• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.131-145
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• 2011

The purpose of this study is to provide preliminary data on strategies to create a domestic prestige brand based on Korean traditional designs. This study also deals with how to promote this brand around the world. The two points mentioned above will be accomplished by examining the characteristics of the brand '3.1 Phillip Lim' which succeeded in both design and marketing during a short period of time. The method of the study will be followed. Firstly, the basic design and philosophical background of Phillip Lim was investigated, after reviewing the global luxury market and current status of overseas expansion of Korean designers through paper study and antecedent workups. Secondly, for the practical stage, design characteristics and marketing strategies were reviewed with the collections of '3.1 Phillip Lim'. Three factors found in '3.1 Phillip Lim's design success are as follows: First, practical and simple designs using fabrics of high quality. Second, handcraft elements and interesting details that differentiates his design identity. Third, femininity expressed in the feminine silhouette and color. The marketing elements that made '3.1 Phillip Lim' as a successful brand are: First, differentiated positioning as a luxurious contemporary brand. Second, brand promotion through various collaborations. Third, the gradual expansion of women's, men's, kids' apparel to accessory, lingerie and the stable flagship stores. Thus, '3.1 Phillip Lim' has combined modern and classic styles using high quality fabrics and practical designs with unique details. Through it's differentiated marketing strategy targeting New York's market, which prefers popular 'luxury contemporary brand's rather than high-end luxury brands, this brand's creativity and commercial aspects contributed to make '3.1 Phillip Lim' into a luxury brand that represents New York fashion. Korean designers who seek to enter the global fashion industry should consider applying Korean traditional designs on global designs to make favorable products and localize these products according to regional characteristics.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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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.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.110-123
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• 2008

The objectives of this study are to define the fundamental notions of collaboration in design field. The results of this study are summarized as follows: Firstly, collaboration means a cooperative work which are cooperatively done by collabarator and collaboratee on the equal status within a certain period of time, based on core ability of each of them. This cooperative work is presented with a visual image based on the identity of participants, and it creates an added value. Collaboration is different from convergence and hybrid in the methodological aspects and from brand alliance and strategic alliance in the aspects of the subject of project. Secondly, collaboration has been developing through step of using the specific ability, step of sharing each core abilities, and step of fusing their identities, in a view of the sphere of cooperative work and the intimate relations in reciprocity. Thirdly, according to strategic purpose, collaboration can be classified into value ascending collaboration, image changing collaboration, business-field extension collaboration, and event collaboration. Fourthly, production methods of collaboration consist of limited edition method, premium line method, common line method, producing a collaborative product, and so on. Fifthly, differentiation effect, image upgrade effect, production of higher value-added products, sale increase, diversification of business, sharing the targets, and promotion effect are achievable through collaboration. Sixthly, to make progress in collaboration successfully, the compatibility of combination between collaborator and collaboratee, the superiority of collaboratee, definitude of collaboration, the fit method of collaboration, the novelty of collatoration, possibility of issuing of collaboration, and perfection of collabo-product must be the points which deserve our attention.

• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.69-84
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• 2008

Considering that star reflects the image of current society, analyzing fashion of celebrity is to read ideal type and demands of beauty of the era. Especially the rock music-represents youth culture that last on present day-born in 1960's, and it is considered to a significant decade in pop music history. Thus this research will analysis rock star's fashions in iconological view of E. Panofsky. The aim of this document is Clarifying how the fashion of pop stars appeared and what formed its worth. As a result of analyzing fashions of rock star in 1960's, it is available to find these sameness and difference. The Mods borrowed images of the past, and introduce the elite modernism and shows very urban style. The Folky and the Psychedelic showed post-structuralism propensity against industrial society, in the case of the Folky it induced styles that symbolize labor class to realize social worth. And as an aftereffect of war and repulsion of commercial worth, they embody nature-returning peasant look so that it shows pastoral mood in total. The Psychedelic express somewhat struggling escapism and it generated illusionary images with quests to superego and glorification to psychedelic status. The Folky and the Psychedelic are same in the side of introducing existentialism, this occurred by using ethnic factor. But the Folky showed plain outlook by pop propensity, on the other hand, the Psychedelic showed magnificent outlook such as optical art, pop art, and futurism ought to express merrymaking culture. And common feature of these is introduction of unisex mod which is came after the change of gender role. Thus each star or group has professed special ideology into their culture and it is reflected to acts which is including music and dress style. This affair is analyzed like these two things. The mass of people schemes their identity with inducing special ideology to their culture at the first. And the purpose to archive cultural hegemony in inter-social class at the next.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.47-67
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• 2002

The purpose of this study was to investigate the differences of Middle and High School Students' influential groups in putting on clothing according to their delinquency and demographic variables. My subject was 1050 middle and high school boys and girls who are resident in Seoul; sample groups were selected, considered their resident area, gender and the kind of school. The results are as follows: 1. The exemplary group was most regarded the opinion and evaluation of teacher, father and mother and followed the clothing of teacher. Compared with the exemplary group, the delinquent group was most regarded the opinion and evaluation of other and same sex friend and tended to follow their clothing style. Besides, the delinquent and middle groups were most regarded the opinion and evaluation of seniors and tended to follow their clothing style. The mass media star was most modelled by delinquent group, following by middle and exemplary groups. 2. Schoolgirls were more regarded the opinion and evaluation of same sex friend and senior and were more remarkable to follow the clothing style of their parent, friend, senior or mass media star than schoolboys. The students who did well at school more were regarded the evaluation of father, mother and same sex friend than those who did commonly or poorly. As for the exemplary group, the poorer a student did at school, the more he/she tended to follow the clothing style of mass media star, but on the contrary, as for the delinquent group, all students tended to follow the clothing style of mass media star regardless of their academic record. And there was no significant difference according to social status in important others and model group.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.87-97
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• 2009

A technology in development called CACD (Computer Aided Clothing Design) can reproduce fashion shows by utilizing computers, and is of particular interest. Considering the growth potential of this area, the purpose of this study is to present the development potentials that CACD technology will bring to the fashion area and to promote the diversity of the fashion industry. This will be realized by identifying the current status of CACD and its reach in the field of Fashion, followed by an in-depth analysis of its application. The methodologies employed in this study are as follows; in-depth study of related literature, field research of business firms, and investigation on Internet data. For the systematic advance of CACD, the development of user-friendly programs for 3D clothing design is of the utmost priority. The four technologies that should be intensively developed to enhance the development of the clothing industry through the utilization and commercialization of CACD are as follows; First, technology capable of performing accurate three-dimension measurement of the human body is needed. Second, technology which realizes automatic pattern formation is needed. Third, the nature physical properties of the material and textile design when applied to pre-formed patterns must be expressed similarly to the real thing. Last of all, an integrative technology which can conduct fast and accurate clothing simulations must be developed.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.79-92
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• 2015

Covers of fashion magazines are part of the media that reflects the zeitgeist. Thus an analysis of the covers is a tool to probe the social and cultural changes of a period. This study attempts to shed light on the changes of the image of women on the cover of men's fashion magazines; this study intends to investigate the changes of status and role of women, from the past up to the present, through analyzing the meaning of the image of female models. For this purpose, this study conducts both literature and corroborative research. The period for the analysis is limited to post-1960s when female models began to appear alone on the cover of men's fashion magazine. The three decades from the 1960s through today have been analyzed according to its characteristics. The result is as follows: female models in the 1960s were shown as subjugated and ancillary to men as a commodity for the affluent materialistic civilization after World War II. In the 1970s, thanks to feminism movement, the image of resistance dominated. As a result of women's right movement, the 1980s came to witness the female image of subjective characteristics. Finally, starting in the 1990s, a mixture of subjugated, resistant, and subjective image of female models has appeared. In the contemporary culture, where the communication through images is being increased, the image of the female models in fashion magazines could work as a criterion to measure the social change.

• Journal of Fashion Business
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• v.3 no.3
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• pp.39-48
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• 1999

The purpose of this study is to examine closely the aesthetic characteristics featured in dandy's costume. Dandy was term used on for a man excessively fond of and overly concerned with clothes, exemplified by Beau Brummell, Lord Byron, and count d'Orsay, who greatly in gluenced men's fashions in England and France. In the late eighteenth and early nineteenth century George Brummell, the prototype of the dandy, made upper-class English country clothes, especially riding clothes, into the height of men's fashion in the city. In the early 1800s the alterations he made, particularly with regard to fit and cut, established these as the critical signifiers in men's dress. Brummell's style, particularly for day, was essentially restrained and disciplined, and set a standard for sober discretion, appropriateness and taste which governed men's clothing until well into the twentieth century. The aesthetic characteristics expressed in dandy's dress are the aristocratic superiority of mind, the restrained beauty in absolute simplicity, and the pursuit of the individual beauty. Brummell's kind of dandyism instigated the idea of establishing a new kind of aritocracy, an aritocracy based on talent. Over the years this kind of cultural and social coup has been played out in different ways but has remained, like the twentieth-century concept of the avant-garde, a fundamentally male preserve. He advocated unobtrusive darkblue fitted coats, cream-colored trousers, elaborately tied cravats, absence of showy fabrics or excessive decoration, and impeccable grooming. The status of the perfectly tied cravat as the hallmark of genteel elegance, as the last keystone of Fashion's arch, had been established by Beau Brummell.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.158-170
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• 2016

This study analyzes historical drama costumes as a domain of popular culture through an examination of the changing process, factors, and design characteristics of historical drama costumes according to trend changes in historical dramas after the 2000s. Public interest in Korean traditional clothing has grown due to the historical drama fever. Research results are as follows. First, historical dramas are divided into: authentic historical dramas, popular dramas, and fusion dramas. Historical drama costumes show characters' status and roles to help viewers become absorbed in dramas and increase understanding the historical periods and knowledge. Second, the characteristics of TV historical drama costumes (according to changes of the historical dramas according to 2000) brought diversification as they are diversified by period, genre, and character and costumes which are suitable for them additionally resurfaced. Third, as for the design characteristics by type in TV historical costume after 2000s, authentic historical dramas' design was done by comparatively in-depth historical research based on historical materials to help public understand the past. Popular historical drama costumes are based on history, but the forms of costumes were emphasized (or exaggerated); in addition, colors, subjects, and patterns were modified to emphasize image beauty, dramas' atmosphere, and characters by reflecting intention. The fusion of historical dramas' costumes attracted the attention of the public about Korean designs that harmonized tradition with modernity to actively reflect current trends in past periods and show new types of creative design.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.