• Proceedings of the Plant Resources Society of Korea Conference
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• 2018.10a
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• pp.78-78
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• 2018

패션프루트(Passiflora edulis)는 브라질이 원산지이며 아열대와 열대지역에서 재배되고 있는 다년생 상록덩굴식물로 시계꽃과(Passifloraceae) 시계꽃속(Passiflora)에 속한다. 전 세계적으로 500여종이 분포하고 그 중 10여종은 식용, 나머지는 관상용으로 이용되고 있다. 지구온난화로 인한 기온상승으로 전남지역 재배에 적합한 대체 아열대과수 개발이 필요하다. 패션프루트는 겨울 최저온도가 $3^{\circ}C$이상 조건에서 재배 가능하여 남부 지역는 무가온 하우스재배를 하고 있지만 시설내 6월 하순부터 8월 중순까지 $35^{\circ}C$ 이상 고온이 지속되어 과실을 볼 수 없다. 8월 하순부터 피는 꽃은 인공수분으로 착과되어 11월부터 수확이 가능하지만 이후에 낮은 온도($10^{\circ}C$이하)로 착색이 진행되지 않아서 동해피해로 수확을 포기해야 한다. 어느 시기까지 인공수분을 해야 당년에 안정적인 수확이 가능한지를 알아보고자 패션프루트의 후기(2차) 개화시기 중에서 8월 30일, 9월 10일, 9월 20일, 9월 30일에 인공수분 하여 11월 하순에 착색이 정상적으로 진행되는 처리를 조사한 결과 8월 30일 처리구만 11월 21일 착색이 되었다. 미착색과에서 내용물이 진노랑색으로 진행되면 후숙하여 상품과로 판매가 가능하기 때문에 진노랑색에 도달한 시기를 조사하였다. 조사에서 9월 10일까지 인공수분 처리한 과실은 후숙하여 상품과로 판매가 가능하였다.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.47-67
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• 2021

The purpose of this study is to identify antecedent factors influencing the two-sided consumption intention tendencies observed in MZ generation from the viewpoint of consumption value in the cosmetic consumption scene of fashion houses. In order to verify the research model and hypotheses proposed in this study at the level of statistical significance. a survey was conducted for MZ generation, and data collected from a total of 286 samples were analyzed through a structural equation model. As a result. emotional and social consumption value was identified as a variable that had a great influence on the consumption intention of MZ generation. First, self-esteem had an effect on the emotion consumption value at the statistical significance level. Second, materialism had a significant influence on emotional and social consumption values. Third, public self-consciousness was found to have an effect on social consumption value. That is, MZ generation pursues the beauty trend presented by the fashion house's beauty brand and perceives it as a high consumption value. In addition, it was confirmed that MZ generation exhibited a conspicuous consumption tendency that they could be socially differentiated by using fashion house cosmetics.

• Fashion & Textile Research Journal
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• v.20 no.2
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.306-325
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• 2017

This study analyzed how a time-honored fashion house has harmonized its design identity over a sustained period with its successor designers. Givenchy Fashion House was selected as the subject of this study. This study focused on literary research, analyzed design features and fashion images based on photos of Huber de Givenchy's collections (1952-1995) and collections by Riccardo Tisci (2006-2016), the creative director of the house. Photos were gathered from books and fashion websites; in addition design was analyzed based on a review by experts on collections. The results are as follows. Hubert de Givenchy won fame for simplified modern elegance that presented a new beauty for modern women and reached the peak of his career from the 1950s to the 1960s. Riccardo Tisci respected the couture tradition of the Givenchy Fashion House. He successfully revitalized the house by simultaneously emphasizing his personal design features and reinterpreting the design identity as well as tried to establish new house signatures. In conclusion, the original design identity of the Givenchy Fashion House is based on Hubert de Givenchy's timeless modern elegance that has been reformed by Riccardo Tisci as romantic goth and sensual elegance.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.15-25
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• 2019

This study was carried out to research the size satisfaction and the actual conditions of house caddie uniforms. Survey participants consisted of 310 caddies at 6 membership golf clubs. In order to perform this study 45 questionnaires were used, which consisted of questions pertaining to size satisfaction and sewing, laundry management, and inconvenience and, most importantly performance. Frequency analysis was implemented using SPSS 10.0. The results of this study could be summarized as followed; The highest dissatisfaction factors in the presently worn uniforms were sleeve length and pants hem width. The highest dissatisfaction factors in the sewing satisfaction were pocket and armpit area. Activity is the most important consideration in the choice of a uniform. These results will be applied to develop a comfortable uniform design.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.91-103
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• 2015

This study examined the image identity of the Celine fashion house, which went through a successful re-branding using its tradition and succession, a process that was heavily influenced by their new designer, Phoebe Philo. The purpose of this study is as follows: first, to encourage the use of the fashion house in a domestic fashion market. Second, to increase awareness about image identity. Third, to provide suggestions of maintaining sustainable brand by examining a fashion house, which does not follow fast-changing fashion trends but rather leads and creates fashion styles. The study extracted the characteristics of the Celine fashion house by analyzing data, which were collected from fashion literature, its designs, and its marketing. From the data, the study found ways that a brand could use to develop continually. Phoebe Philo re-branded the Celine by using minimalism to redesign its logo and create a new brand image. Her method included the use of diverse and vivid colors via color-blocking, a feature of modern minimalism. This is a modern minimalism, which differentiates itself from others with the elaborate tailoring and delicate detailing effectively. The modern minimalism like this has, caused the new mood beyond the flow of certain art trends and led the revolution, not the advent, of the minimalism in the 1990s. This study believes that the aspect of the fashion-house following and succeeding the tradition is not just in the fashion house. This study should be seen as a significant step forward at a time when we desperately need the continuation of the unique brand recognized as fashion house in the long-term domestically.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.11-25
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• 2008

John William Waterhouse (1849-1917) is a painter renown for his romantic beautiful femme fatale images in the late 19th century in England. The purpose of this study is to examine the fashion in Waterhouse's femme fatale images. Waterhouse displays the devilism of femme fatale by the symbols of a wicked woman. He emphasized how wicked she is by means of water such as lake, river, and sea as well as symbols associated with demons such as forest, cave, naked woman, long hair, a monster-headed woman looking like an animal, water lily, and garden. On the other hand, he illustrates the woman's style as an image of a typical feminine beauty. Expressing naturally a fine-curved, immature girl's body with marvel-like white and clear skin in a kneeling down or crouching passive rose and depicting it as an innocent and fragile feminine image, he created a passive and lovely image of a young girl. With her eminent beauty and sex appeals, she lured men into danger. Words such as evil, women, and death had been used in describing her as femme fatale to emphasize her wickedness as well as to deliver the meaning across from the inside and to the outside. They also described her as a type of woman with body posture and fashion corresponding to the sexual ideology during the Victorian Age. His description of this fashion image was to show that femme fatale's fashion, which represents attraction and fatality, does not necessarily translate to an active fashion style that emphasizes sensuality. It also tends to minimize resistance and feelings of being threatened. Therefore, it allons us to acknowledge that even girlish body with innocent and frail-looking fashion can be a form of femme fatale, and that fashion styles is essential in forming the image of femininity.

• Journal of Fashion Business
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• v.24 no.2
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• pp.136-153
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• 2020

In the second half of the twentieth century, fashion shows were a long-standing promotional medium and changed form and styles as times changed. In the past, if a model were on the stage simply to showcase a brand's work, the stage would have been transformed into a more active space, displaying various performances or seasonal themes combined with art. Then in the 2000s, there was an increasing number of instances when the global fashion industry of used figurative objet in organizing a fashion show's stage. In particular, because fashion shows require audience response and satisfaction, producing displays using objet is an effective marketing method. In the early 2000s, many brands were already introducing runway displays using objet, and these cases are expected to increase further in the future. This collection of 23 ready-to-wear models, which constituted the runway display, was by utilizing the objet more than five times from the 485 brands listed in Vogue's runway category. Based on our previous research, we classified the objet expressive characteristics as reproducibility, simplicity, non-artificiality, and fantasy. Among the 207 collections that we analyzed, the collection that utilized objet in its runway display had 170 circuits. Using objet in the runway display leverages visual language which allows one to communicate the season's concept, brand identity, and desired message more easily. Futhermore, it was spatially expressed to create feeling of satisfaction.