we should recognize the designers limitation in their creative works by means of the mixed imitation. thus we can have a view upon them from a criticizing standpoint against the designers creation and imitation. On the other hand, when we look at things how the mixed imitation appears in the fashion as a piece of culture, we can understand something of the contemporary designers. I try to find a significance in seeking out a method of approaching to creative fashion designers direction in future times.

• 복식
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• 제55권1호
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• pp.13-24
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• 2005

Throughout the history of fashion and fashion collections, fashion design has been influenced by fine arts. Philosophy and concept of fine arts has been inspiration on the development of fashion design which brings on the close interrelation between fine arts and modern fashion. In order to analyze the affect of fine arts such as Pop art on fashion this study inquires into new perspective that considers different social contexts on the premise that acknowledges the essential difference between the genre of fine arts and design. This study researches the influence of Pop art which has been inspiration on fashion designers since the birth in the 1960s and often appears in recent fashion trends. In view of the results achieved in this study, Pop art-inspired fashion does not concern the aesthetic contemplation of everyday life in western society anonymously as in Pop art but deals with pop art as new ideas in a way that adopts images randomly from designer's convenience which is equivalent to the conception of pastiche. In addition, it was inferred that Peter Pan syndrome exert influence as a mental process and Kidult trend operate on Pop art-inspired fashion as a social phenomenon. On the basis of the theoretical background, the formative features in Pop art-inspired fashion from Spring/Summer 2000 to Spring/Summer 2004 collection has been analyzed. The results fall on the following four categories; those are the use of Pop color which resembles the Hard-edge technique in Pop art, direct appropriation of Pop art such as Andy Warhol and Roy Lichitenstein's works on clothes and accessories, adaptation of Pop art's subject using brand names of mass products or icons in mass culture as design motives, and application of representation method in Pop art such as Andy Warhol's silk screen techniques or Tom Wesselman's composition of pictures.