• 한국의상디자인학회지
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• 제8권2호
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• pp.47-59
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• 2006

The purpose of this study is to grasp the meaning of retro-fashion, to research the formative feature characteristic and aesthetic values. Retro-fashion is one of the expression of spatiotemporal-eclecticism, The formative of modern Retro-fashion are as follows: First, Retro-fashion based on spatiotemporal-eclecticism have been come from 40s, 50s, 60s, 70s, 80s style of time, and the asia, africa, middle east, latin America in region. Second, the design inspiration and technique is used more primitive crafts and decoration like handcrafted material, handmade ornaments as dyeing and embroidery of bohemian, jacqwuard pattern, oriental beads, applique, new hippie touch, patchwork, smocking, primitive button, woods, ethnic motives. Third, modern Retro-fashion is reflection of human feelings as nostalgia from the past, it supplies the sense of fashion creativity and new ideas.

• 패션비즈니스
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• 제6권2호
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• pp.41-52
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• 2002

At the beginning of the modern times, orientalism and ethnic character was the main stream of current fashion. Early in the twentieth century, orientalism had a tremendous affect on various areas of society, culture, and art. Particularly, it inspired and activated the design of costume. A great variety of colors and construction of the Orient and geometrical simplicity were based on the creation of modern costume. Ethnic placed weight on the Orient because Japan strengthened competitiveness and China opened the door to foreign countries. Therefore, a large number of the oriental costume produced by a variety of fashion designers. The oriental handicraft, motif and colors of the traditional costume have been used in modern costume. In addition, they are precious ideas for designers. This thesis is about a Study on costume embroidery close to fashion through the oriental embroidery and the concept of oriental embroidery. It is also a study on patterns, skills and colors of the oriental embroidery shown in modern fashion and practical use through the designers works. First, concept, process of change, patterns, skills and colors of the oriental embroidery are mainly discussed. 1.The oriental embroidery consists of life, Buddhism, appreciation and costume embroidery. Embroidery was widely used for a variety of purposes. First, it is to make a good impression and beauty. Second, to decorate many kinds of patterns and shapes. Last, to indicate social status and stages. 2.The origin of the oriental embroidery started in Persia. was It greatly developed in Iran and was introduced in Korea via China. We are reminded of the oriental embroidery of China. China is the original place of oriental embroidery. Oriental embroidery has developed the peculiar embroidery according to each climate, custom and nationality. On the basis of these, the practical use of the oriental embroidery on modern fashion is presented through patterns, skills and colors which leads Korean designers use. Even though the oriental embroidery is not very popular among people owing to a great deal of cost and a demand for labor, the patterns and colors of the embroidery has been already familiar with the contemporaries A more profound study on the oriental embroidery will supply a great deal of material and ideas to the fashion industry. Moreover, an effort to raise self-pride in traditional culture will be also in need.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• 복식
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• 제54권2호
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• pp.1-9
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• 2004

This research aims at the development of Korean fashion design for the world market, which combines the western beauty and Korean tradition into the product design focusing on the styling concept. Through the example-analysis of structural elements which form Europe and Korean fashions, the styling concepts of functional change, beauty-combination, and tradition-conservation. are derived. The results are as follows : 1. Functionality needs to be improved by the structural change and the development of new materials from the traditional materials. 2. Beauty should come from the combination of natural patterns and western-spatial allocation, as well as from the front combination of western-beauty. 3. Tradition needs to be kept as Korean beauty and representation skills in the colors, accessaries, and in the spatial design. The styling concept for Korean fashion design in this research is related to the visual structural elements, and is not expanded to the styling concept of Korean image and/or feeling. Therefore future researches may follow on these un-expanded points. and also may continue the wide comparison between the Korean fashion design and oriental image fashion in Europe.

• 패션비즈니스
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• 제22권1호
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• pp.82-99
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• 2018

The purpose of this study is to examine the characteristics that appeared in the fashion and colors of exotic tastes used by Renoir with a view to re-evaluating his-attitude towards exotic tastes. The methods used in this study were literature research and analysis of visual data from Renoir's works. The results of the study are as follows. Renoir's exotic tastes originated from the material perspective appearing in the fashions and accessories of Algeria, Orient, Spain, and Japan. Parisienne Odalisque Lise in Harem-style, Jeanne Samari in parisienne fashion holding a Japanese fan, and Gabriel in oriental fashion were portrayed as major muses. The Algerian style consisted of white, yellow or red veils, thobes, loose pants worn in Haik, and burnous. The Oriental-style was composed of harem pants, turbans, hair accessories, ornate zouave jackets, and oriental ornaments. The Spanish-style showed gay ornaments, fitted red or yellow matador costume, red bandannas, black hats, and red dresses, plus Spanish guitars. The Japanese-style consisted of kimonos, accessories such as fans, and backgrounds with interior articles such as vases, wall picture frames, and folding screens. The exotic fashion colors were red, yellow and white. Renoir expressed the works with his delicate skills and sense of craftsmanship, and he even added creative design portrayals sometimes. He selected fashions and accessories of exotic tastes as objects and expressed the objects with materials and colors reflecting regional characteristics as such, he can be regarded as an artist wed to who fashions of exotic tastes.

• 한국의류학회지
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• 제29권5호
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• pp.692-702
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• 2005

The purpose of this study was to explore global consumer behavior with fashion products, Korean fashion products, and Korean traditional fashion products (i.e., Han-Bok). Clothing selection criteria for fashion products and Korean fashion products were included as major constructs far the comparison among global consumers based on their nationality. Other consumer behavior variables were shopping place, buying frequency, purchase experience/plan, preferred brand, purchase items, information source, purchasing usage, and the product evaluation of Hanbok. A convenience sample of 236 global consumers was selected for this study. A questionnaire was pilot tested, and the revised questionnaire was used for the interview survey. Descriptive statistics and ANOVA were used for data analysis. Various nationality were existed such as Europe, North America, Japan, China, South East Asia. The results indicated that the most important criteria for fashion buying were design, fit, and size in order. Fit, size, and color item from buying criteria were significantly different among global consumers by nationality. Country of origin was found as less important factor among global consumers. Department store was most favorable shopping place, and once a month is the most mentioned category in buying frequency. Preferred brands were Levi's, Polo, Gucci, and Prada, etc. Secondly, regarding the evaluation of Korean fashion products, textile quality was highly evaluated. Significant difference except design/style category were existed among global consumers by nationality. Thirdly, regarding the evaluation of Hanbok, the product evaluation of Hanbok highly represented as special event clothing, unique image, beautiful details and oriental beauty in order. Significant difference in good quality of textiles, oriental beauty, coordination with good colors and fabrics, beautiful details and unique style and design were existed among global consumers by nationality. Managerial implications were discussed.

• 복식
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• 제56권7호
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• pp.105-120
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• 2006

Today's radical change of environment and technology spreaded high-technology art by cutting across a general idea of art, expressed machine aesthetic in fashion style by influencing materials and production processes of fashion. The purpose of this research is to take another look at the value and the importance of ornaments in terms of fashion design, to overcome the negative aspect of Technology Fashion by designing Retro Technology Fashion that harmonizes reason with sensibilities through floral patterns. The results of this study are as followings. 1. If Retro technology Fashion was analyzed by time and space element that are postmodernism techniques, there are Ethnic Technology Fashion that are based on space and historical Technology Fashion that are based on time. In terms of spare element, there is the hybrid of revival of exotic folklore with Technology fashion. In terms of time element, there is the hybrid of costumes of before 20th Century with Technology Fashion. It means unifying detail or silhouette of costumes of ancient time to modern time wit Technology Fashion. For another time element, the hybrid of retro fashion after 20th Century with Technology Fashion. The retro nostalgia is revived by the floral patterns or silhouette of Hippie fashion unified with Technology Fashion. 2. Based on above research, Retro Technology Fashion with floral pattern on CAD were designed. As the results, for Ethno Fashion that is spatial retro, 'Asian Technology fashion' was designed with bright colors, China collar that are oriental, and vinyl material. For historical Technology fashion that are based on time, 'Space Middle Age' was designed with tight silhouette, party colored pants and plastic material.

• 복식
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• 제39권
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• pp.239-255
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• 1998

Art deco means decorative form on the base of cubism which has widely spread from 1910's to 1930's. Also it pursued the rational & functional design even than deecoration of art nouvear, and colorful combination of fauvism. The analytical study on design included occurrence, developing process and formative features expressed in the art deco fashion. The changes of the art deco style, it referred to the fashion illustration which was the Graphic-s of Ert in 19 century. Besides analysised activity designer in the art deco style, at the same time considered fashion design as comparable analysis. Paul Poiret, a representative french designer, contributed to the clothing culture which accepted oriental influence and it was all the fashion enough to call the originator of present fashion. He did away with the corset, relaxed the waistline, and freed the body from clothing constrictions of almost a hundred years. Since 1914, because of industry of woman clothing that art deco represent concern of one's Chanel's perennial rival in the firmanent of parisian high fashion was the Italian designers, Elsa Schiaparelli, Schiaparelli's originalily was profoundly influenced by the avant-garde art of the time ; Da da and Surealism were principal soures of new ideas. It apply the style to geometrical or abstract form impressed straight and smooth line on suitable technic. Such inflection of art deco heralded a close collaboration between the artist-jeweller and the fashion industry. Especially, jewelry designers were fond of juxtaposing transparent faceted stoned which reflected the light, with matt stones, which offered rare or unconventional contrasts through their opacity. Consequently, art deco will exert value of utility for the progressive fashion & jewel CAD through continuous research.

• 한국의상디자인학회지
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• 제16권4호
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• pp.37-47
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• 2014

Recently, the Korean wave has caused many foreign nations to pay attention to various fields including Korean culture, arts, fashion and beauty. Korean images so far were mainly discussed in terms of aesthetics, and there is lack of efforts to visually shape Korean images. On the contrary, Oriental images focused around Japan and China have greater global influence and better globalized fashion styles compared to Korea. Therefore, it is necessary to suggest a globalized proposal of Korean fashion styling which reflects original and unique aesthetic characteristics of Korea that can be accepted by the global market. In this study, the concept and types of fashion styling and stylists were examined, as well as the definition of Korean image and types and characteristics of Korean images shown on fashion magazines. Also, after collecting photographs having Korean images that were included in the editorial fashion styling of Vogue Korea, their characteristics were analyzed. The results of interviews with professional fashion stylists were summarized to propose an editorial fashion styling with Korean image for overseas consumers who long for and wish to imitate Korean fashion styling.

• 한국의류산업학회지
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• 제5권5호
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• pp.511-519
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• 2003

The traditional culture has been developed for a long time with an unique property according to folk character, custom and environment within an area. Especially in 1906, when the westerners were interested in oriental cultures more and more, Paul Poiret presented Japanese traditional dress of napping sleeve coats and harem pants, henceforth japanese fashion theme began to rise. The Japanese style rose as an important fashion item of the modern fashion, with various fashion themes such as orientalism, ethnic, folklore, ecology, etc., needless to say of activities of Japanese designers. The revealed patterns on Japanese dress and it's ornament plays a role of expressive decoration as well as stand for the nation, the ideology of the age and aesthetic consciousness. For this reason, it is necessary to study Japanese traditional patterns expressed in modern fashion systematically. Therefore, in this research, the demonstrated Japanese traditional patterns on the modern fashion were divided into natural, artificial and complex design and were looked out the characteristic, furthermore it was studied in regard that Japanese patterns were how to apply in modern fashion. It was concluded that the characteristics of the Japanese traditional patterns presented in the modern fashion were as follows: first, creation of environmental friendly design using plenty of natural materials; second, expression of paint-like impression and beauty of margins by simplifying of patterns; third, expression of amusing design by using bright colors and print; finally, various patterns were spreaded out complicated on dress. The characteristics of Japanese traditional patterns in the above were expressed in the modern fashion.