• 복식
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• 제60권2호
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• pp.144-158
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• 2010

The concept and the typical characteristics of ethnic fashion were studied. 267 fashion designs from pret-$\grave{a}$-porter collections in Milan and New York from 2001 S/S to 2005 F/W were analyzed. The major conclusions of the study are as the following: The major types of ethnic fashion are Africa, American Indian, Japan, India, China, and Inca. Among these types, the first volume is Africa, the second is American Indian and others are Japan, India, China and Inca in order. Ethnic fashion changes in years showed reduction from 2001 to 2004, but much rise in 2005 showed more than 30% from 2001. Much more ethnic fashion designs were presented in S/S seasons than in F/W seasons. Africa ethnic fashion designs were more popular in S/S seasons. India ethnic fashion designs were more popular in F/W seasons. In the comparison of the Milan and New York collection, ethnic fashion designs appeared more in Milan collections than in New York from 2001 to 2003. But ethnic fashion designs appeared more in New York collections than in Milan in the year of 2005.

• 한국의류학회지
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• 제34권11호
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• pp.1844-1858
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• 2010

Ethnical tendency follows the current political, economical, and cultural influence eastwards, highlighting films, architecture and interiors as well as fashion. With this tendency, the ethnic outfits are expressed by various styles. This study analyzes the features of current ethnic styles with 1,535 ethnic image pieces from 2005 S/S to 2010 F/W of Pr${\^{e}}$t-${\'{a}}$-Porte in Paris and Milan. First, 'ethnic' is to refer to the distinct features of an ethnic group or a country. 'Ethnic look' refers to the adaptation or re-arrangement of various ethnic group's traditional costumes, dying, textile, patterns, color, silhouettes, and accessories. Second, the most popular ethnics in the modern fashion is the African style, followed by India, Japan, China, and Latin America in both collections. Third, the proportion of ethnics decreased, 2005 (14.9%), 2006 (12.8%) and 2007 (8.2%). In 2008 the proportion increased again. 2010 (27.3%) and compared 2010 to 2007, it increased by 20%. By season, S/S had 1.4 times more ethnic styles than F/W with the prevalence of African and Indian styles. Fourth, as of 2005, the ethnic style became colorful and went through changes to combine various images. This is from the polycentric tendency of co-existing various styles with a prevalence of low tone and various colors. It also shows warm colors in front to show a sense of nature.

• 복식
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• 제61권2호
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• pp.116-130
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• 2011

Ethnic fashion and makeup were studied. 264 fashion designs from pret-$\`{a}$-porter collections in Milan and New York from 2001 S/S to 2005 F/W were analyzed. The major conclusions of the study are as the following: 1. The major types of ethnic fashion and makeup were Africa. American Indian. Japan, India. China and Inca. Makeup types expressed in ethnic fashion were soft smoky, smoky, retro, nature, avant-garde, eastern. 2. Makeup types expressed in ethnic fashion were used for the image for the designer's collections rather than ethnic features. Soft smoky and smoky makeup types were more used than others. 3. Soft smoky makeup types were more expressed in S/S seasons than in F/W seasons. In F/W seasons soft smoky and smoky makeup types were more expressed than other types. 4. Soft smoky and smoky makeup types were more expressed than others in Milan and New York collections commonly. 5. To emphasize the ethnic image for ethnic fashion, ethnic makeup arts like China, Japan, India, Africa, American Indian, Inca makeup arts and soft smoky, smoky makeup arts were represented.

• 복식
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• 제55권1호
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• pp.1-12
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• 2005

The modern society which is going through the big turbulence of civilization experiences the lost of humanity and the phenomenon that the standard of our thoughts, like those for good and evil, truth and false is not clear anymore as the technology is being improved. This makes us miss the past when everything is simple and the standards are very clear and being attracted by the metaphorical culture symbolizing something from the past, like memories of youth, fantasies, fairy tales or myths and we are now having a great interest in the joy of life and the affluent life. Influenced by this kind of tendency in modern society, the minimalism, which had the great influence in the nineties, went out of fashion and at last the romantic susceptibility seems to be the trend forming the major mood of the late 20th century - the early 21st century. This study focus is: (1) the theoretical aspects of romantic images such as the concept, the historical tendency and the character are considered. (2) the variety and multiplicity of the romantic images is discussed after the romantic image is classified into four types of retro character, natural character, ethnic character, erotic character according to major trends in our modern. The purpose of this study is to understand the romantic images in modern fashion, by analyzing the fashion trends together with the various features of romantic images.

• 한국의류학회지
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• 제32권11호
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• pp.1750-1759
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• 2008

The purpose of this study was to comparatively analyze the color characteristics of the Japanese ethnic look advanced by Japanese and western designers in comparison with the actual traditional colors of Japan. The data determining the traditional colors of Japan was collected through a critical apparatus examination of 250 colors and the color data of what determines Japanese ethnic look was collected through an analysis of the clothing appearing in four fashion collections -Paris, Milan, London, and New York- from the 2004 S/S collections to the 2008 F/W collections. For the analysis of these colors, Photoshop was used with an RGB value measuring under 300dpi resolutions. The RGB values were then converted to H V/C values through Munsell Conversion 8.0.3, and they were analyzed using Munsell's 40 Hue and PCCS. The results of this study are as follows: Japanese designers are expressing their own aesthetic theory by designing fashions in traditionally Japanese hues. However, neutral colors and low-chroma tones appear more often than traditional colors. This study illustrates how these designers use color to reflect their inside ideals being oversensitive traditonal ideals. In contrast, western designers reflect more contemporary trends through the use of hues that more clearly reveal their preconception of the colors of the Orient rather than actual traditional Japanese colors. Moreover, these foreign designers tend to approach fashion design by the means of shape rather than color. Japanese designers systematically analyze and apply their own culture to contemporary fashion design. Their efforts serve as a good reference model for research on traditional culture and fashion design.

• 한국의류학회지
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• 제32권6호
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• pp.902-910
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• 2008

Orientalism은 동양을 서양과는 다른 이질적 인 대상, 괴상하고 후진적이며 수동적 인 특성을 지닌 열등한 타자로 서양인의 무의식 속에 내면화되어 왔다. 아시아를 일정한 지배의 틀 속에 가두는 문화적 장치와 담론의 체계인 Orientalism은 원래 남유럽과 북아프리카를 포함한 서남아시아에 해당하는 서유럽 중심의 용어였으며, 비 서구사회는 서구문명을 수용함으로써만 발전할 수 있다는 논리의 사상이다. 따라서 이러한 용어의 무분별한 사용은 부적절하다. 또한 아시아의 이미지나 복식양식을 차용한 서구의 아시안 룩에 아시아 본래의 정신은 사라졌다고 하여도 아시아를 저급한 타자로 인식한 것에서 비롯된 것이 아니다. Asian Ethnic Look은 동양적 미학에 매료되어 동양의 이미지나 양식을 차용한 서양의 복식이므로 Orientalism의 속성과는 차이가 있다. 국내의 패션계에서는 이에 대한 분별없이 혼용하여 사용하고 있고, 특히 Orientalism Fashion 또는 Oriental Look이라고 자주 사용하고 있다. 아시아의 복식이나 이미지를 기괴하게 조작한 일부 특정한 복식만을 Orientalism Fashion 또는 Oriental Look이라 해야 하며, 이를 제외하고는 'Asian Look', 'Asian Fashion', 'Asian Ethnic Look' 등으로 바꾸어 쓰거나, 'Korean Look' 등의 개별 국가나 지역 명으로 바꾸어 쓰는 것을 분명히 해야 한다 한국을 비롯한 아시아는 서구 중심의 수동적 입장이 아니라, 세계 패션산업의 중심축 중 하나로써 세계 패션을 리드하고 있다. 이제는 우리 스스로가 서구중심의 이분법적 편견을 해체해 나가야 할 것이다.

• 한국의류산업학회지
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• 제7권5호
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• pp.481-493
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• 2005

Reason for contemporary ethnic-look's remarkable world popularity is viewed as due to counteraction of disordered world conditions such as war, terror, and economic depression. These conditions led people to desire the returning to primitive human society where freedom and peace are preserved. The background of ethnic look emergence is influences of post-modernism, eastern and western culture hybrid, and ecology. This study will mainly focus on the analysis of present ethnic fashion trend and, with following to this, their images will be analyzed and categorized. The result of ethnic trend, especially that of Asian's and African's, from 2000 to 2005 is like this: representative Asian ethnic fashion tendency is focusing on Japanese and Chinese. In Japanese style, oversized silhouette was derived by Kimono and wide belt was appeared by influence of Kimono's Obi. Chinese ethic style are analyzed as adapting feministic silhouette and details from Chinese traditional clothes, Chipao. Additionally, in some of the Chinese ethnic-look, there are mixtures with Japanese, North American, and African's images. Mixing with pop images and ancient ones are also emerged. In the African ethnic look, people used colorful cloth and new materials which is considered as integration of primitives and modern science. From the study, it is possible to conclude that current modern ethnic fashion can be defined as blends with one country's image to the other, mixture with new technology, and acceptance to the multi-national folk fashion. These trends are widely revealed and extended in the world fashion. In the following result of the analysis, there were four outstanding images lying underneath in the present ethnic-look. That is eclectic, traditional, natural, and mysterious images.