• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.2
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• pp.101-115
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• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• Journal of Fashion Business
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• v.20 no.2
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• pp.32-45
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• 2016

Outdoor wear, which is typically worn for outdoor activities, has become a style that is worn on a daily basis, much like ordinary clothes, through recent megatrends. There are new approaches to outdoor wear with high-fashion brands and designers recently taking part in the trend. This indicates that outdoor wear has already reached high-fashion, no longer making it just a megatrend or daily fashion. Therefore this study aims to find new features of outdoor looks and designs, through the latest women's ready-to-wear collections from 2014 to 2015. The study will focus on mega collections, which have shown many new approaches, and searches to change and development the present day outdoor look design, by using the word 'outdoor look' which is explained as a 'style' in a broad sense, and using it a general term of 'clothes'. High fashion brands have pursued changing their styles by mixing their designs with outdoor wear's variety, functionality and details; attempting new approaches and challenges. Due to these updated changes, the outdoor look is thriving and becoming part of high fashion. Looking forward to future new approaches and the development of the outdoor look will help catapult this type of 'style' into a new category of modern fashion.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.552-563
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• 2019

Jackets are regarded as an element used to judge ideas and fashion trends for the age in which they are presented. This article analyzed recent tailored jacket fashion trends by categorizing jackets according to design elements. For this, design elements of tailored jackets were categorized into silhouette, collar and lapel, shoulder and sleeve, and decorative elements. We collected and categorized the changes of 491 jackets that have appeared in collections over the past 5 years. The results showed shoulder and sleeve changes (36.25%), silhouette changes (33.4%), lapel and color changes (12.6%), decorative element changes (11.2%), and no changes (6.5%). Jacket forms with changed shoulders and sleeves appeared as styles that have laterally or vertically expanded the shoulder and arm hole with the production of various sleeve forms. Silhouette changes were expressed through forms such as exaggerated silhouettes of oversized-clothing, silhouettes made through cutting or layering, and the polarization of length. Forms with a changed collar and lapel appeared with polarization trends in which lapels dramatically grow larger or narrower, diverse frontal adjustments using no-collar designs, and the utilization of shawl-collars; in addition, forms with changed decorative elements were expressed with layered decorations such as pockets or collar add-ons, adjustment changes using buttons, ribbons or zippers, and various trimmings. The analysis results show that modern female tailored jackets are being made to realize an exaggerated physical beauty of shoulder, sleeve and torsos to maximize decorative effects through new attempts in design.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.117-130
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• 2010

The main objective of this research was to understand the characteristics of contrast color coordination through the analysis of modern woman fashion color coordination as they appear in the 'Collections' from '04 SS to '09/'10 AW. Data collection of 122 was done through review of '$pr{\hat{e}}t$-$\grave{a}$-porter Collections' of four cities; Milan, London, New York, Paris. Statistical analysis of frequency and qualitative interpretation of contrast color coordination characteristics were completed. The main findings were as follows; (1) The combined color type of 'red+blue' and 'yellow+blue' were the most frequently appeared in the same ratio, and followed by 'green+violet', 'red+yellow', 'green+orange', and 'orange+violet'. The contrast tone showed the most, and followed by the similarity and identity, and the type of tone harmony used differently according to the type of contrasting color combination. (2) The general characteristics of contrasting color harmony were as follows,; Some contrasting colors looked harmonious when used light colors and the contrast between light and dull colors which made the hues even more harmonious. Also combinations of dull colors which work well with other dull colors or vivid colors. Light & vivid color or light & dark color, however, often showed too much contrast and using two contrasting vivid colors presented awkward and restless look. When used one vivid color and one dark color, a little easier to looked at, but still not particularly elegance or effectively harmonious. (3) The types of contrasting color harmony showed some differences between seasons. Contrasting color harmony showed more frequently in the S/S collections than in A/W collections.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.138-155
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• 2012

Exaggerations have always been seen in the past and present. In the past, they represented wealth and high social status, but now they are being used to express one's beauty and personality. This has led to the diversity in design through widening each person's emotions. Likewise, exaggerations have been changed from the past to the present and so will they in the future. This study focuses on proposing patterns to enhance the utility and practical use of exaggerated jacket designs and its methods are based on documents and preceded studies. Pattern making is composed of drawing patterns and showing their forms by basting - which are a technique that is explained in this study's outcome - and the basic pattern is the style of Wan Suk. Suh. Jackets are made with exaggerating factors in the women's collections of 2011 F/W and are designed for various ages. With the knowledge of structuring a jacket, anyone could easily follow the instructions. In the end, he/she could elevate the ability to express, use practically and apply this idea in general fields of fashion industry.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.1061-1074
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• 2011

This study was conducted based on a comparative analysis of design-specific features prevalent in the Women's Wear Collection S/S 2011. As the method of this study, the denim styles were classified by various fashion design factors consisting of silhouette, fit, color, and textile fabric, which were extracted from an image database. The properties of denim fabrics associated with each fashion image were investigated to inform fabric development and washing. The results of the study show that the dense and glossy surface of the denim fabric represent a modern trend, which can be achieved by blending lyocell, tencel and rayon or by using different textiles, such as lightweight plain weave and satin instead of twill. For casual look, various washing effects were utilized jean's casual feeling like freedom and activities, while in a modern image, washing effects was restricted. And a glossy textile offers a simple modern look. The Modern image represents a simple H-silhouette and wide or straight fit in bottoms as well. Brightness can be adjusted by washing-induced bleaching. High brightness gives an elegant image, while low brightness makes a casual image. The purpose of this study is to configure a database for the development of design in the growing women's casual wear market. In addition, This study, in which the elements for specific fashion image-making were analyzed, can be used as a reference for developing denim style and fabric.

• Journal of Fashion Business
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• v.16 no.5
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• pp.57-73
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• 2012

The main objective of this research was to understand the characteristics of pleats design through the analysis of modern female fashion as they appear in the 'Collections' from '09 A/W to '12 S/S. Data collection of 1027 was done through the review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three cities; Milan, New York, Paris. Along with the qualitative interpretation of pleats design, statistical analysis of frequency and ${\chi}^2$-test were completed for data analysis. The main findings were as follows; 1. The five types of pleats design were founded in the order of accordion, knife, box, inverted, and sunburst pleats. The frequency and ratio of pleats design occurency showed significant difference between collections. 2. There were significant difference between the types of pleats and their line characteristics of thickness, continuity, length, direction. = Thin fabrics with delicate fine folds were mainly appeared in accordion and sunburst pleats. On the other hand, midium thickness fabrics were used for knife, box & inverted pleats, however, the different images were projected according to the width and the number of folds, characteristics of fabrics and textures. = In all the type of pleats but sunburst, continuity line was appeared the most. The discontinuous lines were appeared the most in the layered types and, sometimes, at some construction lines to add some decorative details or design variations. = The long line were the most frequently appeared in long one-pieces or long skirts of knife, accordion, sunburst pleats. While, the shorter lines showed the most frequently in box and inverted pleats, which mainly used for skirts or the lower part of one-piece. = For the line directions, the vertical lines were the most frequently appeared, and followed by mixed and diagonal line. In mixed or diagonal lines, same type of pleat was repeated in one design. For diagonal lines, one direction was mainly used, however, the symmetrical arrangements or repeated diagonal pleats in various directions also used. In mixed lines, the type of one or two diagonal and one vertical line was the most frequently appeared.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.53-64
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• 2014

The main objective of this research was to understand the characteristics of printed geometric patterns through the statistical & qualitative analysis of fashion appeared in contemporary female collections 2011 S/S to 2013 A/W. Data collection of 294 was done through review of 'pr$\hat{e}$t-$\grave{a}$-porter Collections' of three major fashion cities; Paris, Milan and NY. Statistical analysis of frequency was conducted. Also qualitative interpretation of natural print design' characteristics were completed. The main findings were as followed; 1,636 of the total 15,852 designs were printed patterns in 12 Collections and the occurrence rate of printed geometric patterns in three collections were 8.6% in Milan, 9.2% in Paris and 12.9% in N.Y. Most geometric patterns were the types of compact or medium density in a front patterns with a variety of sizes and mainly applied to the one piece dress or two piece clothing item combination styles. Formative Characteristics of printed geometric patterns were classified into four types. First, a variety of thicknesses and shapes, such as a line or a rectangle shape to take advantage of the types of the typical geometric pattern. Second types were using the motifs which inspired by geometric shapes such as point, circle star and other special geometric shapes and arranging them regularly with various sizes and density. The third was repeated particular motifs which based on complex and sophisticated mathematical formulas. Fourth were the specific diagram types of bold and free shapes or dividing the flat and arranging them without rules, or the combination type of various geometric motifs.