• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.139-164
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• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.242-253
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• 2005

The objective of this research is to identify and examine the punk hair styles which, with their various, rather vague names, help to describe the twentieth century subordinate culture or subculture and also their place today as one of the mainstream male hair trends. The scope of this research will stretch to include also: North-east and around that areas native Americans'hair styles which, are thought to have strong links with the Punk hair tend. The focus of this research will remain with the so-called Mohican or Mohawk hair styles(collectively referred to as Punk styles), which have originated mainly from native American warrions residing in North-east and South-east region of the United States. This study clarified a few questions in doubt concerning the origin of cockcomb hairstyle. Firstly, the cockcomb hairstyle known to represent punk hairstyle was influenced the American Indian's Roach style. Secondly, since Roach style is referred as Mohawk tribe's hairstyle in some refernces, the view of seeing cockcomb hairstyle as a Mohawk style is considered more persuasive. Thirdly, although Roach style was a usual hairstyle through North-east and South-east region of the United States, the people in South-east region did Roach hair style because of the North-east's influences. Lastly alike the Punkers had several kinds of cockcomb hairstyle. American Indians'Roach style also differed in shape concerning of their regions and their kindred. In addition, the reason why the most common term to refer punk hairstyle became Mohican is considered as that the film 'Last Mohican' has influenced on it. That film can appeal their history and play a good role of mediator to let the public know better about themselves, 'Mohican' naturally became the name of the specific hair style.

• Journal of Fashion Business
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• v.11 no.2
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• pp.14-31
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• 2007

The Vivienne Westwood's design is divided into four eras : The 'Punk and Ethnic Style' era, The 'Feminine Style' era, The 'Eclectic Style' era and The 'Retrospective Style' era. The aesthetic characteristics of Vivienne Westwood's design vastly divided into Parody and the Punk Couture. Westwood's parody is exprssed by british materials, that is traditional British tailoring, dressmaking techniques, traditional british fabrics and her debt to the past. Also Westwood has presented the special characteristics of Punk Couture showing Punk-Style clothes by applying Couture sense to her own Pret a Porter Collection. She pursued newness breaking the conventional aesthetic consciousness through her cutting, mix and match of fabrics and cordy of punk details. Westwood pursued new aesthetics by deconstruction and destruction regulated existing ideas that had been systematized, conventionalized and standardized by history and culture. She had shown pluralistic fashion through her design that exactly reflected characteristics of the modern society demanding variety.

• Journal of the Korean Society of Costume
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• v.39
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• pp.197-215
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• 1998

Vivienne Westwood, the revolutionary cre-ator of Punk fashion(ripped T-shirts, bondage clothes, fetishist accoutrements) was a street fashion designer. Although Westwood's clothes have frequently been described as decadent, degenerate and unwearable, they have also exerted a powerful influence on interntional fashion. Westwood became a fashion designer in the mid-1970s, when he emergence of Punk put London back on the fashion map for the first time since 1965. Just as the Mods, Rockers, and Hippies of the 1960s had embraced par-ticular styles of dress and music, so also did the Punks create their own subculture. The Punk“style in revolt”was a deliberately“re-volting style”that incorporated into fashion various offensive or threatening objects like tampons, razor blades, and lavatory chains. Vivienne Westwood and parter Malcolm McLaren articulated this youth culture, who roots lay in music. A sign is something which stands for some object or idea, while the semiotics are the ex-ternal expression for an internal meaning. Semiotics can be used as a medium of communication between dress and music. A language is simply used for explicit of meaning, while the style of dress and music express the explicative and implicative signs. Peirce's scheme among several theories of the semiotics was chosen for this study, because the Peirce's scheme was the first non-language communication medium between external and internal stages, and readily inter-preted the styles of dress and music. Punk rock was studied at first to identify the style which influenced Vivienne Westwood's works and then Semiotics were used to apply the above results to the 1970s and 1990s for analyzing and interpreting the Vivienne Westwood's works were also interpreted by the symbolic characteristics of Semiotics, because the symbol of semiotics often found at Youth Cults reflected punk rock. The symbol of revolt, decadence, grungy, freedom in Vivienne Wes-twood's works wre determined by using Punk rock's semiotics. This study could conclude that the style of dress and punk rock were able to be interpreted by semiotics.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.69-69
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• 2003

In the late 1970s, Punk style that appeared according to the social reaction among labor class youngsters has reappeared till now, and also the emotion and mode are working on fashion greatly. In addition to that, as it pervades to young generation more freely, it's becoming a kind of origin in creative fashion. Especially, Punk style leather jacket has spread to high fashion and settled down as an essential item through popularization of leather jacket.

• Journal of Fashion Business
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• v.25 no.1
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• pp.150-164
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• 2021

This study analyzed the punk style shown in the movie Sid and Nancy (1986), based on a true story. The purpose of this study was to prove that the styles of the main characters had some discriminatory mode as an anti-fashion with not only the value system of the subculture but also the diverse cultural codes applied, revealing their identity. The scope of this study covered the 1970s when Sid died while a member of the Sex Pistols, but was limited to the analysis of Sid and Nancy's costumes. As theoretical background, this study reviewed the preceding studies, specialty books, movie-related sites and their postings, and on-line news reports. To analyze the movie costumes, relevant scenes on the DVD were captured, and thereby, the scenes were categorized per character and style but a performance scene was categorized Sid and Nancy as same punky wedding style because of intention spirituality to marriage by director, and thereupon, 17-cut images were used for the analysis of main characters' styles. Sid's style consisted primarily of black leather jackets, symbolic T-shirts, and jeans, whereas Nancy's style implied a punk style with added fetish styles. Even in the same punk style, their identities were symbolized through bricolage. Through this, subculture styles, were able to confirm that in addition to the value system of subculture, discriminatory modes as anti-fashion with various cultural codes played a role in revealing their identity.

• Journal of Fashion Business
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• v.6 no.2
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• Journal of the Korean Society of Costume
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• v.22
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• pp.313-332
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• 1994

The purpose of this study were as follows : 1) Investigate how to intluence Clothes with time background and trends of art-thought in the twenty century. 2) To understand chronologically how to change hair style Make-up and hair decor-ation. I. 1st and 2nd World War time(1920-1945) The women's social status and their sexual equality was promoted during in this time. 1) African Art Surrealism and Expression art were doninated. 2) The popalar trends were tutular silhoutte (Slim and long) boyish Style and military lookwere popular. 3) The popalar trends of were Eton Crop. short bob gaconne hair style cloche hat. page boy hair style were popular. 4) The trend of make-up which specially. emphasized eye make-up and imitated movie star make-up and make shining redish of lip and nails were popular. II. The stage of modernism(1945-1969) cold war time between communism and capi-talism and promotin of women's human rights were established in this time. 1) Pop art avantgrade art were catched up 2) The popular trends of were new look Kior's line silhoutte mini skirt and young fashion. 3) The popular trend of hair style was french twist. Pill Boxs hat curly bob style were prevalenced and they some what dwarfed hair style. 4) make-up natural make-up was popular. III. The stage of high economic development (1969-1990) Increased population economic development were tend to specialize with anti-social action such as Hippie and Punk groups. 1) Op art Androgynous post-modernism Punk and neo-modernism were catched up. 2) Clothes : classic style of reactionism layered look Punk-fashion avantgrade fashion and pantalon suits were prevalence. 3) Hair Style : Twiggy's short hair style the geometric hair cut natural long hair Spike hair unsex-hair style. 4) Make-up : diversified individuality were prevalence The result of this study indicated that the value's of recognize the importance of total fashion that is the harmonization of clothes hair style and make-up.

• The International Journal of Costume Culture
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• v.8 no.2
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• pp.61-70
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• 2005

A representative British designer, Vivienne Westwood's work. world from radical punk style to aristocratic historical dress is explored in context in terms of Englishness. National identity opens up into the process of mobilization of collective sentiment in the national context, unlike nationalism, and Englishness signifies the idea or emotion of England in contrast with Britishness, the political constructor influenced by geographical aspects. There is no doubt that Vivienne Westwood is central to ideas about creativity and originality in English design on subculture. However, in evaluating a designer and her work we should consider the entire context surrounding her from a broader view, rather than arguing only her own ingenuity. In this article, through reconsidering her originality in the historical reference as well as the resistant punk style in aspect of fluid national identity, I show a case of a constituted Englishness, forged by Vivienne Westwood as a cultural creator of national identity. Vivienne Westwood's case hints the complexities of national culture, which constantly shifts, translating her understandings of history and culture into fashion in her contemporary insight and glamorous ways.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.123-130
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• 2012

The purpose of this study is to understand Skull Images in fashion trends and Skull Image Top Design for Female Teenagers. The methods of this study are an academic literature review as well as practical study through actual case studies about. The subjects of the study were 53 Female Teenagers who lived in Chuncheon. Data were collected during March, 2009. Statistical analyses used in the study were frequency. An adolescent period, they are rebellious, sensual and syntonic inclination. These days, Lots of Female Teenagers want unique fashion for herself and select Skull Image clothing. But they want fit and pretty style not big-look. In this study, I designed seven pieces of Top blouse while applying Skull Image, an important image of Hip-hop and Punk fashion, and the concepts of the continuance theory to them. This study will make a contribution to the designing of Top for Female Teenagers through reinterpretation of the Hip-hop and Punk fashion. In addition, there are practicable and unique Top design for Female Teenagers.