• 복식문화연구
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• 제27권4호
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• pp.336-352
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• 2019

This study examines the characteristics of expressing hippie styles in contemporary women's collections and analyzes them to benefit future fashion design and research. This study reviewed advanced research, fashion magazines, and information providers. The advanced research determined the study's scope by pinpointing the designers who introduced the hippie style into their collections. The results are as follows: First, the reproduced hippie style appears as the combination of various colors and materials, a convergence or mixture of styles, or the use of collage or patchwork. It employs natural silhouettes or varied colors and materials, which makes the renewed hippie style more luxurious than in the past. Second, the reproduced hippie style emphasizes and distinguishes between two types of femininity: a girlish, romantic image using A-line silhouettes and, bright, gleaming colors, and a sexy version that boldly exposes the body or women's curves and, uses soft and flexible materials. Third, the exotic tendencies found in the reproduced hippie style reflect the characteristics of the times, folk costume, or eastern or western features perceived as exotic. Recently, traditional costumes have changed slightly to recall characteristics found in the past. Fourth, the reproduced hippie style reflects hippies' affection for and interest in nature by using environmentally-friendly materials like natural fibers. Flowers, the symbol of hippies, appear most frequently.

• 한국의상디자인학회지
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• 제14권3호
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• pp.217-233
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• 2012

Placeness forms the traits unique to certain areas inducing people to visit there and purchase goods related to the place. The purpose of this study is to survey fashion images linked with placeness, by examining on-line and off-line fashion goods which claim the placeness. Hong-dae area in Seoul is selected for the case study, and the fashion goods claiming Hong-dae style or Hong-dae fashion are selected in order to analyze the fashion images. Hong-dae area, which was known for its art scenes and small restaurants in the 1980s, has been flourished its postmodern style cafes formed as yuppies-style consumer space in the 1990s. Foreign influenced subcultures were adopted, mimicked and mixed. Afterwards, dance clubs and live clubs gathered around this area. Recently, various local events to enhance the place identity such as "freemarket" and festivals are hosted by the local community. Based on the historical and regional background, the placeness of Hong-dae area is characterized with its artistry, counter-culturalism, and commercialism. The fashion images related of Hong-dae area fashion can be characterized as avant-garde image, art & craft image, kitsch image, vintage image, sexy casual image, and pop art image. The avant-garde image and the art & craft image are related with altistry and counter-culturalism. Kitsch image is related with the artistry, counter-culturalism, and the commercialism. Vintage image is related with artistry, counter-culturalism and commercialism. Sexy casual image is known to have commercialism of Hong-dae area, while Pop art image has its artistry and commercialism.

• International Journal of Costume and Fashion
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• 제7권2호
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• pp.32-40
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• 2007

American trendy casual styles can be characterized as fitted to body and rendering sexy and fashionable images and now very popular in Korea. This paper aims to identify diffusion channels of Amreican trendy casual style among Korean market and the characteristics of imitation for American trendy casual styles made by Korean casual brands. American trendy casual style was introduced and diffused mainly through 3 channels: American films and TV dramas, on-line communities, on-line shopping mall speciallized for purchasing American apparel brands. Some of American celebrities became fashion ikons and played critical roles in diffusing American trendy styles. After searching websites and fashion magazines and visiting brand stores, several Korean casual brands imitated the styles of American trendy casual brands and the scope of imitation was vast across items. Imitation was found mainly among T-shirts,jacket, jumper, pants, skirt and accessaries. Also imitation was found in almost every aspects of clothes such as shape, sihlouette, color, prints and stitching, belt, and drawstring.

• 패션비즈니스
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• 제9권4호
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• pp.30-43
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• 2005

The purpose of this study is to examine the ladylike style of Grace Kelly focusing on her costume design of 1950s movie and star image, and to understand how she became a fashion icon today. Her city elegant look was usually composed of A line or H line suits and dresses, pearl jewelry, gloves, handbags and her classic ladylike attitude. Kelly's luxury casual look epitomized a relaxed elegance based on the American sporting image including the Hermes "Kelly" bag. Her sexual elegant look showed the combination of freshness, ladylike virtue and underlying sex appeal. Her self-confident, ladylike style appeals to modern fashionable women who likes to be elegant but also sexy.

• 복식문화연구
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• 제17권1호
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• pp.90-104
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• 2009

If people want to project a successful personal style, hair style might play a big role as well as clothing. The purpose of this study was to observe hair behavior according to demographic variables, and to analyze correlation between desired hair image and clothing image sought. Questionnaires were distributed to 600 females aged $20s{\sim}40s$, using a convenient sampling method. Only 556 reliable questionnaires were selected for statistical analysis. Correlation r, ANOVA and Chi-square were used to analyze the data, using the SPSS program. There was a significant association between hair style and occupation. Career woman preferred roll straight perm treated hair, students preferred general perm treated hair and full time house wives preferred general wave perm treated. The medium layer cut was the most preferred cut style. People want to give different accents in hair styling with occupation and age variable. Certain desired clothing image had a high correlation with desired hair style image. Those who people want to express sexy, and bohemian image through clothing, they also want to create those image in hair styling with a high correlation(r=0.683, r=0.704).

• 패션비즈니스
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• 제8권2호
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• pp.102-115
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• 2004

The purpose of this study is to analyze the various types of styles and characteristics of Japanese street fashion since the 1990's. The primary source of data has been a collection of visual materials which include snapshots of young men and women in the Japanese street scene starting in the 1990's. To approach the Japanese street fashion comprehensively, I have divided the background of the Japanese fashion into three parts: 1. The birth of various fashion markets like the Dankai junior generation, Hetauma generation and Shinjinrui junior generation. 2. The pursuit of fashion senses like the well-balanced sense of independence and commensalism, uncommon sense and sense of a tassel. 3. A boom in new fashion business types like SPA and select shop. After the 1990's, the Japanese street fashion has changed through the popularity of styles which include the conservative casual style, sexy casual style, Harajuku pop style, and 3 Re(revival, remake, recycle) fashion style. The characteristics of the Japanese street fashion reflects the performance of virtual reality, the sign of style culture, and the communication of process.

• 대한가정학회지
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• 제46권10호
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• pp.37-48
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• 2008

This study re-examines new aesthetic values pursued by Givenchy, analyzing by the Haute Couture line's chief designers. The following conclusions have been reached: Hubert de Givenchy pursued modernity, infused with simplicity and structured stability. In particular, Audrey Hepburn, who was a loyal client and used his line in several movies, provided him the platform for international exposure which he used to further develop what became known as the "Hepburn" style. The subsequent brief tenure of John Galliano did yield the fantastic and magnificent "Galliano-style", but with irregularity. Based on romanticism, it redefined fashion using a wide range of colors, subjects and decoration. His successor, Alexander McQueen, applied opposite elements using a hybrid technique of pastiche, parody and collage. With innovative inspiration he compromised the concepts of gender, time, space and cultures and recreated futuristic forms of nature, animals, insects and mythical images. Julien Macdonald, who was appointed in 2001 as the Artistic Director for the women's collections, minimized his individual style and preferred feminine, graceful and sexy silhouettes. He breathed fresh life in to Givenchy Haute Couture, reinterpreting the Hepburn style in a modernistic mode. Being passed on the responsibility for both collections (i.e., haute couture and ready-to-wear) in 2005, Riccardo Tisci redefined elegance, combining his unique and tailored gothic style with Givenchy's grace. He is developing the future of Givenchy, experimenting with volume, silhouettes, new kinds of fabric and techniques.

• 복식
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• 제26권
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• pp.29-47
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• 1995

Today, we live in the fastly changing society, rapidly developing scientific civilization and repeatly confusing political culture. Therefore, man persuits the emotional rest in "eros" and sympathizes with eroticism. Such an eroticism represents too much in art and costume all over the world. the purpose of this study is to classify the ex-pressive style of eroticism which is the feature of the costume in the first year of 1990's and to analyze its expression meaning. This study will be a basic data of new design development and help predict the costume in the latter half of the yeat. The method of this study was performed by using the literature related to the eroticism and the study of preceeding researchers. To analyze the costume style the its implied meaning being used to express the eroticism of 1990's, the magazines(Elle, Vogue, WWD, Collections etc) and the literatures related to fashion were used. The styles and meaning of eroticism expressed eroticism by using the minimal design which exposes wholly or partly by using a transparent vinyl and a see-through clothing. The sexy style arose from the expression of social rebellion and the exposure of suppressive sex as a psychological repulsion against the older generation. 2) Deshabille style : This style is the conver-sion to the outer garment of an underwear. The excessive exposure which just concerns the inti-mate parts of the body by using the thin cloth or lace for an underwear. This style can be recognized as the beauty destruction and ugly 3) Glamour style : The style is made up of the high-grade cloth such as silk and velvet and expresses the bodily beauty. This style falls into a rebellious culture and comes from the inten-tional expression to escape the modern life which is straight and hard. 4) metallic style : This style uses variously the new material such as vinyl-coating, enamel and represents the eroticism through the original expressions.pressions.

• 패션비즈니스
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• 제10권5호
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• pp.1-14
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• 2006

The purpose of this study is to examine the style of Marlene Dietrich who was a Hollywood legend in 1930s and has influenced on modern fashion. The characteristics of Dietrich style showed androgyny, sensualism and exoticism. Dietrich has been famous for wearing tailored pantsuit on and off-screen with mannish gesture and had great effect on women's wearing pants. Her confident, sexy mannish style represented her androgyny glamourously and proved she had a taste for a classic. Her sensualism focused on her famous legs because she understood the sex appeal of woman's legs. She showed her legs by wearing pants and decorative stockings, or matching colors of stockings and shoes to make her legs look longer and sexier by illusion. Her exoticism against a backdrop of black and white image, was presented with luxurious, sensual fabrics such as furs, feathers and velvet, along with dazzling accessaries. Also she didn't forget to manipulate angles of camera and lights for the engraving figure of her own. Her charisma directed her fashion image in detail and made herself a fashion icon in 1930s.

• 한국의류학회지
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• 제34권10호
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• pp.1581-1595
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• 2010

This paper investigates the regional characteristics of street fashion in China. Yanji, Beijing, Shanghai were chosen as three different cities in terms of location, weather, population, and industrial structure. A total of 592 pictures were collected through an internet and fashion magazine search for street fashion in Beijing and Shanghai in addition photos were taken for those in Yanji. Pictures of each city were classified into groups based on overall images covering top, bottom, and accessories to identify the characteristics of style in each group. The classification process included 2 stages. In the first stage, it produced 2 groups: formal and casual. The second stage divided formal into business formal and retro formal; casual was divided into II sub-groups that were easy, sporty, feminine, sexy, ethnic, girlish, nippon, trendy, bulky, military, and mixed. Easy casual showed the highest frequency for 3 cities and military style showed the lowest. Shanghai showed higher frequency in sporty, trendy, and military style than other cities. Each style exposed the similarities and differences in the cities that reflected different regional characteristics.