• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.5
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• pp.789-804
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• 2022

Retro fashion is emerging among young people as an approach to discovering a new meaning in Korea's historical culture. Research on Korea's unique retro fashion culture is required because there is no research on retro fashion culture based on Korea's historical background. Therefore, this study examined how retro fashion culture has progressed based on Korea's historical background from a nostalgic perspective. All retro-related newspaper articles from 1950 to 2020 were collected, and content analysis was conducted for each semantic unit. The results revealed that personal nostalgia is based on personal experience and is extending to younger generations. In terms of nostalgia in interpersonal relationships, the younger generation reinterpreted the fashion culture of the older generation after the 2010s. In terms of vicarious nostalgia, a retro culture reminiscent of the 1990s with a background in economic development and consumption culture appeared after 2012. The youth culture and university culture of the 1970s and 1980s were reinterpreted as street fashion. Since the late 2010s, the younger generation has been exhibiting cultural nostalgia, believing that the historical Korean culture is not outdated but has a unique heritage formed during the modernization process. Symbolic nostalgia appeared in Korean fashion culture during modernization.

• Journal of Fashion Business
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• v.7 no.4
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• pp.105-120
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• 2003

Culture and society exist in the present, but they came from the past. So did clothing. As dressing is deeply based on culture pattern of the times, it is affected by various culture patterns and still keeps developing in modern times. This study is intended to examine the features of retro fashion on culture and dressing of the 19th century. The features of retro fashion on Neoclassical and Romantic culture and dressing are objection to the existing pattern, recursion to the past, and creativity characteristic of pattern of those days. Neoclassicism arose as it rejected Baroque and Rococo style, and imitated culture and artistic pattern of Greece and Rome. Romanticism objected to formal and universal pattern of Neoclassicism, and imitated Gothic style while recognizing historical facts and studying medieval times. Dressing in Neoclassicism did not accept exaggerated and luxurious Rococo pattern, and imitated simple, soft and straight silhouette of Greece and Rome and created its unique Empire Style. Romanticism imitated luxurious style of Renaissance, the Middle Ages, Baroque, and Rococo, different from simple and straight neoclassical style during the Bourbon restoration, and created its unique style. Thus, it is shown that retro fashion on Neoclassical and Romantic culture and dressing reflect the style of those days.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.877-886
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• 2006

The Purpose of this study were to study Retro-hat design. To do these purposees, the focus of theoretical approach was literature research, and hat design was attempted on the basis of the research. The focus of theoretical background was on previous research and fashion-related literature. Photo materials to analyze retro-hat design is Haute-Couture collection in paris from the 1990's to 2004 and some designer's collections. Then Retro hat design is 85 in 1,381 hat photos. The results obtained through this process were as follows. In the hats of Retro, the past style such as an Egyptian wig, a snake-shaped hat in Crete, a Medieval knight hat, Liripipe, Tricorn hat, or Bicorn hat was reinterpreted and expressed. Since 2003, Retro characteristics has became strong and frequent. By designing a hat on the basis of the direction of hat design, this study intended to find out the development direction of hat design.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.3 s.3
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• pp.24-30
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• 2005

If one can say that 'Retro' is a revived mode of the style, which was popular in the past, it is confirmed that various complex social and cultural factors have been reflected to making the current and new mode by accepting the past style. By investigating the impact of hippie style, which was popular during the Vietnam War on cosmetics and beauty culture, and the retro-tendency NEO-Hippie style fashion phenomenon appeared at around the time of the US and Iraq War, a theoretical foundation of cosmetics and beauty culture in the 2000s was established, and periodical circulation of fashion was tried to be understood. The 9.11 terrorists' attack and US-Iraq War devastated the heart of modern people, and for this, a retro trend having a meaning to revive the past style with nostalgia of the old things started to be handled with major interests in cosmetics and beauty culture. The retro-style, which is revived in the 2000s, is not the unchanging imitation mode in the '60s and '70s during the Vietnam War, but a newly transformed type of style.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.293-319
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• 2003

Retro, one of these fusion styles, was found in various pattern in fashion. Recent fashion trend shows coexistence with variety which cannot be represent by one or two themes, and introduces various images in a season. Therefore, this study was found three fusion image of Retro pattern which has appeared since 1990; Romantic, Ethnic, and Hippie-look. shown in VOGUE, BAZZAR and etc. 1, Romantic image overcame the exaggerated style of 18th century and expressed in a volume gown, a tight dress of high-waist, and bustier. In addition, beads or sequin became more brilliant and gorgeous which decorated the whole clothing. 2. Ethnic image was expressed with fusion of particular traits from all of the world such as Japan, China, India, South America, Greece, and Africa. 3. Hippie-look image has been shown in slim & long silhouette style, and fusion styles of romantic factors or ethnic factors were also found. Retro as one of the phenomenon of fusion was found in romantic image, ethnic image and hippie-look Image.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.105-119
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• 2009

The purpose of this study is to grasp the aesthetic characteristics of the retro romantic fashion. As a result of study, three artistic characteristics of the retro romantic fashion were presented. First, retro romantic fashion has an exaggerated formativeness. Retro romantic fashion has overcome the confinement of the present to imitate the splendor and decorative style of the past which results in exaggeration. Exaggerated costume tends to be spaciously bigger and emphasizes one particular part which offers implicated significance for the space between the body and the costume. A new visual fashion is created through this space. Second, retro romantic fashion encompasses gorgeous decorativeness. From an artistic point of view, decorations are part of impulsively formulated art. Artistic effects of such decorations are uniformly confirmed in various artistic states. Therefore, through gorgeous decorations, retro romantic fashion rejects artificiality and lack of sensitivity for new effects of aesthetics through expression of stronger artistic and spiritual desires. Third, retro romantic fashion expresses pluralistic retro. The current society has left the formalities of the modernism for a pluralistic society where openness, diversity, and uniqueness are respected. Such components of the pluralistic society are repetitively used in fashion. Time reflective retro romantic fashion is being recreated by borrowing images rather than replaying the historical contents, with the style, silhouette, and specific items that swayed in the past, being combined with modern materials, techniques, and designs. Literature review were conducted for this study. Literature review on retro romanticism encompassed resources on aesthetics, literature and art, including national and international fashion related literatures.

• Journal of Korea Multimedia Society
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• v.21 no.4
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• pp.527-534
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• 2018

As the speed and extent of the expansion of the retro culture continue to expand, interest in industrial values related to it as well as a cultural phenomenon is also increasing. Under these circumstances it is meaningful that the planning of movies using cultural memory can increase the possibility of continuous development of retro contents. In this article, I will look at the possibilities of retro film using cultural memory and the memory industry. The purpose of this research is to find creative and sustainable content production methods.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.523-534
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• 2009

The purpose of this study is to categorize the dimensions of the visual evaluation of the costume details of the retro romantic fashion and to research on the costume details and the visual evaluation by evaluators' gender, age, and major, and on their preferences. Quantitative research were conducted for this study. Based on the pictures, 10 costume details were selected for the survey questions and data were collected. All 446 subjects who participated in this research were college students(males and females) residing in or near Seoul. Data were collected in September, 2008. The collected data were statistically analyzed using SPSS which included: factor analysis, Cronbach's $\alpha$ reliability analysis, three-way ANOVA, two-way ANOVA, one-way ANOVA, Duncan's multiple range tests, and the t-test. The results of visual evaluation of retro romantic fashion are as follows: First, as a result of the factor analysis of the costume detail evaluation, five factors including attractiveness, decorativeness, cuteness, retro, and femininity surfaced. Second, the gender difference in the results of the research revealed that women rated decorative, cute, retro, and feminine characteristics higher than men did. Third, there were significant interactive effects in attractiveness and femininity depending on costume details and evaluators' gender. Fourth, subjects majoring in fashion valued attractiveness and femininity of the stimulus over non-fashion majoring subjects. Fifth, there were significant differences in the preferences of costume details depending on gender.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.231-242
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• 2003

This study was aimed at analyzing how the dualism of hippie style in the modern retro-fashion, namely, the neo hippie style and the hippie chic style were expressed. For this study, domestic & foreign fashion magazines, preceding theses, literatures, an encyclopedia, and Internet sites were reviewed. The results of this study could be summarized as follows; 1. Silhouette : The neo hippie style was expressed in slim and long silhouette to show the natural beauty. The hippie chic style was expressed in various silhouettes depending on designer's tastes. 2. Color : The neo hippie style was expressed in strong color and analogous color coordination to show richness of human nature. The hippie chic style was expressed in psychedelic color, multi-color, and fluorescent color to show an unconventional and a future oriented idea. 3. Material . The neo hippie style used such soft, thin, and flexible materials as chiffon, satin, silk, knit, etc. to show the natural beauty The hippie chic style used expensive and luxurious materials, high-technological materials, harmony of different materials, etc. 4. Pattern . In the neo hippie style, it was generally used various patterns including plant, animal, insect. In the hippie chic style, it was widely used the natural pattern as well as the ethnic pattern. The neo hippie style was characterized by the natural beauty, purity, elegance as style symbolizing the social problem, on the other hand, the hippie chic style was characterized by designer's identity suggesting an idea of new style rather than a symbol of the social problem.