• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.159-171
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• 2004

The purpose of this study was to compare the characteristic of Chanel style between modern and postmodern period. The documentary research method was used for this study. The modem period was limited from around 1920 through 1939 and the postmodern period from 1990 through present for this research. The results were summarized as follows: The characteristics of clothing style in modem period were 1) the preference of slim & straight body figure as ideal one and slim & straight clothing silhouette, 2) the high fashion image for the elite by simple & basic design, 3) the emphasis on the harmony by the unity, 4) the tendency of eliminating ornaments on clothing, 5) the discontinuation of traditional way of dress code & style, and 6) the modern style. The characteristics of clothing style in postmodern period were 1) the emphasis on erotic aspects of female body and sexy design, 2) the popularization of high fashion and certain social group's fashion, 3) the tendency of harmony by mix-match, 4) the preference of ornaments in clothing, 5) the preference of retro-fashion, and 6) the continuation of modem style.

• Journal of Fashion Business
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• v.1 no.4
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• pp.19-33
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• 1997

This study will analyze Karl Largerfeld's design of Chanel to suggest the designer's strategy succeeding haute couture. His significant stylistic interests include the revealed structure of the garment, the modifications between fine art and fashion, the combination of the traditional restraint of the couture with the flourishes of the wildest street fashions and effects that turn garments upsides down or insides out. The House of Chanel today recognizes that commercial success ultimately lies in re-working Chanel's signature designs in a modern idiom. That the essence of theses designs remains so desirable is due to Karl Lagerfeld's successful interpretation and is ultimately an accolade to the founder-Gabrielle Chanel. During the reign of Coco it would have been difficult for any woman who wanted to look young and modern to go wrong with her fashions. The same can be said of Karl Lagerfeld for Chanel today. Clothes with the Chanel imprimatur no doubt will remain just as fashionable into the twenty-first century.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.6
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• pp.809-826
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• 2013

This study considers types of expression and examines aesthetic characteristics by analyzing images expressed through space directing at Chanel Fashion Shows. The conclusions of this study are as follows. The expression types on space directing at Chanel Fashion Shows are what is presented by distributing huge objects associated with Fashion Shows at the center or back of the stage, integrating several detailed decorative elements while maintaining the morphological characteristics of the runway in a linear form, and utilizing an inartificial place or newly forming the whole stage. The symbolism characteristic was first indicated for the aesthetic characteristics on space directing at Chanel Fashion Shows. Symbolism is indicated through the identification of an implicit meaning towards a specific object. The symbolism was highlighted utilizing elements or stories that have a deep association with Chanel. Second, the characteristic of ecology was expressed through the recognition of the importance of the ecological environment by escaping the harmful practices of civilization such as environmental disasters and human alienation. The expression of visual ecology was emphasized utilizing themes related to environmental disasters or reviving the space of primitive nature. Third, the characteristic of fantasy was shown to express thoughts that originated from the human yearning for the ideal world contrary to an incomplete society. Fantasy was created by the inaccessible object in reality and a change in spatial structure. Fourth, the characteristics of amusement expressed pleasure, which is the instinctive desire truly immanent in a human being. It was natural amusement, which was advocated as freedom through the integration of neutrality, integrating either diverse elements (which are naturally recognized in our daily life) into Fashion Shows or amusement, which expressed newness through utilizing unusual objects in Fashion Shows.

• International Commerce and Information Review
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• v.16 no.4
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• pp.227-243
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• 2014

Vietnam has a population of about 1% of the current annual growth rate of young population is more than half of the total population has the potential to be a total purchase. Vietnam as consumers to choose Korea cosmetics, attach importance to quality, reliability, origin and prefer excellent to high quality, functional and be relieved as the brand of the developed countries. Korean cosmetics are getting very popular and it is among the five largest exporter of cosmetics to Vietnam and raising the name proudly in current. In this study, the north of Vietnam (Ha noi, Bac Ninh, Hai Duong, Hai Phong, Phu Tho), a resident of 20-60 as consumers. Survey research method has adopted the Internet and Survey period was from September 2013 to May 2014 was performed. As a result, the total 163 respondents was obtained. The study provides useful information for people hopes to advance through the Vietnam or companies, entered the cosmetics.

• Journal of Fashion Business
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• v.1 no.3
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• pp.1-18
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• 1997

The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.

• The Journal of Natural Sciences
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• v.7
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• pp.121-131
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• 1995

Orientalism showed in early 20th century as change of Style. Modern characteristics is understanded through big stream of change before historical conception. Change of style in West began by artist having oriental and exotic taste. These are mimesis of outershape about Japanese, Moroco, north Africa etc. Theses are called chinoiserie & turquise taste. Stream of 20th century style is continued expressionism. Cubism, Sur realism, Pop Art etc. but in my thesis orientalism is caused change of 20th Century after exotism (after showed as Primitivism ). In modern costume, concerned works of Paul Poiret changed body concious. He's a image creator as Yve St. Laurent, Chanel, Balenciaga. At that time Russia Ballet, Fauvist, vivid colors are back ground of series of modern costume. Soft and sleek body, transparent stocking, minaret tunic, turban is begin of oriental image. Modern costume and modern art are begins as change of aesthetic taste before historical conception.

• Journal of Convergence for Information Technology
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• v.7 no.4
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• pp.121-127
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• 2017

In 2013, Baz Luhrmann's movie re-made Fitzgerald's novel, "The Great Gatsby". In Novel, readers keep trace of the plot with their imagination, but in Movie , movie director comes together to create visual and auditory elements of it. Daisy Buchanan is a fashion icon, wearing Prada, Chanel, and Tiffany's jewelry, which reproduce the costume of Jazz Age, and make viewers well understand that of Jazz Age. Symbols like "Ash Valley", "Green light", "East Egg", "West Egg" are presented more directly in movie. Roaring parties held in Gatsby's great mansion was made by computer graphic, and its enormous scale also reflects the mental chaos and the material affluence in those age. Additionally, actors excellent show highlights the theme of the novel. With the adaptation of novel, the film finally achieves more appealing art in front of the public. This thesis investigates these more logistically with the materials of internet.

• Journal of the Korean Society of Floral Art and Design
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• no.44
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• pp.101-121
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• 2021

The flower, a symbol of beauty representing beauty, exists as an aesthetic object throughout the history of mankind, and is one of the motifs most often used in plastic art. In this way, flower art is an art that embodies a form based on the theme of flowers. The flowers played a role in expressing human happiness and love by harmonizing beautifully with each other in shape and color. The flower pattern containing this symbolism is beautiful and excellent in decoration, and is applied not only to household goods, but also to art and fashion. The flower pattern is the most preferred pattern among patterns, and it is widely used regardless of the four seasons by changing the color according to the color and flowering time, and it is effective in stimulating the symbolism and psychological sense of humans, so it is used in design in various fields. In this study, the flower pattern, which is a symbol of beauty representing beauty and the motif of art, has been traditionally used in Korea, and is still loved in fashion and art even in modern times. We hoped to be active, and through this study, we tried to develop our own unique flower pattern and lay the groundwork for it to be commercialized.

• FLOWER RESEARCH JOURNAL
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• v.19 no.4
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• pp.187-191
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• 2011

Rising soil temperature was effectively controled by shading net of 50% and cooled water to maintain average $18.8^{\circ}C$ (maximum $23^{\circ}C$), then shading net of 50% and ground water to maintain average $23.2^{\circ}C$ (max. $28.5^{\circ}C$), shading paint of 30% and shading net (50%) to maintain average $24^{\circ}C$ (max. $30^{\circ}C$) in that order. Alstroemeria 'Modena' most affected by shading and cooling water was better in shoot length as 95.9 cm and fresh weight as 67 g than those of other treatments. The production of cut flower was increased more 121% with treatment 50% shading net and cooling water, 59% with 50% shading net and ground water, and 65% with 30% shading paint than that of 50% shading net, respectively. Soil temperature was higher $8^{\circ}C$ with the plot of circulating warm water than untreated control plot. Alstroemeria 'Aspen', 'Modena', and 'Chanel' increased more plant growth such as plant height, fresh weight in warm water than in untreated control plot, but Alstroemeria 'Bordeaux' decreased plant height. Because of increasing plant growth, flower quality such as peduncle length, peduncle diameter, floret number and flower weight of 4 all cultivar was better in the plot of circulating warm water than untreated control plot. Also, the production of cut flower was increased the most in Alstroemeria 'Modena' by 38%, 'Aspen', 'Bordeaux', and 'Chanel' in that order.

• Journal of Digital Convergence
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• v.11 no.5
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• pp.169-178
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• 2013

How do Korean and Chinese consumers to use counterfeit behavior? Began to research the question. Among consumers in Korea and China, Counterfeiting Usage and counterfeit attitude, counterfeit satisfaction and dissatisfaction factors were investigated. Differences in perception and for each what was confirmed. The results of this study are as follows. First, it showed significant difference for the Korean and Chinese consumers prefer to counterfeit brand, high preference, Louis Vuitton for consumers, while consumers in China also showed high preference for Chanel. Second, Korean and Chinese consumers prefer to counterfeit brand clothing and shoes there was a significant difference. In particular, The North Face brand of high preference, while Korean consumers, Chinese consumers a higher preference for the Converse brand. Third, the Korean consumer counterfeit compared to the Chinese consumer attitudes to higher moral awareness is interpreted. Fourth, South Korea and China all counterfeit consumer satisfaction factors showed the highest response rate of the price will be cheaper. Finally, South Korea and China all counterfeit consumer dissatisfaction factors showed the highest response rate of quality is not good enough. Future through an in-depth understanding of Korea and China of counterfeit consumer behavior, these findings will be useful to formulate a campaign strategy, to reduce the use of counterfeit.