• 베이커리
• /
• 9호통권338호
• /
• pp.122-129
• /
• 1996

일본 베이커리는 지하철역을 중심으로 발달하는 특징이 있다. 이번 베이커리 가이드는 아오야마를 대표하는 안델센, 동큐, 기노구니야 등 3개의 점포를 찾았다. 그리고 가로수가 길게 늘어선 오모떼산도를 따라 하라주꾸까지 최근 유행하고 있는 오픈카페를 소개한다.

• 패션비즈니스
• /
• 제3권4호
• /
• pp.55-66
• /
• 1999

The purpose of this study was to analyze the changes and characteristics of street fashion in Japan of the 1980s. The data were collected from the Mainichi Newspaper published in Japan from 1950 to 1990. The results were as follows: 1. After world war II, the street fashion had changed through the styles of the Panpan, Apres, Miyuki, Hippie & Hooten, Bikers in Japan. 2. The 1980s was characterized as an era of post industrial society and the appearance of Shinjinrui which means new human. In street fashion, these changes led to greater focus on unique style in Japan. In the 1980s, the street fashion had developed within four styles : traditional casual wear style, American sports wear style, performance.oriented style, and Japanese DC brand style in Japan.

• 복식
• /
• 제54권3호
• /
• pp.113-127
• /
• 2004

The purpose of this study is to search the spiritual root of decoration and anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings of the decoration culture inside contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japan. decoration culture 2. deducing the distinctive aesthetic ideology from the decoration culture 3. finding esthetically the inside meaning of 1.2. in contemporary Japanese fashion. First, the origin of decoration culture was concerned with the belief in the life after death of the Buddhism culture to represent the noble society of the Heian(평안) period and the religion of paradise after the Middle Ages. Second. this decoration culture based on two aesthetic ideologies, beautiful(염) aesthetics and lofty(숭고) aesthetics. The beautiful aesthetics implies words, such as bewitchment, elegance, dignity and brilliance which stand for the sensual pleasure and the eroticism. The lofty aesthetics that was introduced by TakeTakasi(장고) during the Heian period, had the meaning of magnificence, greatness and dignity. This could be recognized as the Confucianism ideas. Third, as the beautiful aesthetics that was the representative aesthetic ideology of the decoration culture, it was related to splendid and decorative designs, and was recognized as the beauty of brilliance and coquetry. The beauty of brilliance, as a decorative element, appeared in patterns of the traditional costume and dyeing as well as the beauty of coquetry indicated that the women's fashion in Japan had soft, feminine, and cute images, called Hawaii, by using various decorations, such as feminine details, flower patterns. ruffles. ribbons and so on. TakeTakasi's lofty aesthetics applied the beauty of exaggeration to every art form. It has influenced the form exaggeration by overlapping in traditional costumes as well as the 1970s big look and layered look in Europe fashion. Issey Miyake and Takeda Kenzo introduced the decorative play, such as transformation and a distortion, which considered refinement, bluff, and oddity of the Japanese decoration art.

• 복식문화연구
• /
• 제29권6호
• /
• pp.828-848
• /
• 2021

The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

• 복식
• /
• 제65권8호
• /
• pp.125-135
• /
• 2015

This study is a theoretical research based on previous domestic and international researches. The case study proceeded by collecting images from periodicals such as International Men's magazine GQ, First of all website(www.style.com) and Vogue website(www.vogue.com) were viewed. The images were selected had shapes, colors, and motives with Japanese aesthetic traits from Comme des Garçons' men's Collections of 2011 F/W to 2016 S/S. The purpose of this study is to find out the possible sources of forms and expressive methods of future fashion through Japanese traditional aesthetics of Rai Kawakubo's fashion world. Designers are expected to continue on using traditional aesthetic beauties of other countries as sources of modern fashion.

• 한국의류학회지
• /
• 제28권11호
• /
• pp.1438-1447
• /
• 2004

The purpose of this study were to examine if the buyers of counterfeits tend to care less about ethical beliefs than non-buyers among Korean, Japanese, and Hong Kong consumers, and if they have more supportive attitudes toward counterfeit products. 573 female college students living in Seoul, Tokyo, and Hong Kong were surveyed. For data analysis, descriptive statistics, factor analysis, and t-test were used. As the results, 65.8% of respondents had experiences of purchasing fashion counterfeits. Handbags among fashion counterfeits were the most frequently purchased by the respondents. The buyers of counterfeits tended to purchase counterfeit goods as more alternative of genuine products than non-buyers, and did not feel guiltier toward purchasing of counterfeits than non-buyers. Also, the buyers of counterfeits tended to have more positive attitudes toward the legality of manufacturing, selling, and buying of counterfeits than non-buyers. In addition, they tended to consider much more purchasing of counterfeits as a way to fight against big-firms than non-buyers. Finally, the buyers of counterfeits tended to have lower consumer ethics than non-buyers. Based on these results, global marketing strategies for fashion goods were suggested.

• 한국패션뷰티학회지
• /
• 제5권2호
• /
• pp.12-22
• /
• 2007

Even though Up style field generally rise economic development and GNP, many demand got to cultural development and direct ratio. When you up style is main study of concrete study purpose which end of hair. Variation is upper spread, down spread, middle spread, symetric form, asymetric from etc. As a result is followed; 1. According to chignon's position, fusion style reproduced korea modem through various data and categorize style. 2. Modem korea fusion style reproduced theme up style(wedding, evening, causal, han-bok, fusion show). 3. The thesis compared and analyzed modem korea fusion up style and japanese fusion up style. (1) According to chignon's position and balance, up style compared and analyzed it. (2) Theme up style(wedding, evening, causal, han-bok, fusion show) compared and analyzed categorize. End of hair classified variation according to position and balance external image affected to it which bale on design component as a result, classified up-style reconstruct.

• 패션비즈니스
• /
• 제6권5호
• /
• pp.112-124
• /
• 2002

Japanese apparel industries have deployed the activities of plannings, production & sellings by brand marketings. Owing to it, they satisfied customers and accomplished the goal of corporation objective market advantage. All through this process it is very essential to establish the concept of product Through the analysis of the brand development in Japanese total apparel corporation; 1) it accesses synthetically to acquire sales and target benefit by active marketing based on the analysis of market environment; 2) on relation with customer, it comes close to customer in the process of buying and consuming product and provides a customer satisfaction in the process of those. All the way of the process above and the precedent, it is to complete the goal of corporation. The development of the brand in Japanese apparel corporation depends on the corporate's customeroriented marketing. Due to it, Japanese apparel corporation perceives the differentiation that the consuming pattern of customer is its life style so that Japanese apparel corporation provides the product that can satisfy customer needs.

• 패션비즈니스
• /
• 제18권2호
• /
• pp.113-131
• /
• 2014

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan's traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of her design defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

• 복식문화연구
• /
• 제19권5호
• /
• pp.970-980
• /
• 2011

As a type of intimate architecture, fashion has always mediated the dialogue between clothes and the body, or fashion and figure. This study seeks to inquire the current aesthetic consciousness of the body and dress in Japanese avant-garde fashion and intends to research the features and meanings in the pastiche of Western sartorial convention in Japanese avant-garde fashion in order to examine the changing aesthetic attitude in postmodern fashion. The study investigates subjects of the fashion collections of the turn of the twenty-first century, when pastiche strategies frequently appeared in Japanese avant-garde fashion, through the methodology of literature research and case analysis. The results of the study are as follows: by developing the strategy of pastiche, Japanese avant-garde fashion exposes the defectiveness of the Western idea of the idealized and standardized body for mass productions, thus freeing design from its traditional confinement to the human body. Drawing on the re-conceptualization of the sartorial convention of Western tradition, Japanese avant-garde fashion designers tend to experiment with extreme exaggeration in form, refusing to subscribe to the traditional Western values built on the balance and symmetry of the body. Through the combination of the past and the present as well as the inner-wear as outerwear strategy, the historical pastiche challenges convention and symbolism, which results in the discord between signifiant and signifi$\acute{e}$ of clothing.