• 한국의류학회지
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• 제31권6호
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• pp.911-922
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• 2007

본 연구에서는 패션에 나타난 아프리카 이미지에 대한 정확한 시각과 현대 패션의 이해를 목적으로 서양사에서 바라보는 아프리카 이미지와 예술, 아프리카복식의 일반적 특징, 아프리카 이미지의 패션 등장배경 및 시대적 흐름을 토대로 하여 2005 S/S컬렉션에 나타난 디자이너와 디자인작품을 요소별로 분석하여 아프리카 이미지를 도출하였다. 2005년 S/S세계 4대 컬렉션에서 선정된 10개의 디자이너와 브랜드 작품에 나타난 아프리카 이미지는 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant', 'Sporty Romantic'의 4가지 특성으로 나타났으며, 이를 디자인, 디자이너, 패션트렌드 측면에서 아프리카 이미지에 대한 현대 패션의 시각을 살펴보면 다음과 같다. 첫째, 현대 패션에서 아프리카 패션은 주술적, 종교적 의미보다는 장식적인 디테일을 강조하는 경향으로 나타났다. 즉, 토속적인 감각과 도시적 인 감각을 조화시켜 주술적 의미에서 장식적 의미로 이들을 차용하였다. 둘째, 패션디자이너는 아프리카의 원시성, 순수성의 힘을 현대인의 회귀심리 및 자연의 순수성에 대한 동경과 결합시켜 아프리카 이미지를 패션문화의 한 코드로 인식시키고 현대 여성의 도시적 야성미를 독특한 스타일로 연출하였다. 셋째, 아프리카 이미지는 원시생활속의 미의식에서 찾을 수 있는 창작 디자인으로서의 영감은 물론 이국취향의 창의적인 이미지로 연출되어 패션트렌드의 강한 키워드로 자리매김하며 21세기 초두의 트렌드를 주도하였다.

• 복식
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• 제59권1호
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• pp.119-135
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• 2009

The purpose of this study was to examine formative aesthetic characteristics and aesthetical value of the intraculturalism expressed in contemporary fashion and to confirm the functions of intraculturalism to establish, visualize, perform the racially indeterminate, ethnically neutral, culturally diverse or ambiguous identity. For this study, the applications of the intraculturalism shown in mass media and consumer culture, such as music, fashion advertisements and collections of high fashion designers from 2004 to 2008 have been analyzed and compared. The results were as follows: The Intraculturalism is reflected in the muticultural music such as Afropean, Jawaiian, Reggaeton and Asian Hip Hop. Intracultural music genres create the hybrid music and fashion culture through mixing, matching and blending one and another culture. Advertisement campaigns for Louis Vuitton, YSL Beauty, Gap and H&M stores have all purposely highlighted models with mixed racial heritage. It is reflected in the latest youth fashion market trend using face that are ethnically ambiguous. The increasingly multiracial, multicultural population is due to intermarriage and waves of immigration. The rising mixed race designers, Narciso Rodriguez, Hussein Chalayan, Vera Wang and DooRi Chung, not only compromise and amalgamate different cultural elements of their heritage and contemporary life but also create new look and fashion image. The characteristics of intraculturalism expressed in the 21st century fashion could categorized into de-genre, de-nationality, de-race and de-culture.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2019년도 춘계종합학술대회
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• pp.435-436
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• 2019

21세기에는 신발이 발 보호만으로 쓰이지 않고, 하나의 옷, 패션으로 인정받는 중이다. 본 논문에서는 수제화 주문형 쇼핑몰 관련 사이트를 3개 선정하여 잔단점을 분석하였고, 다수의 게시판들을 운영하여 신발 코디법을 소개 및 판매, 코디 추천을 하려는 목표를 가지고 반응형 웹사이트를 설계하였다.

• 복식
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• 제63권4호
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• pp.17-29
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• 2013

The purpose of this study is to analyze the factors of action and reaction through the examples of luminescence digital fashion design, which is a part of the interactive digital paradigm in 21st century, and to classify types of interaction expressed in luminescence digital fashion design. The significance of this study is to provide an effective database for researches on new ideas and expression methods of fashion design using luminescence digital device. The contents are as follows. First, identifying the concepts of interaction, digital fashion, and luminescence digital device. Second, analyzing the factors that put the luminescence digital device into effect through materials such as the collected photos and the stimulus behind the materials. Third, analyzing and classifying types of reaction according to the types of stimulus in luminescence digital fashion design. Detailed use of luminescence digital devices in Fashion designs did not start until after 2000 so the scope of this study starts from 2000 and on. The methods of this study are as follows. The theoretical frameworks of digital fashion and interaction were setup by using information from various related books, papers, and internet sites. In addition, the empirical analysis was performed using collected photos and explanations through related Internet sites of digital fashion. Through the study, the interaction types in 21st century's luminescence digital fashion design can be expressed variously according to the current input type, biometric recognition type, environment recognition type.

• 한국의류학회지
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• 제27권1호
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• pp.78-87
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• 2003

Based on the qualitative analysis regarding five dominant characteristics of fashion in the transitional period of the 21s1 century, subsequent quantitative analysis was conducted and the following results were obtained. First, it was found that 85% of the clothes analyzed showed these five characteristics. Secondly, among the five characteristics, the new-naturalism shows the most significant trend and neo-retro was also found as one of the leading features along with the new-naturalism in the transitional period of the 21 st century. However, the frequency of technicism is less than was expected. Thirdly, analysis of the distribution of fashion characteristics according to fashion designers and seasonal changes show that new-naturalism, neo-retro and hybrid spread relatively evenly among each designer. The quantitative study confined the results obtained through the qualitative study.

• 문화기술의 융합
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• 제10권4호
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• pp.95-103
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• 2024

본 연구는 21세기 일본에서 가장 영향력 있는 패션 디자이너 중 한 명인 요지 야마모토의 작품을 고찰하였다. 이 연구는 파리 패션 위크(2019 F/W-2024S/S)에 전시된 요지 야마모토 여성 기성복 컬렉션에 초점을 맞췄다. 연구 방법에는 사례 분석 및 이미지 요약이 포함됩니다. 이 연구는 Yohji Yamamoto 브랜드의 발전과 디자인 스타일을 분석했습니다.VOGUE에서 2019 F/W-2024S/S 총 399장의 트랙 이미지를 다운로드하고 실루엣, 색, 소재 및 프로젝트 네 가지 측면에서 분석했다. 연구 결과에 따르면 이러한 미학 사상은 야마모토 요지의 독특한 미학의 핵심 요소로 브랜드 스타일의 형성에 중요한 역할을 한다.

• 패션비즈니스
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• 제11권1호
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• pp.48-60
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• 2007

The purpose of this study is to examine the romantic costume style which has become a big trend before and after the 21th century. For this purpose, I examined the development plans and characteristics of women's costume in France in the Romantic period from the 1820s to the 1850s and analyzed the aesthetic characteristics of romantic costume style The aesthetic characteristics of romantic style in the 19th century were defined by the feminine and elegant beauty, exoticism, and sensuality. Since the 1990s, the characteristics are classified into Feminine & Elegant Style, Ethnic & Fusion Style, and Sensual Style. Feminine & Elegant Style is characterized by delicate, splendid lace and frill decorations that have become more ornamental and technical since the 1990s. They create greater romance and express gentler and more elegant femininity away from the artificial silhouette. Ethnic & Fusion Style use more diverse ethnic patterns, colors, accessories, and details since the 1990s and shows more varieties and creativity in convergence with modern fashion. Sensual Style exposes the physical curve of female body. In the 19th century, cuffs and collars were exaggerated and shoulders were exposed for sensuality. After the 1990s, however, see-through materials have been used to show the beauty of natural physical curves or corsets have been worn as the outerwear. Studying romantic costume style, which arose as a concept of postmodernism, the cultural ideology that exists as a breakthrough of our time, is signified by the understanding of the latest cultural phenomenon and fashion trends.

• 복식문화연구
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• 제20권3호
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• pp.295-308
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• 2012

This study intends to analyze the up-cycling trend that is attracting great attention these days and its internal meaning in the context of fashion art. And, based on this, to provide enhanced value and creativity in the future fashion artwork and design businesses, keeping abreast of further fashion art developments. As part of the study methodology, both a literature review and a case study were carried out, along with an examination of up-cycling and research into related pictures and content. The materials covered in this work include design and fashion related books and domestic and foreign magazines from 2000 to 2011, when the up-cycling movement was initiated as a form of eco-friendly design. For the analysis of fashion art pieces, generic terms included art wear, wearable art wear, and unwearable art. Case review was followed by the works of artists shaping their fashion concept and meaning entirely from abandoned clothes and fabrics, waste materials, and their art collection. Consequently, key elements of the value of up-cycling fashion art are that it is eco-friendly, has a unique identity, and reflects multi-dimensionalism. This research saw the integration of fashion with other variables, artistic attributes, and reuse of resources. This could lead to a new realm where value-addition is formed and extended, thus providing another chance for the fashion industry.

• 한국의류학회지
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• 제34권9호
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• pp.1429-1441
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• 2010

This study examines the post-national trends of the $21^{st}$ century fashion that has embraced multiculturalism. This study conducted a literature view to explore the concept of multiculturalism and the background of post-national phenomena appearing in contemporary fashion. In addition, as a case study, the author used local and foreign fashion magazines and collections published between 2000 and 2009, in addition to other related materials available on the Internet. The objective was to analyze photographic materials in which post-national features are reflected. From this study, the post-national trends in $21^{st}$ century fashion that adopted multiculturalism are as follows: The first is that oriental culture is more actively embraced. In the past, the tendency of embracing the oriental culture was mainly developed with a focus on China and Japan, but recently the tendency has spread to Southeast Asian countries and national/ethnic minorities that include Mongolians and Tibetans that is present in more active ways that reflect oriental sentiment and philosophy as well as adopts simple images. Second, $21^{st}$ century fashion based on multiculturalism broadens the interest in the understanding of nations in the regions of Africa, Middle East, and South America and uses regional folk costumes or indigenous characteristics to create new things instead of staying within a fixed paradigm. Third, as horizontal transfer is involved in ways of looking at culture, $21^{st}$ century fashion shows a post-national tendency to use regional cultures and folk costumes of the occidental world that includes North and West Europe in addition to non-mainstream regions (as considered so far). Fourth, dress elements of many heterogeneous national cultures are combined to create multinational images difficult to define in terms of a specific national culture or clothing style.

• 복식
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• 제56권7호
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.