• 한국의류산업학회지
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• 제17권1호
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• pp.22-32
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• 2015

The purpose of this study is to investigate the aesthetic characteristics of check fashion of the 20th century and to analyze the formativeness for them shown in recent collections. The results of this study are as follows; 1) Before the First World War, check patterns were used for S silhouette dresses and hobble dresses. During the two wars, they were used for garçonne style dresses and military suits. Check patterns were used for mini style in the 1960s, uni-sex style in the 1970s, and power suits in the 1980s. Especially after the 1980s, check patterns have followed the fashion trend of each season and appeared in retro styles. Consequently, the aesthetic characteristics of check dresses of the 20th century are traditionality, ornamentation and eclecticism. 2) Traditionality of check fashion shown in recent collections was implied in the classic styles like suits with its grey glen check, avant-garde styles like boxy coat with its dark blue tartan check, and so forth. Ornamentation was shown in the modern styles like jackets decorated with block check colored white and black, casual styles like bomber jackets with hound tooth check colored white and black, and so forth. Eclecticism was reflected in the romantic styles like one-piece dresses with hound tooth check colored white and light blue, elegant styles like low-cut dress with its dark blue window pane check, ethnic styles like long cape with gingham check colored white and black, and so forth.

• 복식
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• 제67권2호
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• pp.68-87
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• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• 복식
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• 제56권8호
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• pp.123-137
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• 2006

Christian Dior has been standing to a good position in fashion and make-up for a long time, and it has been growing up continuously. The purpose of this study was to find out data that a point of view on sensibility. So first, this study analyzed image components of Christian Dior fashion, then this study examined aesthetic characters of Christian Dior fashion. For researching the image of Dior based on an historical consideration of Dior, subjects were fixed in this study. 1) Analyzing image components of Dior fashion 2) Examining image characters of Dior fashion 3) Researching consumers understand how to image of Dior fashion. The study was theoretical and established method; using more than a graduate student-major in clothing and make up, survey$(2004.5\sim6.)$ and SPSS 10 program statistics method. As the results, in Dior fashion, this study analyzed the factors of shape, color, material and texture, and that indicated character of chic, classic, gorgeous and romantic image on the foundation of elegant beauty. As consumers understood that as a same image. By analyzing the image as an emotional side, it could be fundamental data of emotional marketing for Asian.

• 영어영문학
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• 제58권1호
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• pp.93-115
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• 2012

The decades after the French Revolution witnessed the prolific production and consumption of apocalyptic literature, tinged with the optimistic vision of political progress and human perfectibility. However, the Romantic writers were cautious to embrace the idea of the end of history, even though it promised an aesthetic space relieved of historical determinants. Mary Shelley's The Last Man joined this line of Romantic literature which skeptically questions the millenarian desires of political apocalypse by representing apocalypse without millenium. Using the theme of apocalypse as a tool to investigate the place of human beings in the universe and to test diverse political reform ideas to their fullest potential, the novel diagnoses the ideas of representative political subject as the most problematic aspect of political structure. The notion of subjecthood presupposes a political decision as to who can be counted as subject and this decision, according to the novel, assumed a subject that is "active, free, conscious and willful sovereign," which Raymond embodies in his exemplary body. Against the sovereignty of Raymond is juxtaposed the subaltern subject such as Sybil. The resistance of Sybil to Apollo, another exemplary subject, is the subtext of the novel, which guides the way out of the grim future of humanity. While the plague exemplifies the universalizing ideal with its principle of sovereignty, Sybil and her descendent Lionel practice the unconditional hospitality so that they can renew the community in a way to embrace singularities of individuals.

• 복식
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• 제57권4호
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• pp.18-29
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• 2007

Since its birth, "Little black dress" that has been prospering and reviving continually for 80 years, is always favored as classical fashion item. This study focuses on how the "Little black dress", regarded as the beginning of the modern fashion, could become an eternal item over a century by analyzing the aesthetical characteristics of it. Thus, we can better understand the modern women and aesthetic value of modern fashion. The precedented studies and literatures are reviewed for recognizing the development of "Little black dress," and the scope of this study is limited only after the year 2000. Also, fashion work collections and various domestic and international fashion magazines are analyzed demonstratively. After the Little Black Dress was born with the bullish black color in the year 2000, the aesthetic characteristics of the newly spotlighted Little Black Dress in the modern fashion are as the following. First is modernism. Modern style of black dress is appeared through simple and moderate expressions such as pursuit of simple line, minimization of decoration and exclusion of accessories. Second is sensuality that emphasizes flashiness of black by gloss or see-through fabric and exposing one's body parts or dress that exposes body's curves not only express women's physical attraction but also show off woman's social status or roles. Third is feminism. Ruffle, ribbon, flowing-like fabric, and rhythmical details express charms of sophisticated and trendy women as well as romantic image of girlish sensibility. Fourth is hybridism. Experimental and creative thinking like designers' unique re-interpretation of "little black dress," fresh view to sexuality, breaking up of the existing principle of clothing compositions give wholly new aesthetic value.

• 대한가정학회지
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• 제51권2호
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• pp.147-159
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• 2013

This study aims at developing and producing the creative design of a lingerie look after reviewing the aesthetic value about lingerie look featured in John Galliano's works. As for the research method, the selection process from the works was followed together with literature review for empirical analysis over lingerie looks, where 2,764 pieces in total were reviewed from Galliano's Pret-a-Porter collections covering from 2001S/S until 2010F/W and Christian Dior's Haute Couture and Pret-a-Porter collections that he is in charge of as head designer and 291 pieces were finally singled out that show the lingerie look image well. Then, the formative expression was examined about those looks and the characteristics were induced from them. Formativeness expressed in Galliano's lingerie look, in term of lingerie style, was categorized as erotic, retro, and deconstructive. The glittering and smooth material like silk and satin, and the visible material like lace and chiffon were mainly used for material rather than foreign material. By doing so, the romantic and erotic image was highlighted. In the production method, it was grouped into transposition of wear, direct and indirect exposition, and deconstructive way. These aesthetic characteristics introduced by formative expression appeared in the form of eroticism, play, and deconstructiveness.

• 복식
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• 제54권6호
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• pp.41-52
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• 2004

The objective of this study is to contemplate both the formation and the aesthetic characteristics of the ballerina look represented in modern fashion by analyzing a ballet costume. The results of this study could be summarized as the following: the ballerina look is formed by ballet costume itself with being stick to or exposing human body line, or by casual dress mixed with a ballet costume; the materials consist of both the major materials for a ballet costume such as silk, chiffon, tulle, lace, or organza, and the usual materials for casual dress: a variety of color such as transparent, pastel etc. is also used with typically used colors like white and black: decoration is basically composed of ruffle, drape, gather and the distinctive accessory like toe shoes, ribbon tape, ankle warmer is used to show a feature of a ballet costume These formative characteristics of the ballerina look presented in modern fashion implies illusory, pure, and hybridity. traits. First, illusion of the ballerina look not only implicitly expresses a womans wish to experience a ballerina's fantastic world, but also recreates woman herself into a ballerina on a stage. Second, purity of the ballerina look makes design look feminine and smooth, which is expressed with girlish taste through materials and colors. Third, hybridity of the ballerina look suggests a standard of a new trend, which is active style, by adding comfortableness and flexibleness to romantic femininity.

• 복식
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• 제51권6호
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• pp.129-145
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• 2001

Socks and stockings played a role as the first clothing covering foots and legs in ancient times. During the Middle Age they have represented clothing for legs and have been transformed into plasticity and aesthetic outlets for human beings aesthetic desire. Recently in around 1980 various experiments have been tried on them as part of total fashion changing as fashion trends changes. In 1990s the industry of socks and stocking in Korea has grown up as niche market, increasing the export amount twice as much as before. Therefore, this paper reveals the plasticity through historical study of socks and stockings. The purpose of this research is to analyse the plasticity by image classification of socks and stockings in 1990s on the basis of historical studies, which will be the basic data for developing high value added products. The major plasticity features of socks and stockings are material, technic, formativeness, ornament, color in a word. In 1990s the images of socks and stockings are classified into romantic, sporty, ethnic, ecology, avant- garde image. In 20th century knit and nylon became common and the part of the total fashion, completing the whole fashion.

• 한국의상디자인학회지
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• 제16권1호
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• pp.27-39
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• 2014

The purpose of this study is to investigate the formative characteristics and the aesthetic values of denim dresses from the 19th century until the $20^{th}$ century and analyze those changes shown in Paris Milan London New York collections from 2001 S/S to 2013/14 F/W. The results of this study are as follows; 1) In the mid-$19^{th}$ century, the denim pants were working suits. In the 1920's, they started to be recognized as ordinary clothing and they were supplied to women in World War II. In the 1950's, denim pants stood for youth and resistance, and they became popular among teenagers. In the 1960's, hippies who protested against the Vietnamese War would wear worn-out denim pants symbolizing peace and freedom. As they became more common in the 1970's, people all around the world wore the clothes. In the 1980's~90's, the waves of high class brand fashions brought in sensualism, extravagance, reactionary tendency, and so forth. Consequently, the aesthetic values of denim dresses have connotations of practicality, resistibility, ornamentation and femininity. 2) Practicality in recent collections is represented in classic fashion which features typical details and raw denim and modern fashion which is made with glossy denim and minimized details. Resistibility is represented in avant-garde fashion which features deformed or over-layered jackets and pants with damaged denim and vintage fashion which is made with wash-out and wild stone denim. Ornamentation is represented in ethnic fashion which is made with wash-out denim and ethnic prints and romantic fashion which features details such as ruffle, frill and shirring as well as lace and flowery decorations. Femininity is represented in sexy fashion which designs to expose or to focus in women's body and elegant fashion which is made with soft and glossy denim and hourglass silhouette.

• 한국의류학회지
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• 제30권9_10호
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• pp.1464-1475
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• 2006

This thesis is purported to contemplate glamour look reflected in fashion history, thereby to establish the styles of glamour expressed in fashion trends and to provide the categorical basis of fashion design. For such purposes, this thesis first provides the historical survey on the glamour look in fashion, and to conduct a case study by conducting survey of fashion photographs captured in an internet site called Firsview(www.firstview.com) during most recent ten-year period covering $pr\^{e}t-\`{a}-porter$ design products presented by ten leading Italian designers. Based upon the historical survey, there are four representative styles in glamour looks, including (1) luxury glamour, (2) hyperfeminine glamour, (3) kitsch glamour, and (4) romantic glamour. Luxury glamour looks were most often utilized by fashion designs of Valentino and Armani, which can be characterized by frequent usage of glittering details intended to emphasize the surface decoration. Hyperfeminine glamour looks were characterized by the frequent usage of black color in an effort to create fetish atmosphere or sensuality, which can be discovered from the fashion designs of Versace, Cavalli and Ferre. Kitsch glamour looks were characterized by the appropriation of details of vulgar subcultural features mixed with strong color combinations and ethnic trimmings. Versace, Cavalli and Dolce & Gabbana were the main designers of kitsch glamour looks. Finally, romantic glamour looks, which were mainly expressed by Valentine, Dolce & Gabbana and Versace, were characterized by nostalgia and luxury with light colors and materials such as lace and transparent fabrics.