• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.77-91
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• 2001

Remembering a meaning of fashion started in the early 20C, Paul Poiret is one of the most important designer. If so, what does his achievements and assessment his costume design have to be？ That is the spirit of his design. Through the creation of the new style which is totally different from a period before, introduction of the vivid color, the new line and the enthusiasm of the fashion business, he showed the roll and the possibility of the modern designer. In Poiret's women's costume, harmonious beauty of women could be discovered in beautiful color which was not used in the 19th and elegance line. Furthermore, in the creation of the color and style, he got a strong influence by the art of early 20C's Europe. This was an opportunity that todays fashion has treated as a part of the or her art, and many modern designers are contacting with the art. The excellent ability in the fashion business has the composite as total fashion. Fashion business including perfumes, cosmetics furnitures, accessories is a model for most designers who follows him.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.73-90
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• 2011

Modern footwear is accepted as a fashion accessory that plays the role of a point of style, which reflects trends and makes use of individuality and stylishness, not a practical means itself. This study considers diverse types of western shoes, which had been historically popular from, and about a role in accordance with it, and grasps the occurrence background and the aesthetic characteristics in shoes type, which had initiated fashion in the historically cultural aspect. Thus, the aim is to be conducive to developing design related to modern shoes. As a result of this study, shoe styles have changed in relation to the historical situation throughout every period from medieval times to mid-modern times. Two functions of shoes, practicality and aesthetics, could be observed tendency of leading fashion in the middle of mutual control and supplementation according to social conditions, economic strength in a person of wearing shoes, social standing, and gender. Accordingly, considering that designs related to shoes are influenced by the historical conditions, continuous research on unique designs according to each era is thought to be necessary to develop shoe designs of the future.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.97-113
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• 2019

Among the many factors affecting fashion trends, the concept of war has been particularly instrumental throughout human history. Specifically, military uniforms worn during the WWI and WWII became popular fashion styles that introduced military uniforms to modern fashion and continue to be influential to this day. And the fashion accessories market is continuously demanding new styles. The purpose of this study is to investigate the reasons why military uniforms have been continued to be influential in contemporary fashion, to apply fashionable features of military uniforms, and to make leather accessories by using leather-carving techniques. The characteristics of military uniforms were analyzed in advance research, domestic and international literature, and cases applied in modrern fashion collection. In conclusion, five modern fashion accessories were developed by combining the form, function, and decorative elements of the military uniform that have been constantly reflected in modern fashion with leather handcraft carving techniques. This study is meant to suggest the possibility of developing artistic and original fashion accessories that are both practical and reflect the history of military uniforms.

• Journal of Fashion Business
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• v.16 no.6
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• pp.96-108
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• 2012

In modern society, humans' misdirected aspirations towards ideal beauty are discussed and criticized. This research utilizes a paradox to express the modern standard of beauty and the society's homogenization of it through plastic surgery. An empirical analysis was conducted of the artist's works that reflect anti-lookism. The works were classified as provocation, aesthetic, symbolic and paradoxical depending on the variety of the artists' approaches and expressions. Also, this part looks at anti-lookism cases in modern fashion industry that were given lascivious expressions. They characterized various types of human beauty. Anti-lookism is a movement that goes against this social trend. It seeks to awaken modern citizens from blind submission to homogenized beauty and commercialization of humans. This study intends to offer an image of ideal beauty that should appreciate and the concept of an ideal female body. The author hope that further researches are done in social, political, cultural and other levels of the society to establish anti-lookism.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.167-178
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• 2007

The purpose of this study is to systematically examine fusion phenomenon in the cultural aspect aiming to grasp the characteristics of fusion phenomenon, which has a steady impact on fashion trend. A reason for fusion to be noted as a cultural code is because diversely cultural interpretations are impossible from one viewpoint. Therefore, it is aimed to inquire into the characteristics of fusion culture, which is one phenomenon of newly mass culture, and to examine which cultural fusion phenomenon in modern fashion is being displayed in fashion design. First, the culturally fusion phenomenon, which was indicated in modern fashion, is displayed as repetition. The fusion, which integrates into fashion as a cultural code, is a trend of pursuing the experience with different culture. The needs of consumers are shown as fusion fashion that repeatedly uses the traditional detail and the modern detail through cultural repetition. Second, it is displayed as transformation. A concept of fusion is not the simple aggregate in [1+1=2], but the creation of new culture called [1+1=1]. In modern fashion, the cultures in the East and the West are harmoniously transformed, and through transformation, each culture is being compressively delivered. Third, it is displayed as interdependency. The fusion fashion which was newly re-interpreted while having reciprocal influence upon mutual culture, is re-interpreted by forming the equal relationship in heterogeneous elements without destroying fashion that was made previously.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.8
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• pp.1222-1233
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• 2006

The purpose of this study was to classify the modern image by clothing design elements. This research was done by survey method with 25 kinds of modern image photos selected in fashion magazines. The data was analyzed by Reliability Analysis, Factor Analysis, MANOVA, One-Way ANOVA, Duncan's test and MDS. The results of this study are as follows: 1. modern image was classified by 5 factors. Those were sexy-modern, elegant-modern, natural-modern, mannish-modern and minimal-modern images. 2. Sexy-modern image was well-expressed by chromatic and chromatic color coordinations. Elegant-modern image was well-expressed by fitted silhouette, fit and achromatic and chromatic color coordinations. Natural-modern image was well-expressed by A silhouette, loose apparel-fit, chromatic and chromatic coordinations and soft texture. Mannish-modern image was well-expressed by H silhouette, loose apparel-fit, chromatic and chromatic color coordinations and hard texture. Minimal-modern image was well-expressed by H silhouette, tight or loose apparel-fit and soft texture. 3. modern image was positioned into mostly hard or masculine on image scale.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.155-166
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• 2004

OP-Art was not appreciated by painters and art critics. and according1y has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally. it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity. anonymity and mobility in the Op-Art fashion. The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity. which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted In diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man. can be the backgrounds of the Op-Art fashion. Second, Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators. which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques. the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society, Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modern society.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.306-325
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• 2017

This study analyzed how a time-honored fashion house has harmonized its design identity over a sustained period with its successor designers. Givenchy Fashion House was selected as the subject of this study. This study focused on literary research, analyzed design features and fashion images based on photos of Huber de Givenchy's collections (1952-1995) and collections by Riccardo Tisci (2006-2016), the creative director of the house. Photos were gathered from books and fashion websites; in addition design was analyzed based on a review by experts on collections. The results are as follows. Hubert de Givenchy won fame for simplified modern elegance that presented a new beauty for modern women and reached the peak of his career from the 1950s to the 1960s. Riccardo Tisci respected the couture tradition of the Givenchy Fashion House. He successfully revitalized the house by simultaneously emphasizing his personal design features and reinterpreting the design identity as well as tried to establish new house signatures. In conclusion, the original design identity of the Givenchy Fashion House is based on Hubert de Givenchy's timeless modern elegance that has been reformed by Riccardo Tisci as romantic goth and sensual elegance.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.611-626
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• 2014

Reading and foreseeing fashion trends is crucial and difficult in the fashion industry due to accelerated and diversified changes in fashion trends. We use network analysis to investigate fashion trends from 2004 to 2013 in order to find the inter-relevance among fashion trends. We extracted words from fashion trend info for women's wear provided by Samsung Design Net, created a 2-mode network of seasons and trend languages, and visualized this network using NodeXl program. Fashion trends repeated a unique pattern during the period. In the first half (2004-2008), retro modern, feminine modern, and ecological modern were dominant trends in consecutive order. The years 2009-2013 witnessed distinctive fashion trends in S/S seasons and in F/W seasons. 11F/W, 12F/W and 13F/W seasons were characterized by artistic creative style. From 2010, natural style dominated S/S seasons. 10S/S and 12S/S seasons were distinguished as a calm natural style that reflected a peaceful and simple life. In 11S/S and 13S/S seasons, soft natural style emerged as a sign of increased importance of inner spirit and natural energy. A seasonal reappearance of trends was observed every two years in S/S seasons that enabled the prediction that 14S/S will see another version of natural style. A macroscopic trend for the last 10 years was represented by the keywords 'modern' and 'natural'. 'Modern' involved the past styles such as 60's, Baroque and the origin of human life. 'Natural' was connected with design elements such as material, silhouette and color. Managerial implications and future study directions are discussed based on the results.