• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.5
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• pp.789-804
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• 2022

Retro fashion is emerging among young people as an approach to discovering a new meaning in Korea's historical culture. Research on Korea's unique retro fashion culture is required because there is no research on retro fashion culture based on Korea's historical background. Therefore, this study examined how retro fashion culture has progressed based on Korea's historical background from a nostalgic perspective. All retro-related newspaper articles from 1950 to 2020 were collected, and content analysis was conducted for each semantic unit. The results revealed that personal nostalgia is based on personal experience and is extending to younger generations. In terms of nostalgia in interpersonal relationships, the younger generation reinterpreted the fashion culture of the older generation after the 2010s. In terms of vicarious nostalgia, a retro culture reminiscent of the 1990s with a background in economic development and consumption culture appeared after 2012. The youth culture and university culture of the 1970s and 1980s were reinterpreted as street fashion. Since the late 2010s, the younger generation has been exhibiting cultural nostalgia, believing that the historical Korean culture is not outdated but has a unique heritage formed during the modernization process. Symbolic nostalgia appeared in Korean fashion culture during modernization.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.4
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• pp.101-115
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• 2015

The purpose of the study was to investigate differences in self-esteem, appearance satisfaction, and clothing benefit pursuit among middle-aged consumer groups according to the gap between their subjective age and real age. For the study, the questionnaire was developed by the author and distributed to male and female consumers in their forties or fifties on september 1~10, 2014. A total of 470 questionnaires was collected and used for the final analysis. Data were analyzed by frequency analysis, reliability analysis, factor analysis, cluster analysis, ANOVA and Tukey's test, using the SPSS 18.0 Package Program. The findings were summarized as follows. The respondents were clustered in three groups including a group with younger subjective age than real age, a group with same subjective age group to real age, and a group with older subjective age group than real age, The younger subjective age group and same subjective age group showed greater self-esteem and appearance satisfaction than the other group. There were significant differences in four factors of clothing benefit pursuit including pursuit of fashion, pursuit of youth, pursuit of leisure, and pursuit of conformity among these three age groups. The younger subjective age group and same subjective age group showed greater importance on pursuit of fashion, pursuit of youth, and pursuit of leisure, whereas the older subjective age group did on pursuit of conformity.

• International Journal of Costume and Fashion
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• v.16 no.2
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• pp.81-99
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• 2016

The Coptic tapestry has been carried out since the ancient Egypt. The aim of this study is to revive the Coptic tapestry and its cultural, aesthetic influence on the modern denim fashion. Denims have been developed as one of trendy casual wear to symbolize youth and worn by various age ranges. It evolved into a fashion icon due to its ability to change with every social and cultural evolution. In this study, I presented many designs inspired from the Coptic tapestry textiles. The Coptic tapestry style can be a vital starting point for new ideas for decorating denims. A survey has been conducted for two groups of adult females. The survey results clarified that our designs were approved by the younger group than the older one. I hope this study contributes to developing designs inspired by the past artifacts.

• Journal of the Korean Society of Costume
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• v.50
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.119-135
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• 2009

The purpose of this study was to examine formative aesthetic characteristics and aesthetical value of the intraculturalism expressed in contemporary fashion and to confirm the functions of intraculturalism to establish, visualize, perform the racially indeterminate, ethnically neutral, culturally diverse or ambiguous identity. For this study, the applications of the intraculturalism shown in mass media and consumer culture, such as music, fashion advertisements and collections of high fashion designers from 2004 to 2008 have been analyzed and compared. The results were as follows: The Intraculturalism is reflected in the muticultural music such as Afropean, Jawaiian, Reggaeton and Asian Hip Hop. Intracultural music genres create the hybrid music and fashion culture through mixing, matching and blending one and another culture. Advertisement campaigns for Louis Vuitton, YSL Beauty, Gap and H&M stores have all purposely highlighted models with mixed racial heritage. It is reflected in the latest youth fashion market trend using face that are ethnically ambiguous. The increasingly multiracial, multicultural population is due to intermarriage and waves of immigration. The rising mixed race designers, Narciso Rodriguez, Hussein Chalayan, Vera Wang and DooRi Chung, not only compromise and amalgamate different cultural elements of their heritage and contemporary life but also create new look and fashion image. The characteristics of intraculturalism expressed in the 21st century fashion could categorized into de-genre, de-nationality, de-race and de-culture.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.133-147
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• 2018

This study examines the experience structure and success theme in the business experience of successful young entrepreneurs in the fashion field. The study was conducted as a qualitative case study. The participants were three CEOs with more than 10 years fashion businesses experience with small and medium enterprises. Data were collected from July 2016 to June 2017 through in-depth interviews in Seoul and Gwangju as well as literature collected from other journals, newspaper articles, and books. Collected data were first summarized in 284 meaning units and then reduced to 53 common meanings through description, analysis, and interpretation processes that produced 16 sub-themes. Finally, six successful themes were extracted. The study results are as follows. First, the experience structure for successful entrepreneurs is formed by the qualitative difference of experience according to time order. Second, there are six successful themes found in the fashion start-up process. 1. Developing talent as entrepreneurs with a sense of fashion and enthusiasm 2. Passing on trial and error as a chance to communicate with customers 3. Challenge the fashion retail market with global online start-up opportunities 4. Building a system that responds to market environment changes 5. Leading and distinguishing with expertise from entrepreneurs 6. Evolve into the coexistence of members.

• The Research Journal of the Costume Culture
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• v.12 no.5
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• pp.792-804
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• 2004

Sportism is continuously expressed in every season in a different theme and established as a Mega-Trend of the early 21 th century fashion. This study was conducted to research the social and cultural sources of the sportism expressed in the early 21th century fashion. This study focused on hybrid as one of the post-modem phenomena. By analysing social and cultural sources of the sportism, three aspects were found; first, many different fashion trends are coincides in post-modem society, which is possible and accelerated by hybrid each other. Second, the complicated and competitive society urge the people to review the past and the originality. Third, youth-oriented and individualistic lifestyle was brought by the development of the technology and economic surplus. Hybrid of the TPO was analysed which made the sportism mega-trend. 'Formal wear was mixed with casual wear, casual wear with active sportswear, hi-fashion with street fashion, and hi-fashion influenced formal and casual wear again'. The sportism prevalent in 21th century fashion can be explained by this system of hybrid. Results of the analysis in this study can be categorized into four aesthetic values based on hybrid of the styles, which are glamorous sportism, romantic sportism, minimal sportism, and heritage sportism.

• Journal of Fashion Business
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• v.1 no.2
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• pp.31-45
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• 1997

The purpose of this study is to examine the state of the character fashion which is worn everyday by people regardless of their sex, class, and age after the 1960's, and to look at its significance. Under the influence of mass media, TV, film, comic and popular music exercised its power over the modern living after the 1960's. Such culture has its character in youth, aspiration of wide spread and overflow of the visual image. While active life style and increase of time spent on sports and leisure created the casual trend in fashion. In addition to Pop Art leads to the usage of sign and symbol on clothes, and this created a trend called 'character fashion'. Character fashion can be divided into 'motive' and 'expression'. Motive then is segmented by the 'person' that includes an impersonated figure and 'symbol' of picture or figure with a special meaning. However, expression can be classified by 'one's belonging' which can be a sports team, school or a group. Also, by the 'message' of the phrase or letter. The meaning contained in character fashion by the various motive and expression can be classified as unisex, ego screaming, and escapism.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.43-55
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• 2010

To pursue youth and agelessness can be regarded as a global trend today. The younger a woman recognizes herself to be, the more sensation seeking tendency and the more active fashion exploratory behavior of younger generation she would show. This study attempted to empirically examine the relationship between sensation seeking behavior and fashion exploratory behavior according to the difference age in women in their 30's to 50s'. After the survey, a total of 480 questionnaires was used for data analysis. The results of this study are as follows, 1. It was found that there was a very high correlation among cognitive ages, and the lower cognitive age a woman had, the higher difference age she showed. 2. Sensation seeking tendency of adult women was shown in two factors of change seeking and artistic sensation seeking, and these factors accounted for 73.99% of the total variances. Fashion exploratory behavior had 4 factors such as fashion leadership, behavior of hedonic shopping, behavior of clothing communication and behavior of clothing purchase with taking a risk, and these four factors accounted for 75.87% of the total variances. 3. The higher difference age and the higher tendency of sensation seeking an adult woman had, the higher fashion exploratory behavior was shown, and the higher the difference age, the higher tendency of change seeking and artistic sensation seeking.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.449-461
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• 2005

The purpose of this study is to rediscover the hidden value of non-mainstreamers style which has been overlooked for the past decade by investigate the aesthetics and formative features of the Grunge fashion. The Grunge fashion was derived from explosive popularity of the early 90's grunge music. Grunge was the alternative anti-thesis against mainstream pop music and anti-fashion against mainstream fashion. Dirty, rubbish grunge style of the poor street youth and grunge musicians have raised to the high fashion by designers. And These trial of designers made people to notice the value of the non-mainstreamers street style like grunge. Actually, the grunge brought the shock with many argument to the 90's fashion field. But now, It became the classic of the street fashion. And It has potent influence on the music, culture and high fashion. The Grunge is a kind of links between music and fashion, street fashion and high fashion, sub culture and mainstream culture, the past and now. Grunge isn't only a fashion of appearance. It is the attitude of wearing clothes and living a life. Variety grunge style in the international street fashion, high fashion, typical musicians's fashion of the 1990's and the 2000's was researched for this study. These materials were gathered from music magazines, fashion magazines, movies, musics and books. As a results of analysis, Grunge has the formative features like mix & match, layering, patchwork, primitive edge, rag, retro, recycle, kinderwhore, sneer scribbling, disheveled hair. Grunge also has the Aesthetic features like the beauty of $disorder{\cdot}\;disharmony{\cdot}\;incompleteness{\cdot}\;kitsch{\cdot}\;poverty{\cdot}\;alternative{\cdot}\;eclectic{\cdot}$symbiosis. For the last 10 years, These features changed our fashion be more pluralistic and dynamic.