• 복식
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• 제50권3호
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• pp.117-131
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• 2000

The purpose of this study is for affirmation about fashion and film industry has very important relationship through the image of film fashion in 1990. To this processing , films in 1990 were analyzed by the back ground, time place, persons's status are expressed in period movie but the person's characters, development of story mood in contemporary movies. The contents of this study are as follows : First, film fashion which was related mass fashion design and concept development and fashion designers as constume services were considered. Second, the change of star image through the 20th century. The roles and new image of film fashion in period movies and contemporary movies in 1990 were searched. Third, proposal and results were confirmed for expansion of fashion industry and film industry together. Finally, from the latter of 20th century, a lot of fashion designers have participated in film works than before, So the images of films were sued and reflected as new mass trend . Especially retro-romantic mood was expressed in fashion trend due to period movie fashion. Also minimal city look and elegance glamourous look are represented cause of contemporary movie fashion. Therefore, the cooperation between film productions and fashion professionals is very important for promotion of Korean culture development in 21st century, 'the century of image'.

• 복식
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• 제51권7호
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• pp.21-33
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• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• 패션비즈니스
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• 제20권1호
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• pp.157-172
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• 2016

The purpose of this thesis was to investigate the transitional aspects of the power shoulders with a comparative analysis of the patterns observed from the late 20th century to the present. The method of study was through review of papers as well as phenomenological approaches. Books, domestic and international journals, and dissertations were studied as part of the paper review. Phenomenological study was performed by analyzing the pictures from late 20th to present; and categorized by 10 year time span i. e., 1980-1990, and 2002-2012. Hundred representative fashion photos were selected, respectively. As a result, the power shoulder found in late 20 centuries was largely limited to horizontal and diagonal shape, addressed mainly to the jackets; while they were straight, and wide shouldered, with emphasis on masculine style. On the other hand, in early 21 century, the power shoulder was applied in various forms of straight, diagonal, circular and ornamental with objects, not only to the jackets, but also to feminine styles such as one-piece dress, vest, and blouse. This finding may be attributed to the fact that the modern people desire newer trends and women tend to show off their ability in transcending those of men. The findings of analysis of the transitional aspects of power shoulder in this thesis might contribute as basic resources for anticipating the trends that might be revived in the future.

• 한국의상디자인학회지
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• 제20권1호
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• pp.29-47
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• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• 한국콘텐츠학회논문지
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• 제10권5호
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• pp.165-172
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• 2010

사진기술의 발달은 한 때 융성했던 패션 일러스트레이션의 판도를 바꾸어 놓았으며, 컴퓨터 기술의 발달은 사진이 갖는 한계성을 재편집하기에 이르렀다. 이제 사진과 일러스트레이션은 컴퓨터라는 매체를 통해 그 경계를 허무는 상황에 이르렀고, 이러한 현상은 과거 전통적인 패션 일러스트레이션이 갖는 표현적인 특징에 고무되는 경향을 보이고 있다. 따라서 본 연구의 목적은 이 같은 시대적 요구를 기초로 20세기 패션 일러스트레이션에서 나타난 의습선에 대한 표현적 특징에 관하여 연구하고자 한다. 그러므로 연구의 내용은 첫째, 의습선의 개념을 이해하며, 둘째, 동 서양의 회화에서 나타난 의습선의 특징을 고찰하며, 셋째, 20세기 패션 일러스트레이션의 흐름을 파악하고, 넷째, 20세기 패션 일러스트레이션에서 나타난 의습선의 특징을 연구 분석하는데 있다.

• 복식
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• 제52권1호
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• pp.145-158
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• 2002

The so-called 'Bustle'which was a support put on waist to heave the side the buttocks means the grandiloquent style to express to ideal body. Bustle style. one of the outstanding and remarkable fashion trends in the late 20th century, has significant meaning in fashion history. This is because not only the style has the longest history, but also it has been periodically repeated every end of a century from the 17th to the 20th century. To analyse to cause the Bustle style was shown, I studied first the sign of forthcoming activity of the Bustle style, the change of the Bustle style shown In the times at the end of century and feature of the Bustle style. Based on the previous reasons of appearance of the Bustle style In the history. there are two similarities. First. reaction led to an occurrence of the reactionary tendency, the Bustle style as they were eager for the past because of a feeling of uneasiness about a coming century. Second, the principle of retrogression led to an occurrence of the Bustle style craving for new style. This Bustle style welch was reaction from being tired of the former fashion appeared to expression a desire for new style. In short, Bustle style was an intermediation between different histories and the basis for continuous development of new eras. rather than lust a part of classicism.

• 한국의류산업학회지
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• 제5권1호
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• 복식
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• 제67권4호
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• pp.131-152
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• 2017

The purpose of this study is to analyze modern fashion culture in the 20th century through changes in transmedia in order to better understand characteristics of fashion contents. The study also strived to identify the characteristics of remediation in modern fashion and media by exploring the cultural code, and use it to establish an integrated view. The subjects and the method of the study are as follows. First, the study analyzed the development of transmedia and fashion culture since the 20th century. Second, it identified the transitional characteristics of transmedia. Third, the study analyzed the characteristics of remediation in modern fashion culture by using the characteristics of mediation, which appeared with the transitional characteristics of transmedia. The study results are as follows. First, the types of remediation are 'borrowing,' 'Representation,' 'Expansion,' 'Refashion,' and 'Absorb.' In old and new media, each type can be aesthetically experienced in 'transparency,' opaqueness,' 'Hypermediacy,' and 'Immediacy.' Second, fashion culture can undergo a transformation from its original form to a second and a third iteration, and this process allows for possibility of an expansion of multiple plots and well-rounded character settings. This opens up the possibility for fashion consumer participation, and signifies a transition into an environment where expansion of time and space is possible. The third finding is the non-mediation of fashion objects. The mediating relationship between clothes and media is directly connected to the development of new media. The immersion of new media by fashion consumers has the characteristics of 'transparency'/'Non-mediation,' and the reinterpretation and reproduction of original fashion styles have the characteristics of 'opaqueness'/'Hyper-mediation.' Fourth, fashion culture has data variability. Through 'Borrowing,' 'Representation,' 'Expansion,' 'Remodeling,' and 'Absorption,' the cultural hierarchy of reproduced fashion forms a multi-layered integrated network. Mediation code, which repurposes fashion culture contents, also creates new media fashion through transmedia.

• 복식
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• 제54권5호
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• pp.41-57
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• 2004

The purpose of this study was to analyze the 20th century＇s makeup according to aesthetic categories. On the basis of aesthetic theories, four category pairs were determined as inter-confronting aesthetic categories: beauty of utility vs. beauty of social aptness : beauty of decoration vs. beauty of construction : sublime vs. grace : classical beauty vs. romantic beauty. 20th century＇s makeup was analyzed at the interval of 10 years referring to the images of actresses in the films produced in Hollywood and European countries. It was identified that 20th century＇s makeup had changed from decorative and dramatic makeup to natural makeup as the century proceeded. Consequently, beauty of social aptness, beauty of decoration. sublime, and romantic beauty were emphasized in the early 1900s while beauty of utility. beauty of construction, grace, classical beauty were emphasized in the later 1900s. In the whole 20th century, grace is the most dominant beauty among eight aesthetic categories due to it connote femininity. As the variety of fashion increases. the makeup patterns has become more diversified in recent years.

• 한국의류산업학회지
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• 제23권6호
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• pp.744-757
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• 2021

This study aims to develop a bodice and a jacket in 3D of the late 19th to early 20th based on the pattern drafting book of Gordon S. S., which contains body measurement method and pattern drafting system. The findings of this research are as follows. First, female tops of the late 19th to early 20th century are categorized as outer, jacket, vest, and bodice. Of these, this study highlights the jacket, which can be divided into 4 types: 4 kinds of basic jacket, 2 kinds of riding jacket, bolero jacket, and newmarket jacket. Second, by referring to Gordon's pattern drafting system and book, a bodice was developed in 3D format based on the adherence to the following steps: analysis of the pattern drafting system, pattern drafting, 3D virtual simulation, 3D virtual fitting analysis, and the pattern correction. A bodice pattern corrected by 3D virtual clothing simulation results was proposed. Last, a basic sleeve and collar pattern for a basic jacket was drafted, which was followed by the correction and transformation of the bodice pattern. The jacket developed shows great fit except for the issues at the armhole line and shoulder, which were caused by the unique shape of the sleeves(big sleeve head) of the time. The study attempted to develop the past costumes in 3D, providing the basis for interdisciplinary research in the field of fashion history field and suggesting a new approach for the virtual restoration of costumes. Future studies should target to 3D virtual simulation in accordance to the 3D avatar pose in the developed virtual costume.