Journal of the Korea Fashion and Costume Design Association
The purpose of this study is to provide the characteristics and development direction of K-fashion and to systematize the strategic features performed by government agencies, fashion associations, fashion companies, and other companies to activate K-fashion. This research analyzed K-fashion related articles published in major newspapers and magazines in Korea from the late 1990s to early 2017. The results of the study are as follows. 1. The characteristics of K-fashion are as follows: The first is a trendy and sophisticated design with modern sensibilities, unique designs that reinterpret the latest trends with designer creativity, practical and popular designs that ordinary people can wear comfortably in everyday life. The second is functional and trendy materials. The third is excellent sewing technology. The fourth is rapid turnover of products by quick connections among planning, production and sales. The fifth is a lower price than quality. 2. The direction for K-fashion to pursue was the continuous and ongoing development of the above characteristics and the creation of a 'design with the Korean emotion of its 5,000 year history'. 3. The following projects were carried out to promote K-fashion. 1) Utilization of K-pop, K-drama and other Korean wave content. (1) Holding a fashion concert event that combines Idol's K-Pop performances with fashion shows. (2) Hallyu (Korean wave) star's costume support and design collaboration with Hallyu stars. (3) Collaboration between entertainment companies and fashion companies. 2) Nurturing a global fashion branding project. 3) Business support for overseas expansion of the K-fashion brand. (1) Support project for foreign trade fair participation. (2) Holding a fashion brand fair in Korea. (3) Overseas business support by establishing a showroom and design center 4) Business to discover and nurture new designers
The purpose of this study Is to reinterpret sexuality represented in modern fashion with the conception of plural sexuality from post-structuralism in socio-semiotic approach. It consists of two parts.: The first part provides the theoretical background and the methodological framework of this study. The second part ultimately accomplishes this study by empirical research, which is to infer plural sexuality articulated with fashion images in men's and women's popular fashion magazines in Korea since 2000 and sexual ideology signified in modern fashion. In this part the theoretical background was focused on the conception of sexuality on the basis of Foucault's idea, and then the framework for this study was made up from socio-semiotic perspective. The conception of sexuality in Foucauldian post-structural idea maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. Socio-semiotics suggests a contextual methodology to analyze the phenomena of material culture by articulating the range of material objects with that of ideology. The socio-semiotic model applied to sexuality represented in fashion is the framework of classifying into the several versions of fashion images from fashion as a material object and then inferring sexual ideology codified in them. In addition, three stages of producer/object/user in socio-semiotics were revised into 'dominant sexuality' with mainstream fashion out of dominant discourses,'oppositional sexuality' to create anti-fashion from oppositional discourses of subculture, and 'alternative sexuality' to be appropriated to dominant discourses by the mix of mainstream fashion and anti-fashion.
Journal of the Korean Society of Clothing and Textiles
Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.
The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.
This study attempted to summarize the characteristics of fashion in the 1930s which were the background of 'Bonnie and Clyde' and analyze how fashion in the 1930s was expressed through costume in the movie, focusing on some critical scenes. For this, previous studies and domestic & foreign books, magazines and DVDs relating to movie costume were examined. For analysis of movie costume, 'Bonnie and Clyde (1967)' DVD was referred to. In the movie, meaningful scenes were captured using a GOM Player. Then, the study results found the followings: First, in terms of women's fashion in the 1930s, adult look and slim & long silhouette which naturally revealed breast, waist and hip with a long skirt, a military look with strong shoulders and tailored costume were found. In terms of men's fashion, in contrast, the Duke of Windsor Style (a slim silhouette jacket and loose pants) was popular. Second, in the movie, Bonnie's costume started with a slim linen H-line dress at her first meeting with Clyde. While committing crimes and becoming a famous gangster, she displayed the fashion styles which were in vogue in the 1930s such as fancy and luxurious slim dress, tailored suit and trench coat. Third, in terms of Clyde's costume, from his first meeting with Bonnie to his first crime, he put on common costume (ex: pants, vest, shirts, etc.) which revealed his open and unconventional character. After he became a famous gangster, he would wear the Duke of Windsor style (jacket, vest and pants). The study results well describe movie costume's role as visual language which expresses characters' inner circumstances and outer situations that reflect socio-cultural background.
This study examined and analyzed the women's jeogoris in the Seoul Gwangjang Market and Busan Jin Market. They study explored the items to look into the current state of the Jeogori patterns, as well as investigate the flat pattern jeogoris, including its source and aspects of change. Korean women's body figure has become more westernized, and the purpose of this study is to investigate the effects of this change on the traditional jeogoris. We hope to gather valuable data, which can be used to propose a new direction for designing hanbok in the future. The study methods are as follows: First, the types of jeogori patterns were examined. Second, the current state of jeogori patterns in the Seoul Gwangjang market and Jin market in Busan were analyzed to look into how the patterns have transitioned. And lastly, the reason for the origination of the flat pattern jeogori and the type of changes will be examined. Current study results show that two pattern types are being used: the flat composition jeogori and the flat pattern jeogori. Surveys show that more than 90 percent of the jeogoris in the Seoul Gwangjang Market are of the flat composition pattern variety, while more than 90 percent of jeogoris in the Busan Jin Market are of the flat pattern variety. In 1998, western-style dress designers in Busan introduced the flat pattern jeogoris, which were used to get rid of the wrinkles caused by the extra space, into the market after the financial crisis period in Korea, as a way to revitalize the market. This new pattern was popular among tea aficionados and traditional Korean musicians. It was exposed to the public via different mediums, such as TV programs, magazines, and brochures. Busan was the first to be exposed, and then it spread to Seoul. It also seems that the reduction of production cost caused the increase of the flat pattern jeogori.
In recent years, as selling books on the internet becomes popular, the number of off-line bookstores are rapidly dwindling away. This change on the book market requires, the function and space of the bookstores should be defined again. Now bookstores are the places of experiences on cultures, world-views, and lifestyles around books. The study examines six large bookstores and finds three strategies of space expression as follow. First, Dominicanen bookstore in Maastricht which was built as a church has an expression which contrasts the old and the new as well as the sacred and the profane. Fangsuo bookstore in Chengdu creates a modern underground Sutra Depository. Here, people experience history and religion. Second, Cook & Book in Brussels has nine theme areas, each with a different selection of books, different interior decoration and special food and beverage like a theme park. Zhongshu bookshop in Shanghai has a lattice of nine reading rooms in which each unique design theme is characterized based on each book subject. Third, Cultura Bookstore in Sao Paulo is created to support social interchange. It leads people to the enormous plaza of books where people read books freely and participate in workshops, movies and all kinds of events. Daikanyama Tsutaya Books in Tokyo is composed of three white box-form pavilions which are connected by a 55-meter long aisle, called a magazine street. People walk along the street and choose concierge services as they browse magazines and books. The study finds out three strategies of design in current large bookstores to promote place-experience, which are the story-telling of history and culture, the design of theme parks, and openness for public mingling like plazas and streets. Thus, the study suggests a new paradigm in the design of bookstores in this internet age.
The purpose of this study is to find trends in new media fashion content by analyzing the fashion content of the official Instagram accounts of domestic fashion magazines that are being transformed by digital media. The framework for these analysis of fashion content type and methods of production is based on one used in an earlier research project. Empirical analysis is conducted on Vogue Korea's official Instagram accounts, using the highest number of major views as the secondary measure of interest. After screening for fashion content in posts on the Vogue Korea account for four months, 291 short video postings were extracted to analyze the number of views the postings received. The results were categorized as 'star', 'show/exhibition', 'product', 'shop', 'fashion film', 'designer', or 'event', included in the data are the number of postings by type and the number of views by post. Based on the characteristics of the creator and the editing, the posts were classified into 'professional production highlight', 'professional production private', 'UCC' or 'GIF' videos, the number of views per post were also collected. The research results show different levels of interest depending on the type of fashion content, and also on the way the videos were produced. The study also investigated how the combination of these two factors affects interest. When producing a new media fashion content, combining a 'star' type post with 'professional production private' video content was most popular. The selection of production method is therefore important even given the same type of content.
Kim, Yong-Hwan is a one of the South Korean major cartoonists between 1940s and 1960s. Kim, Yong-Hwan drew a variety of genres from children's cartoon to current-affair cartoon. Furthermore, Kim, Yong-Hwan took the lead in publishing cartoon magazine and newspaper after the Independence, and has been highly appreciated as a pioneer of Korean cartoon. Kim, Yong-Hwan created many works in the fields of illustrations, Oriental painting, history painting, caricature, etc. After going study for painting to Japan, Kim, Yong-Hwan made his debut as an illustrator called Kita Koji in Japan. However, not much is known about his works in Japan, only there is a simple data about his Japan period and some pieces of illustration during Japan years. In this paper, I examined in detail about Kim, Yong-Hwan's work activity in Japan which has been little known in Korea for a long time. I studied on illustrations in magazines and books which he drew in the name of Kita Koji, on the basis of the data of the National Diet Library of Japan. I could know that Kim, Yong-Hwan worked actively in a diversity of publishers and magazines. In addition, I could realize that many magazines in which Kim, Yong-Hwan drew illustrations were very popular ones. This demonstrates that Kim, Yong-Hwan was much recognized in Japan for his talent. However, a large number of Kim, Yong-Hwan's illustrations were published from late 1930s to mid-1940s. This period was the years that Japan concentrated all her energy for World War II. All the publishing were severely censored during this period. A majority of publishing in this period supported Japanese militarism, and glorified Japan's war policy. Kim, Yong-Hwan's illustrations were no exception, too. It was really sorry about his activity during his Japan period. This essay means a lot to a field of cartoon studies in terms of a collection of materials during Kim, Yong-Hwan's Japan period. Besides, I think that henceforth, this paper can contribute to a follow-up study on Kim, Yong-Hwan' work and his broad background.
Shojo manga, one of Japan's comic genres, is well-known around the world. There is an equivalent manga genre in Korea and it is called Sunjeong Manhwa. What distinguishes shojo manga from other comic genres is its unique visual representation of the inner world of comic characters. In this study, shojo manga depicted in various shojo magazines in the early 1960s are analyzed. The magazines reviewed include Shojo, Shojo Club and Shojo Book. Among the visual representations, flower expression, panel composition and title page design are selected for analysis. Based on the results of the analysis, the basic elements of shojo manga are portrayed well in manga published in the early 1960s, during which several female cartoonists actively led the creation of the said genre. These findings confirm that the representations adopted in shojo manga for the purpose of expressing the inner world and psychological aspects of the main characters were already evident in the early 1960s. According to earlier studies, shojo manga reached its golden age in the 1970s, when the genre's format and representation method were developed to its full extent. Therefore, studies investigating shojo manga often focused on this golden era, during which a variety of comics emerged and stories and presentation skills further improved. An increasing number of readers began reading shojo manga. Popular cartoonists also emerged, further accelerating the genre's burgeoning popularity. However, there has been no investigation on the unique representations found in shojo manga. This means that the shojo manga published between the late 1950s and the early 1960s were underestimated compared with those published in the 1970s. The aim of this study, therefore, is to reassess the comic works and cartoonists that led to the establishment of shojo manga by analyzing visual representations of shojo manga published from 1958 to 1963. This study proposes new ideas on when the unique representations of shojo manga first emerged and how those representations were described.
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