• 패션비즈니스
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• 제3권3호
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• pp.69-78
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• 1999

The purpose of this thesis is to investigate of fabric characteristics in women's wear as reviewing the fabric trends in 1990's domestic fashion. As a method to accomplish this research, I have examined the articles related to fashion fabric and fashion trend magerzines. This study considered women's wear relatively used diverse fabrics, there was not previous study regarding the fabrics used in domestic, since the 1990's. The social fators for the 1990's fashion were the influence of the informed, the increased concern for the ecological environment, the sattlement of young popular culture, the increase of resonable consume and social anxiety. To understand the fashion trends of the 1990's women's wear, it is divided three periods. The traditional period is from 1991 to 1993, the mixed period of the naturalism and the technology is from 1994 to 1995, the retro period is from 1996 to 1999. The charateristics of the fabrics used in 1990's women's wear were the appearance of various functional fabrics, the development of new synthetic fabric with high sensitivity, the popularization of circular knit, the fabrics with a retro mood toward traditional feminine mood and the blending of fabrics. The fashion of 1990 have had the characteristics of various utilization of the materials on the base of reasonable and practical trends than the changes of design and detail.

• 패션비즈니스
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• 제4권2호
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• pp.1-17
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• 2000

Kitsch is one of the various mass-cultural phnomena in the late 20th century, with it's own new aesthetic value, 'self-expression' through 'destruction', denying the existing established way of thinking and escaping from the stereotypes or fixed ideas. This is called 'aesthetic inadequacy'. The purposes of this study are to examine the different preferences between the western and the domestic Kitsch Fashions to investigate the formative and aesthetic characteristics of domestic Kitsch Fashion based on substantial data, and to propose the creative Kitsch design. The results of this study are as follows; 1. The formative characteristics of domestic Kitsch Fashion are marked by amusement, disharmony, epicureanism, satire, and use of imitation. 2. Then, based on theoretic research, this study applies aesthetic characteristics of Kitsch to the creative design. According to the formative characteristics for Kitsch Fashion, the Design Concepts are developed in order of Optimism, Multi Form, Decadence Chic, Neo-Naturalism, and Poor Vintage. And the Fabric direction is given in Design Story with sub theme such as Cheerful, Game, Decadence, Environment, and Grunge.

• 패션비즈니스
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• 제24권1호
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• pp.43-59
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• 2020

The purpose of this study is to examine the design of Paul Smith based on characteristics of the Britishness. Britishness formed according to the national character to encompass the lifestyles and traits of individual people through a shared natural environment and historic experiences within the national boundaries of the U.K., amid current global trends toward gigantic single market. In every season, Paul Smith is presenting various authentic tailored suits, reflecting the empirical positivism, characterized by traditional conservatism through contemporary reinterpretation, characteristic individualism through a reproduction of the sub-culture, optimistic naturalism through fabric and printing on the basis of the Britishness. This study analyzed the characteristics of the Paul Smith brand distinguished through its unique highlights of strong symbolism of the well-balanced U.K., with very individualistic and innovative ideas presenting basic and methodical research of Britishness. Additionally, the results of this study are expected to facilitate in establishing the identity of the fashion brand and exploring its direction, and it will also provide a crucial basis to seek the methods to express the identity of Korean culture in this era of globalization, setting a new course for the fashion industry.

• 대한지리학회지
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• 제36권3호
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• pp.292-312
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• 2001

오늘날 생태위기는 흔히 주체와 객체, 인간과 자연간의 데카르트적 이분법에 기초하여 자연을 대상화하고 도구적으로 정복한 근대성의 결과라고 이해된다. 이에 따라 근대성에 반대하고 나아가 생태위기를 해결하기 위한 새로운 환경론이 중요한 의미를 가지게 되었다. 본 논문은 근대성에 반대하여 새로운 담론 및 정치를 구축하고자 하는 포스트모던 패러다임 특히 탈구조주의자들의 주장이나 이론들 속에 함의되어 있는 생태학적 논의들을 검토하고. 나아가 이러한 포스트모던 생태학에 근거한 환경정의론의 가능성을 모색함을 목적으로 한다. 이를 위해 본 논문은 우선 탈구조주의 일반에서 찾아 볼 수 있는 생태학적 논의와 환경윤리적 함의를 검토하고, 탈구조주의자들 가운데 가장 명시적으로 생태학적 논의를 담고 있는 들뢰즈의 철학에서 '행동학'과 '리좀적 자연주의'에 초점을 두고 그의 뛰어난 생태학적 통찰력을 고찰하며, 끌으로 포스트모던 관점에서 '차이'를 이론화하고자 한 생물지역주의 그리고 특히 들뢰즈의 생태학에서 핵심을 이루고 있는 공생과 타이를 환경정의의 입장에서 이해하고자 한다.

• 복식
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• 제43권
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• 패션비즈니스
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• 제13권4호
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• 한국화예디자인학연구
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• 제40호
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• pp.45-61
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• 2019

본 논문에서는 공간을 이루는 모든 것을 보여주는 '메종 & 오브제' 전시회의 최근 경향을 알아보고 이러한 '그린어메너티'가 적용된 사례를 찾아보았다. 형태적 측면에서 미니멀한 공간을 곡선의 형태로 채웠고 점차 자연을 재현하는 디자인이 제작되었다. 점차 새롭게 맥시멀리즘이 대두되어 디자인에 장식적인 요소가 가미되어 공예적인 제품이 많이 나타났다. 재료적 측면에서는 자연주의 감성이 대세로 자연적인 목재소재가 주로 사용되었다. 이러한 재료는 다양한 이질재료와 결합하여 새로운 디자인을 완성하며 자연적 요소를 공간 안에 형상화하였다. 색채적 측면에서는 2016년은 테마가 '와일드 (Wild)'로 야생자연을 체험할 수 있는 공간을 볼 수 있었다. 나무의 갈색과 초록색을 중심으로 자연의 다채로운 색채를 보여주었다. 2017년의 '사일런스 (Silence)'는 핑크 컬러의 특징이 돋보인다. 또한 따뜻한 느낌의 적갈색 계열의 가구가 제작되었다. 예전엔 황동이나 로즈 골드가 유행이었다면 2017년은 골드나 실버 색상의 제품이 더 대세를 보였다. 2018년은 '쇼룸(Show-Room)'이 테마로 대표 색채는 초록색으로 노랑, 분홍과 함께 새롭게 디자인에 영향 주었다.

• 한국의류학회지
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• 제31권2호
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• pp.280-291
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• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• International Journal of Costume and Fashion
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• 제13권1호
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• pp.61-79
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• 2013

This study takes a look at the distinct and exclusive culture of Latin America, with a specific focus on Mexico, and attempts to understand its unique cultural identity by comparing, analyzing, and evaluating the characteristics of the Mexican fashion brands, Taller Flora and F$\acute{a}$brica Social, which are brands that have actively used the Latin American cultural identity in its designs. The research method was as follows: 1) performing literature research with specialty publications and thesis that dealt with the two brands 2) analyzing the contents of various articles from the Internet and interviews related to the brands. Thus, this research attempts to understand the characteristics of the fashion brands that use the cultural traits of Latin America in order to dissect its methods and find a way to apply it so that it can be used in different cultures, and in effect, lead to the advancement of the fashion industries, in general. Taller Flora and F$\acute{a}$brica Social are two brands that are able to stand out with a distinct identity by applying traditional native Latin American qualities in its products, as well as its products reflecting a respectful and balanced relationship between people and nature. The characteristics of the two brands are as follows: 1) showing the concept of "the coexistence of diversity" by expressing "the old and the new", "simplicity and flash", and "melding of the Western culture via colonialism and traditional cultures of the aboriginals and other diverse native cultures" 2) achieving "the recovery of the human dignity" by protecting the human rights of the native female artisans and building a network for equality 3) pursuing "free naturalism" by balancing the natural provision of nature and man in addition to promoting environmental protection and conservation of goods 4) becoming "the bridge between communication and exchange" by connecting the artisan, the designer and the consumers together, or the producer and the market, as well as the different cultures of markets from diverse countries.

• 한국의상디자인학회지
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• 제7권2호
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• pp.159-170
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• 2005

In this paper we examine the patterns of the subcultural fashion styles in the 20th century in terms of various subcultures in the period. First, we define the concept of the subcultural fashion styles and in turn, examine the subcultural fashion styles from 1950s to 1990s while focusing on the way each generation resisted against the mainstream through its styles. The subcultural fashion styles examined and analyzed in this study are mainly British and American styles. some of European and Western Indian styles are also included. In this paper, a subcultural fashion style is understood as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity. And as a result, it is realized in a form of a fashion with its repressed subconsciousness, with resistance to the alienation from the society, and with deviation from the normative ethics and the morality of a society. In conclusion, we classify the subcultural fashion styles into two patterns based on their form of resistance which tries to distance itself from the ritual code of the day: the dressing of the escape from time and the dressing of the escape from space. The first pattern is characterized by nostalgia or futurism, and includes psychedelic, rastafarian, raver, techno style. The second Pattern includes surfer, folky, hippy, new age traveller, cyberpunk style. Especially, an emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space.