• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.749-757
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• 2012

The purpose of this study is to consider the characteristics of Latin American style expressed in modern fashion. Latin American fashion has been overlooked the influences, scope and diversity of dress within this world culture region. So, this study aim to unravel the history and significance of Latin American fashion. As for the research methodology, to classify types of the Latin American fashion style theoretical study and content analysis for Vogue magazine has been undertaken. In this study, the term of Latin American fashion style refers to the dress of common characteristics involving Latin American culture. To inquire into the characteristics of the types, various cases has been searched through books, internet, and designer's collections. The results of this study can be summarized as followings. The major types of Latin American fashion style are Indio-ethnic style, tropical-exotic style, and latin-romantic style. First, Indio-ethnic style has been involving traditional costumes and patterns which are originated in ancient Mexico and Peru. Second, tropical-exotic style has been involving bright color, tropical fruit and African flower pattern, various textures, and relaxed silhouette which are inspired by free and easy culture in Brazil and the Caribbean. Third, latin-romantic style has been involving the mix of Latin American tradition and romantic detail such as see-through material, lace, ruffle, spanish flower motif. In conclusion, Latin American style on contemporary fashion is based on interest to cannibalize folk theme, technique, icons and exotic others.

• The Journal of Art Theory & Practice
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• no.16
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• pp.201-224
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• 2013

The tradition of the representative art style in the Sinosphere, Shanshui hua, expresses the traditional representation of the harmony and principle of the universe. This tradition is reflected in the Chinese garden. These Chinese gardens were precisely the three-dimension representations of Shanshui hua, a visual form of abstract expression of the oriental philosophical thinking. This research determines and draws attention to the vestiges of the reflection of Shanshui hua in the European gardens through visual art and culture. It will also approach the two subjects, Shanshui hua and garden, from a transcultural view to integrally analyze visual art. The appearance of Anglo-Chinese gardens, reflecting Shanshui hua, foreshowed a big change in traditional European gardens. This is a concrete example of the transcultural phenomenon. This has formed the typical naturally curved English gardens in the gardening history. This also divided these English gardens completely from the symmetrical, geometrical French gardens. This study considers the influence and the reverberation of Shanshui hua reflected on European gardens in the European culture. The cultural exchange of European and Chinese styles in the 18th century left an impact on the European gardening style history. Finally, this study analyzes the origin of these Anglo-Chinese gardens and its content to approach it with a transcultural view as a research methodology.

• Journal of the Korean Society of Costume
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• v.35
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• pp.253-264
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• 1997

Han-Bok presents a unique consumption ex-perience different from Western dress which is common to our clothing life. This study is intended to propose the necessity of broad-ening deepening and systematizing a research related to the social aspects of Han-bok. A questionnaire consisted of 10 statements of attitude to Han-Bok 7 statements of the evaluation of the occasional appropriateness of Han-Bok preference questions about style color harmony and decorative materials of han-Bok was developed which includes 5 opinion statement of the importance of tra-ditiona and some demographic variables. During December 1996 and January 1997 the women aged above 20 responded to it and finally 702 data was analyzed. Korean urban women have positive attitude to Han-Bok And the conceit about Han-Bok was significantly higher than the intention to wear it . The most properly evaluated occasion for wearing han-Bok was 'holdays' like Seolnal and chuseok Han-Bok was evaluated im-proper for casual wear and out wear. Factor analysis of 7 occasions determined 3 factors; traditional occasion special occasion and cas-ual occasion. It is needed to identify the ef-ficiency of Han-Bok according to each differ-ent occasion. Korean urban women preferred the style of traditional line soft color and modern har-mony. In a viewpoint of tradition they put more importance in the line of Han-Bok that they do in the color of it.

• The Research Journal of the Costume Culture
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• v.13 no.2 s.55
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• pp.300-313
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• 2005

Hybrid trend of the 21st century is an important basis to express fashion Alexander McQueen is a representative designer of Hybrid trend which combines heterogeneous elements into oneconcept. Accordingly, this study distributed and analyzed Hybrid trend which was in Alexander McQueen's work like below. First, there was a racial Hybrid trend which combined different local culture in shared space of the world in his fashion work and he challenged to Westernized ideal beauty with new recognition and knowledge about beside countries of Western Europe which were considered as not important culture due to perceiving relative value of a pluralist society and created new way aesthetic consciousness. Second, he expressed a historical character of a combination of tradition and modern by his fashion work based on wide historical knowledge of a dress. He created a new line in contrast to the past with a perfect design through combination of the style from the tradition with the parody and displayed his own design world. Third, he treated instability and disorder from the interior essential dissolution, thus he had a cultural character which broke down the boundary of cultural genre and style. This attitude showed transformation of constructivism and deconstruction view, secession and distortion, mixture, duplication, secession and insert by his fashion work.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.363-366
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• 2008

In this paper, I describe about edutainment contents to infant. We can call following PANSORI that user can experience national classical music that is our country tradition music using imagination musical instrument instead of actuality musical instrument, and is one at national classical music. Also manufacturing operationalized Touch-Face that is intelligence style interface platform that can play that tradition pattern and basis use style hand that is a tool the immediate perception enemy use and touch display directly as unaccustomed infant and children are easy and convenient to base. Because of these reason, educational contents can become help to study efficiently because there is in preschool education more on Touch-Face base.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.159-171
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• 2005

The Goth style arouses Medieval syndrome, nostalgia and decadence, considering that Goth style shown in the contemporary fashion rend, tradition and fantasy that appeared in transition of the 21st century. This study is based on documents related to real Goth festivals and events to grasp various characteristics of Goth street style. The Goth style shown in high fashion classified the style on the basis of characteristics of camp culture from the viewpoint of bottom up from non-mainstream to mainstream with catwalk as the central figure. Considering appearance of Goth, property of subculture after the 1980s as alternative subculture as well phenomenon of latter subculture. Also it was possible to grasp attribute of lifestyle shown in music and fashion code from the viewpoint that alternative subculture was in pursuit of individual personality and autonomy. As an alternative subculture, Goth that appeared in UK from the late 1970s to the early 80s is considered new lifestyle, which means the scene of modern underground.

• Journal of Fashion Business
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• v.25 no.4
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• pp.14-35
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• 2021

This study compares and analyzes the designs of Burberry creative directors, Christopher Bailey and Riccardo Tisci. For this purpose, 322 photographs (176 Christopher Bailey and 146 Riccardo Tisci) were collected and the data analysis criteria were classified into color, shape, material, decoration, item, and fashion style. With respect to the data analysis method, statistical analysis and content analysis were combined. First, the design characteristics of Christopher Bailey top and bottom combined bright tone, tone-in-tone color scheme, H-line, heterogeneous material combination, and smart casual appeared very frequently. Second, the design characteristics of Riccardo Tisci top and bottom combined were monotone, tone-on-tone color scheme, H-line, heterogeneous material combinations, and street culture. Third, the design differences between creative directors were significantly different in color, tone, color arrangement, pattern, material type, material combination, detail, top and bottom items, and fashion style. Burberry men's wear maintains Burberry's traditional design identity with achromatic colors, beige-based colors, and beige checks. Christopher Bailey's design direction is characterized by modernity in a casual mood that emphasizes practicality. The design direction of Riccardo Tisci is characterized by a wide gap between images in a semi-formal style that emphasizes Burberry's tradition and a free-spirited casual style.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• Journal of Fashion Business
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• v.13 no.4
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.49-66
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• 2007

Trench coat derived from military uniforms was one of the classical fashion items and has been endeared as everyday outfits thanks to useful traits. Since 1990s classical design of trench coat began to be modified and many variant styles were appeared after 2000s. Trench coat designs after 2000s were appeared as tradition type that was stick to basic British classic style, variation type that was changed in details, colors, materials, and silhouettes, evolution type that was changed into new items, deconstruction type that was dissolved and open-structured. Modern trench coat expressed modern chic, elegance feminine, stylish casual, military and gangster images. The characteristics of trench coat as classic fashion were utility for everyday life style, excellent ability to express images, and strong visual effects of characteristic details. Trench coat was timeless as classic fashion, at the same time, changed into new fashion styles suitable for the sense of the times.