• International Journal of Costume and Fashion
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• 제4권2호
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• pp.30-39
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• 2004

This study aims to investigate various cultural activities of the Korean youth including the subcultural and popular cultural activities and their characteristics and influences on the youth fashion during the period 1996-2004. This study employs a qualitative approach based on the previous discussions of relevant literatures dealing with Korean youth culture and their fashion styles. The result of the study shows that the most prominent characteristic in youth fashion of the period was 'bricolage.' The appearance of 'Seotaiji' and the activities of his group laid the cornerstone of youth culture in the early 1990's. The influence of postmodernism changed the conventional sexism and androgynous outfit thrived. The androgynous effect also had strong influence on men's fashion in what turned out to be Metro-Sexual in early 2004. During the period 2000-2004 the postmodernism regained its popularity both in culture and fashion. 'Body' was also an important part of youth culture and has become the most popular and prevalent word of this era. At the same time the 'Well-Being' and sports look were the new trend of youth fashion. Sports look, also known as Caports, is one of these new trends and the most important youth fashion style like mix & match reformation. The youth became more and more aware of the body image and were interested in fashion as well. This trend awareness of their body and Well-Being image as well as their inclination to the fashion in the youth is expected to continue. Therefore the fashion industry, as their marketing strategy, needs to analyze the characteristics of the cultural trends among the youth and to prepare for the future need of youth fashion.

• 패션비즈니스
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• 제2권1호
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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.

• 한국의류산업학회지
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• 제21권3호
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• pp.253-266
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• 2019

Street fashion style expressing youth culture has become mainstream in the fashion field. Russian fashion designers who experienced the post-Soviet era in their youth have gained attention for the freshness of a youth inspiration. This study selected two representative young Russian fashion designers, Gosha Rubchinskiy and Tigran Avetisyan and analyzed their fashion works concerning characteristics of youth culture. Literature studies and case studies were conducted as research methods. The subject of the case studies were Gosha Rubchinskiy's fashion works from 2015 S/ S to 2018 F/W and Tigran Avetisyan's fashion works from the 2012 CSM Fashion Show to 2018 F/W. The results of the analysis are as follows. First, their fashion works express 'resistance' against the older generation and society. Second, we can also see the 'conformity' of the use to make a strong cohesion. Third, the fashion works symbolized an 'expression of individuality' of the youth. Fourth, the fashion works express an 'importance of practicality' related to the values of the young who prefer to high cost-effectiveness goods. Last, there is a 'remixed culture' in the Russian designer's works where a previously mixed culture mixes with others in creating a completely new one. This study analyzed the characteristics of a contemporary youth culture that influenced the world fashion market and contributed to understanding that the young generation is active in all aspects of society.

• 복식
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• 제27권
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• pp.5-16
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• 1996

In today's fashion Street is a birthplace of new generation fashion and Street Fashion have frequently influenced on high fashion. From this view point this study is a meaningful approach to forecast future fashion trend by examining the street style of youth who are regarded as Street Fashion leaders. The purpose of this study is to examine the Youth Fashion style in early 1990s and to pro-vide a reference to fashion designer and mer-chandiser in trend forecasting and product plan-ning. This study is focused on 1990s Youth Fashion style through the historical Street Fashion : 1950s Teddy boys & Mods 1960s Hippies & Skinhead and 1970s Punk. There were mainly two popular Street Fashion phenomena in early 1990s. There were mainly two popular Street Fashion phenomena in early 1990s. One is grunge fashion created by new gener-ation in opposition to existing generation society and impacting on hish fashion leaders. The other is Remix style that is mixed : sub culture fashion originated by young group in 1950-1970s with 1990s sensitivity. Both fashion styles origionated and led by youth of street have influenced on famous high fashion designeres as well as the general public. Street Fashion will continue to play an import-ant role in future fashion and more study and interest on Street Fashion should be taken by fashion forecaster and related.

• 복식
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• 제61권2호
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• 한국의상디자인학회지
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• 제10권3호
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• pp.73-88
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• 2008

The media culture influences upon young people while introducing new cultures by every hour. Considering the mainstream culture, in which media has the greatest effect on young people, this article examines the symbolic significances of youth fashion through media culture. The results of this study can be summarized as the following: First, young people's popular culture ("pop culture") is becoming the medium that leads to the creation of similar cultures of the young people globally through various routes. Culture is being created by integration of diverse media, and not by what is seen through a single medium. Typical young people's culture, which is formed due to the influence of media culture, includes community culture, pun culture, virtual culture and fandom culture. Second, in order to examine youth fashion that is seen in those media, the survey has been conducted on media stars, tecktonik dance groups, fashion models, avatars and online communities, which are fashion icons influencing young people. Third, youth fashion, which has been formed centering on media culture, has the flexible property that varies the symbolic significance according to which culture becomes the main axis. The symbolic significance in fashion, which is seen on media culture young people are contacting, has been examined in the aspects of value orientation, diversity orientation, speed orientation and digital orientation.

• International Journal of Human Ecology
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• 제5권2호
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• pp.1-12
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• 2004

This study aimed to explore how India madras fashion was diffused in the American women's costume of the different social levels from 1960 to 1975, by using fashion illustrations such as photographs, drawings and advertisements collected from fashion magazines. The purpose was to obtain data for high fashion(Vogue), mainstream fashion(Mademoiselle) and college newspapers for youth fashion. The data were incorporated from 439 clothing items classified by different categories over the 16-year period. The results indicated that the appearance of madras in the American women's fashion in all social classes supported the idea that fashion change during this period accompanied a concurrent change in social environment. In America during the 1960s when there was strong influence of youth counterculture and interest was high on Indian culture, this corresponded to the time of maximum popularity of madras observed in American fashion in general from 1965 to 1971. Though the Indian influence on fashion in the sixties was often ascribed solely to youth counterculture, it is evident that different social groups-high and mainstream social classes, responded to the appeal of Indian culture in different ways.

• 한국의류산업학회지
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• 제12권3호
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• pp.310-317
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• 2010

Middle aged women these days not only consider themselves as younger than actual, maintain figures and looks of younger women, but also show a big interest to fashion goods as younger generations. The TV media has a big influence on this trend. This study is conducted to figure out how the TV media involvement of middle aged women affects their difference age, youth-pursuing clothing behavior and fashion leadership. After the survey, a total of 326 questionnaires completed by women of their 40s and 50s were used to this analysis. The results are as follows, 1. The highest cognitive age of middle aged women was the look age, and the lowest was the feel age in the 40s, and the interest age in the 50s. And it was shown that the difference age were 7.05 years for the 40s and 9.10 years for the 50s. 2. The TV media involvement had a significant influence on the difference age as its antecedent. And the TV media involvement affected directly the youth-pursuing clothing behavior and fashion leadership. The higher the TV media involvement was, the higher difference age and fashion leadership were shown. 3. The difference age was shown as mediating the TV media involvement and the youth-pursuing clothing behavior, and the TV media involvement and fashion leadership only partially. 4. The youth-pursuing clothing behaviors were influenced by TV media involvement and difference age. Conclusionally, this study revealed that the TV media had a great influence on middle-aged women's clothing behavior, supporting the cultivation theory of TV media.

• 복식문화연구
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• 제12권2호
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• pp.224-238
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• 2004

This paper analyzes the similarity of fashion in the 1920's and 1960's. Fashion is a reflection of Zeitgeist. The similarity of fashion appeared in the similar social ideal period. The fashion of the 1920's and 1960's have a lot of similarity in many respects. Androgyny was the new word. The woman cut her hair short, wore short skirt, and projected a self-confidence that was considered by many to be too masculine. The new fashions also appeared very youthful. The cult of eternal youth was born. The mature woman was no longer requested. Instead, in the face of changing lifestyles and extremely rapid technological development, taste ran in favor of a young, athletic, and mobile ideal. The new fashions do-emphasized curvaceous shapes through short dresses and short hair-both styles were supposed to express youthfulness. Characteristic of the times was the short loose dress: straight silhouette disguised feminine curves. The new dresses were invented for very young, slim, and wide-eyed women. The common Zeitgeist of the 1920's and 1960's represents the cult of youth and the adoption of innovative style, which emphasized decoration-cleared simplicity, functionality, practicality, activity, androgyny. Innovative short skirt, youth fashion, androgynous style, unisex style, tubular silhouette, short hair style, and eyeline-emphasized makeup were analyzed by the similarity of fashion in the 1920's and 1960's.

• International Journal of Costume and Fashion
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• 제10권1호
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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.