• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.2
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• pp.5-17
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• 2000

This study about the Zoot Style is the first part of a series of research, which is to examine various subcultural styles in 1900s. The main concern of this research is to investigate the origin of a style, the way how it developed, and the reason it appealed to people. Subculture is a marginallized culture which the subordinal groups in the social structure developed as a means of reaction against the dominant groups of a society. The clothes and decorations of these groups can be regarded as the central expressions of exclusiveness, loyalty and identities for their groups. In 1990s, the distinction between the subcultural style and high fashion tend to be blurred, because it has gained more influence on the high fashion. Zoot Suit, adopted and diffused by Cap Calloway in 1940s, is the code of a subculture formed by a special race, class, space, gender, and generation identities. It develops as a reaction, and consequently reflects the struggles against the dominant culture: it is to refuse, appreciate and ridicule the dominant style. The Zoot Style had a great influence both in Paris and Cuba: the Zazous Style in Paris and the Caribbean Style of Cuba are the subcultural styles branched from the Zoot Style.

• Journal of Fashion Business
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• v.2 no.1
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• pp.35-48
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• 1998

The purpose of this paper is to examine the street fashion, which is influenced by the youth culture in 1960s. Youth culture is the youth subculture which appeared multiform in the 1960s. It tried to create a new culture by subverting the ruling class culture with their combative life style and peculiar appearance which are distinguished from mother culture. Youth cultures as youth subculture are symbolically expressed in their style which had strong characteristics of sub-fashion and anti-fashion, and which are different from mother fashion in shape. Therefore youth subculture fashion had an effect on street fashion in the 60s. The influence that the youth culture fashion had had on the street fashion is summarized as follows: Beats fashion was intelligency look on black dress, black polo-neck shirts, black trousers, black glasses and heavy black eyeliner. Mods fashion was neat style on Edwardian suit with narrow trousers, pointer-toeshoes and smooth croped hair. Folkis fashion was ethnic look, middle east asian look, peasant look, Indian style, south america look, gypsy style, natural materials, natural dying, tie-dye, beads and hand made ornaments. Rockers fashion was violence appearance categorized 'blue collar' on black leather jacket decorated with metal studs and hand-painted insignia, blue jeans and boots for motor bike. Swinging London & the Psychedelics fashion was blend mods look with pschedelic color and motive pattern. Hippie fashion was intermix pschedelic and natural or ethnic style. It was appear to be a meaningless, unpredictable assortment of diverse items and style. Faded and tattered jeans, army jackets, vintage hat, beads, embroidered headband, white sheets, diverse theatrical costumes, sandals or bare feet, granny dress, peasant blouse, blanket cape, tie-dye T-shirts and long hair. Greasers fashion was adorned black leather jacket with chains, fringing, badges, insignia and sleeves had been crudely ripped off. They came to be known wore jeans so soaked with oil. Skinheads fashion was aggressive working class identity with donkey jacket, jeans rolled up, collarless union shirts, heavy boots, braces and hair cropped short.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.1-17
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• 2013

As style is the center of subcultural identity and the clothes and adornments are the most visible symbol of its membership, the style of Goth symbolizes the strong subcultural identity and acts as the practical basis to demonstrate commitment to the subculture. In the turn of the third millennium, fashion designers have drawn upon and extracted elements from many subcultures to use in their collections. High fashion designers have introduced the Goth style since its inception in the 1980s. The energy and authenticity of Goth has been considered to be desirable in high fashion. The aesthetic property of Goth subcultural style defeats the established notion of standardized fashion and stimulates new consciousness, which makes room for diversification and subdivision. This study attempts to forecast the trends of the 21st century via researching the diffusion of Goth style in high fashion. In order to investigate the aesthetics and styles of Gothic chic, along with literature research, this study investigates the fashion collections from the late 1990s to 2000s as well as the images of street fashion magazines.

• International Journal of Costume and Fashion
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• v.10 no.2
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• pp.51-59
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• 2010

This study regarded fashion selection criteria as clothing consumption value and desired fashion images, and examined selection differences according to regional subculture groups. Clothing consumption value is a direct value that people seek with clothing products and a perceived value which is divided into emotional, social, price, quality values. Fashion image which is a feeling communicated to others by wearing a certain fashion style is the most superficial value. Multivariate Analysis of Variance (MANOVA) was performed to test the differences between regional subculture groups in clothing consumption values and desired fashion images. We found some differences in clothing consumption value specifically in emotional value and social value. The group differences were remarkably significant in fashion image comparison. 'Kang-nam' group pursued 'lively', 'sophisticated', 'charming', feminine', 'gorgeous' image more than 'Kang-buk' group. While 'Kang-buk' group produced lower scores in ideal fashion images, the group had significant higher seeking in 'sportive' image compared to 'Kangnam' group.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.225-232
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• 2006

This study purposed to review the concept and characteristics of subculture theoretically and then to analyze subcultural hairstyles shown in the 20th century's fashion in terms of form, structure, texture, design line and design principle, which were formative factors of beauty art. The range of this study was from the 1950's to the 1990's, during which subcultural hairstyles, which were selected for this study, kept a unique formality as subcultural characteristics of each time were reflected in hairstyles. The hairstyles found in subcultural styles were reviewed as follows. From the formative analysis as the above, it was concluded that layer form was seen most frequently in the subcultural hairstyles. This may be because it has a lot of layers in hair, and enables to make more various forms with a simpler care than other hairstyles so that it is easy to show one's own characteristic or differentiate oneself from others. Thanks to the characteristics of layer form, horizontal and convex were often seen as design lines. As for a texture, straight often appeared. The texture of straight is naturally formed without any care applied on hair. The reason may be that most subcultures refused artificiality. Therefore, the characteristics of subcultural hairstyles may be that hairstyles are transformed into various forms and created into the styles appropriately for individual tastes so as to clearly express one's own idea and thought.

• Journal of the Korean Society of Costume
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• v.26
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• pp.101-121
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• 1995

The Purpose of this study was to investigate homology between the Popular music and Fashion of youthful subculture and how the image of popular music have influenced on the 90's fashion. As the result, Korean youthful subculture analized to be different from western youthful subculture. In western countries, the style of youthful subculture groups spread to tricle up as developed themselves but represented tricle down phenomenon in Korea. Because life con-dition of Korean Youthful was different from westerns in everything. The Image of popular music have an influenced on the 90's fashion, it is be classified into the Jazz image, the Country & Western image, the Rock image, and Hip-Hop, Ragge image. 1. The jazz image from Jazz music has come back dandism of the nostalgia mood and intro-duce ethnic sense into fashion. 2. The Country & Western image is reflected in fashion of accessories details, materials and Coordination item. 3. The rock image from Acid Rock and Punk Rock effected the advent of hippie mood fashion, ethnic, ecology, new unisex fashion and Punk fashion trend. 4. The hip-hop, raggae image from Rap and Raggae music showed on fashion of primitive mood's naturism, Sports wear's generalization and dualism. After the 90th, youthful fashion of new gener-ation may be infered constantly on the move toward $\ulcorner Fashion democracy \lrcorner$formation.

• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• International Journal of Costume and Fashion
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• v.10 no.1
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• pp.1-13
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• 2010

Japan is an advanced Asian country with a young, visual and stimulating culture that fascinates even western countries. The aim of this article was to provide an in-depth understanding of youth subculture as a medium of interpreting contemporary Japanese society and fashion, and understanding the values of Japanese youths today. The study of Japanese culture, youth culture, and Japanese youth subcultures of the 2000s and their clothing styles are based on documentary research and internet research, including a wide range of books and dissertations, and English, Korean and Japanese websites. It studies the unique youth subcultures of the country from the perspective of a Korean researcher who lives in a more fashion-conservative neighbouring country.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.155-170
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• 2008

Club culture is the global trend for youth in 21st century. Club is the space that is created with close relationship among music, dance and fashion. It is also experimental cultural art space with endlessly transforming style. Furthermore it is a space for independent minor culture which represents speciality than generality of cultural appetite and style of club. Cultural communities formed around club and their parties have placed as a strong subculture trend based on youth age group. What they are creating as a subculture could be our tomorrow's main trend and clubbers also could be our major power sources for future. Therefore it is necessary to pay attention to club culture. The purposes of this research are to identify the concept of clubber, to analyzes their basic club culture characteristics and elements, and to find out unique fashion styles of Korean clubber in comparison with the origin. To study club fashion style's origin and background, this study searched a theoretical flow from 1930's to 1990's. Then, Korean clubber's style is derived by comparing background and origin of Korean club culture with those of abroad. To analyze in various point of view, theoretical backgrounds about social, cultural, dresses, and design were considered. Since research target is a visual image, street fashion is analyzed on through, music channels and magazines from 1930's to present as well as designer's art photographies. Internet sites', cub culture association's and sound association's photos were also extracted. as a visual evidences to offer actual evidences. Geological targets are selected among Korean club culture's origin such as Hong-Ik University area, Shin-chon, Chungdam-dong and Apgujung-dong areas. The results of this study are as follows. Firstly, clubber's fashion style influenced magnificently on major fashion design instead of being just youngster's resistance toward control group and it is contributing to our fashion culture to enrich it. Secondly, fashion styles of korean clubbers are based on those of western sub-culture, but with a unique localized history.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.14-25
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• 2018

This study is to understand subculture as a selective amity or an emotional tribe that includes a life style, hobby and leisure of people and seeing it as the tribal solidarity or emotional alliance. Hence, based on the neo-tribalism by Michel Maffesoli who explains a tribe not composing a social vertical structure represented by class, but is composed a horizontal structure of individuals as a member of a society, this study conducted an empirical analysis on domestic minor fashion communities. Research findings show that they have a unique structure unexplained by Maffesoli. Fashion styles, values shared by domestic minor fashion communities are almost entirely based on individual likes and dislikes, escaping from a symbol of resistance to subordination explained by the existing subculture, play a role in enhancing the solidarity inside the community and confirming its identity outside. However, as for shared values within a community, it reveals a new invisible type of subculture intra-inter domestic minor fashion communities. A community showed a closed mind rather than open mind, disregarding or comparing with other communities and preventing their members from participation. A community had strict fashion rules and obvious classes, leading to participatory restriction. In conclusion, domestic minor fashion communities showed the most significant characteristic of a selective vertical structure by individual and community rather than a vertical structure by a society.