• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.9
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• pp.1374-1385
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• 2009

This study focuses on three points. First, how designers develop clothing and cosmetic culture (which reflect time and culture) into other fashion products in order to verify that attire and makeup can be the objects of aesthetics in addition to functionality. Second, why the fashion design of Christian Dior has been continuously popular for women of all ages and countries in the development of fashion, attire, and makeup. Third, this study analyzes how the aesthetical characteristics of the fashion of Christian Dior are reflected in clothing and cosmetic culture in order to clarify the brand outlook on attire and makeup as a source of France's luxury fashion industry. The philosophical characteristics of Dior's fashion were studied based on existing literature. First, her childhood background (that became the motif of Dior's design) and the philosophical ideology of fashion design, perfume, and beauty were the focus of this study. Second, this study examined how consciousness on beauty expressed in hairstyle, perfume, and cosmetics is expressed in connection with clothing. Third, the background with which Dior's fashion and perfume business became successful is examined in addition the necessity of the image strategy for success in the cosmetics market was studied. Domestic and international books on clothing and cosmetics, preceding studies, the internet, and related magazines are utilized to consider the cosmetics and beauty fashion of Dior. The results of this study show how Korean fashion and cosmetic culture can further globalize. This study encompasses the period of 1905 when Christian Dior was born until 1957 when he died of a heart attack; it also deals with well-known designers of the Christian Dior House from Yves Saint Laurent of 1957 to John Galliano of the present.

• Journal of Fashion Business
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• v.3 no.3
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• pp.27-37
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• 1999

The purpose of this study is to provide for the basic data useful to the effective production and marketing of the brassiere befitting adult women's body shapes and preferences, and thereby, help them improve their apparel life. For this purpose, 563 Korean adult women aged between 20-59 were sampled to survey their practices of purchasing the brassieres and positively identify the factors affecting the practices and thereupon, determine the correlations among them by age group. Data is processed by a computer(SAS) and analyzed by using frequency, percentage, $\chi^2$-test, ANOVA, Duncan-test. The main results of this study are as follows; 1. The adult women tend to use such mass media as TV, magazines, catalogues and DM to decide for themselves which brassiere befits them most, and to check the brand-name(78.8%) or the sizes(93.4%), but more than 90% of them purchase their brassieres without trying on them. 2. The places of purchasing on which adult women rely most for their brassiere are department stores(32.6%), agencies(26.1%) and discount or pension shops(25.4%), while more than 90% of the sample women often visit bargain sale shops. The average number of brassieres possessed by our adult women is 5.7, and an adult women buys 2.6 brassiere costing 10-30 thousand wons a year on average and consumes a brassiere for the period from 6 months to 2 years. 3. It had been disclosed that the brand favored most by adult women is Venus(56.2%), followed by Vivien (17.6%), Wacoal(6.8%), Amie(2.5%) and Body Guard(2.3%). The most influential factors for the popularity of brands are fitting condition(40.3%) and design(23.8%), which suggests that consumers appreciate functionality and aesthetics. The most important reference affecting our women's choice of brassiere is size(64.4%), followed by design and functionality. The brassiere style favored most by adult women is a wire-type 3/4 cup brassiere made of thin material with sewing lines, while the most favorite color is white. In all, it has been found through this study that adult women's practices of buying their brassieres differ by age group, which may well suggest that brassiere production need to take such age-wise practices into consideration in setting up their brassiere production and marketing strategies.

• Journal of the Korean Home Economics Association
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• v.45 no.8
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• pp.39-47
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• 2007

This study was conducted to evaluate the roles that the exterior features of belts play in modem women's fashion. Providing a new prospective on belt expression could be useful for developing and producing belts with newer and more unique fashion designs. This study included related studies, fashion magazines and collections produced both in Korea and abroad since 2000. The results of the study were as follows: 1. A belt can be used to stress femininity. For example wearing a broad belt rather than a thin belt emphasizes the waist, breasts or hips depending on the position of the belt, whereas simply Wearing a belt loosely on a tight or see-through dress can also emphasize femininity. 2. A belt can be used as a design element of a dress. The basic elements of a belt, such as leather used in combination with various colors, various manufacturing methods, and ornate buckle ornaments can produce elaborate decorative effects. However, when a belt is made from materials other than leather, the belt can have an ornamental quality on an achromatic dress. Finally, designing belts to be worn in non-conventional manners, such as girding or tying them, or wearing several belts on the arms, legs, shoulders and waist can result in new and expressive styles.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.872-891
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• 2010

This study was an exploratory research to classify the types of green fashion marketing of the fashion companies in South Korea and analyse the present cases of each type. To analyse the current cases of green fashion marketing strategies, we researched all sorts of newspapers, magazines, publications of fashion companies, and web sites from 2008 to 2009. As a result, we categorized 5 types of green fashion marketing as follows ; eco-friendly fabrics (natural fabrics, recycled fabrics, biodegradable fabrics), re-use or re-form(reuse after cleaning and/or repairing and reformation through transformation and combination of raw materials), green certifications(ISO 14001, GOTS, OES, etc.), eco-friendly management and operation, and green marketing promotions. Based on the results, we proposed the green marketing strategies for fashion companies to progress toward the proper direction of green marketing. First of all, companies should escape from the narrow view point limited to the product itself. Then they have to focus on developing and execution of sustainable merchandising, manufacturing, logistics, and waste strategies.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.101-116
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• 2022

The purpose of this study is to understand the trends of fashion mask designs as a fashion item with characteristics to protect individual health and safety from harmful environments. To this end, the concept, the trend analysis of the domestic and foreign mask markets, the type, characteristics of functional masks, and the design trend of fashion masks were analyzed. Research methods included case studies and literaturte on mask design, fashion magazines, fashion brand websites, fashion collections, and promotional material. First, masks for personal safety were classified as protective function masks from the natural environment, functional masks by industrial groups, masks for protective functions from biohazards, and masks for protective functions from various external activities. Through this analysis, the design trends of fashion masks were analyzed. The functional orientation of structure and functionality, the environmental orientation of sustainable eco-friendly methods, the fashion orientation of individual fashion styling, and the social functional orientation tend to transmit social messages. In the harmful environment of everyday life, items such as fashion masks with functionality and fashion characteristics should be continuously studied to integrate functional and design characteristics that can contribute to the future fashion industry and the fashion market as a sense of unity and responsibility.

• Fashion & Textile Research Journal
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• v.7 no.2
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• pp.153-161
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of goth image which have had influence on literature, film, music and art, in modern fashion. The method of this study is to analyze the documentary about gothic and goth, and the fashion magazines since 2000. The results of this study are as follows: First, sensuality shows the excessive exposure of body and inner wear, and emphasizes a resistance of sexual consciousness and a image of independent, active, powerful woman. Second, androgyny shows the goth women wearing a men's cloth and encourages a person to have a perfect being and satisfaction. Third, horror shows the symbol of death and suggests a substance of desire hidden in our mind. Fourth, historicity shows victorian fashion which have a romance of gothic and baroque, not a cult but a modern image. In conclusion, goth image in modern fashion does not show a substance negative and horrorful, but a substance positive as a perfection, satisfaction, a sense of freedom, obliteration of a feeling of uneasiness and powerful woman's image.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.348-365
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• 2022

The purpose of this study is to develop Korean clothing designs that can satisfy future consumer's needs based on the elements extracted through the content analysis method in a study on the design elements expressed in traditional outfits in the 2010s. To this end, data analyzing Hanbok in wedding magazines were used, and after extracting design elements, research methods for empirical design development were used. After subclassifying the major design elements, factors with a steady increase in frequency and appearance rate were identified. Through this, five elements capable of aesthetic sampling were extracted by complex expression methods and expressed in a total of seven combinations. The types extracted from the design elements are items, silhouette, top shape, skirt shape, skirt length, mixed items with increasing frequency. In the element of color, the adjacent color harmony, which showed the highest frequency of color, and the white-blue harmony, which showed an increase among them, were extracted. When using materials, top and skirt have similar usage rates of the same and different materials, so both contents were extracted, and many patterns were arranged in the top and the whole, but these three were extracted because there were increasing cases where there were no patterns. In the case of decoration, embroidery, pintuck, sakdong, applique, lace, ribbon on the top, silver foil and print on the skirt were extracted. Through this study, it was possible to propose a future Korean costume design model.

• Fashion & Textile Research Journal
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• v.18 no.2
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• pp.149-157
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• 2016

Research on changes of Chinese women's fashion styles was conducted through analysis of fashion images and articles in Chinese fashion magazines since 1980s. Through the fashion magazine research centered on Shanghai, the most developed commercial city having a great influence on the entire fashion industry in China, it examined Chinese fashion styles by period so identified a developmental process of Chinese fashion styles. Based on general understanding of Chinese fashion magazine industry, case study was conducted on "Shanghai Style(上海服飾)". After analyzing 1100 fashion images by period derived from 245 volumes from 1985 to 2013, this study compared fashion styles in 4 periods and analyzed the developments of Chinese fashion styles. Findings from the case analysis based on the classification of fashion styles are as follows. In the early editions, images to give a visual stimulus and express styles more intuitively were frequently used with reported articles. As for the general change of the style in "Shanghai Style(上海服飾)", expression was done centered on casual wear with gradual disappearance of formal wear. There was a tendency entire atmosphere of the style became romantic. Through a comparative analysis between Chinese fashion styles having such developmental characteristic and the global fashion trends, this study identified special characteristics of Chinese fashion style changes. As for common characteristics, firstly, both have a tendency to change into the coexistence of various styles rather than popularity of certain style. Secondly, style was expressed gradually centered on casual wear.

• 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.27
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• pp.207-217
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• 1996

The purpose of this study were to find ethnic fashion's background in the late period of 20th century to compare the World ethnic with the Korean ethnic through content analysis and to identify Korean ethnic of the world fashion Eth-nic fashion started at orientalism by Poiret in the 1910s advancing to African ethnic & Hippy fe-ver in 1960s-70-s have emerged variously with ecology in 1980s-90s' fashion trend. The next the present research analyzed the world ethnic and the Korean ethnnic. The identified 517 fashion photograph from fashion magazines were categorized into two areas: the trend of ex-ternal growth and ethnic fashion's origins/designers wearable situation colors fabrics/pattern. The result were as follows :First eth-nic fashion's external growth of both the World ethnic and the Korean ethnic were incresed. Sec-ond in the ethnic fasions' origins/designers while the World ethnic were almost the same rate between Asian and European ethnic by many designers the Korean ethnic were limited to Asian ethnic Third in the ethnic fashion's wearable situation while the World ethnic were variously wearing the Korean ethnic were lim-ited to work of collection. Forth in the ethnic fashion's colors the Korean ethnic were limited to white color. Last in the ethnic fashions' fabrics/patterns If the Korean ethnic would become a world of ethnic would become a world of ethnic fashion it should be deviced practival abrics and modernized patterns.