• 복식문화연구
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• 제19권1호
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• pp.71-82
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• 2011

This paper examined the kinds and characteristics of leather and also analyzed the expression techniques and characteristics of leather in contemporary fashion. The objective of this study lies in re-interpreting the current location of leather in contemporary fashion design, enlarging unlimited potential expression fields of leather, and at the same time, helping create new viewpoints and expression types of leather. For this purpose, this paper examined the kinds and characteristics of leather through the existing literatures, and it also carried out positive analysis of the expression techniques and characteristics of leather clothes through local and foreign fashion magazines and collection papers, such as Gap, Vogue, and Mode & Mode, focusing on the works presented in the fashion collections after 2000. Leather in contemporary fashion is expressed in different colors through dyeing. Through various expression techniques such as wrinkles, ruffle, stitch, embossing, quilting, patchwork, holing, nailing, cutting, laser cutting, fringe, weaving, printing, and collage, leather breaks the fixed ideas of itself and further, it makes the images of fashion design affluent. Leather clothes, which are made through various expression techniques, have some characteristics. First, leather clothes emphasize women's voluptuous beauty. Second, leather clothes create a decorative effect through mixture of materials and various expression techniques. Third, through the feel of materials and the emphasis of shapes, primitive beauty is expressed.

• 한국의상디자인학회지
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• 제18권3호
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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.

• 한국의류산업학회지
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• 제19권5호
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• pp.535-546
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• 2017

This study considers direction types and formative characteristics by analyzing natural objets in contemporary fashion window display. The research methods are both literature review and content analysis based on images of contemporary fashion window display. The conclusions of this study are as follows. First, the direction types of natural objets in contemporary fashion window display expand objective outlines by maximizing the morphological form of objects. Second, a rhythmic sense expressed through a gradual repetition of patterns or a sequential arrangement of natural objects. Third, it represents a reversal of image accomplished through a modification of material on the natural objects. Fourth, a new space is created by transforming two dimensional forms of natural objects. The first formative characteristic of natural objects in contemporary fashion window display is exaggeration. This is expressed through either the expansion of the external volume, the collapsed form of natural objects, or the distortion of external colors. Second, it is a dynamics. This makes it possible to recall the dynamic image of the integration of the observer with a priori thinking by systematically sequencing objects or inducing a specific motion. Third, it is an abstraction. This provides an opportunity for the observer to find in a natural beauty by exchanging physical form or reinterpreting characteristic points. Fourth, it concerns eclecticism characteristic that objects created through the mutual fusion of heterogeneous elements indicates an aesthetic inspiration in a limited space by diverting conventional thinking toward natural objects with expansion of consciousness on formative arts.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.14-23
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• 2007

Hanbok had the history of more than 2,000 years, so Hanbok represents the traditional Korean style of dress design. Since 1980's, Hanbok has been changed to be suitable for contemporary society with diverse titles such as reformed Korean clothes, living Korean clothes, contemporary Korean clothes, and fashion Korean clothes, etc. However, Korean clothes of such a new style have not overcome a limitation in traditional styles in terms of design. In this regard, it is necessary for us to try to have the world fashion industry recognize the fashion look of 'Korean style' through the contemporary fashion of Korean image and to pursue the globalization of Korean style through this fashion. This study is firstly to review the characteristics of Korean beauty, secondly to examine the concept in Korean fashion design, and thirdly to iud out the characteristics of contemporary Korean fashion design through the study of successful cases. The characteristics of Korean beauty can be classified into natural beauty, abstract beauty, and humorous beauty. Korean beauty shows the nature and the life of Korean people, and it should make people aware of the character and the tradition of Korean culture. The Korean fashion design is the one that utilize the Korea's unique sentiment or sense of Korean beauty that has been succeeded from the ancient to the present into fashion design by way of visual element like design, color and texture. And the successful Korean fashion designs were the universal fashion designs that enable Korean culture to be hewn to the world through fashion and that enable the entire world market to agree and to accept Korean style. In order to create the global Korean design, it is necessary to assimilate the Western style to Korean style and newly create it into a compromised form. And it is necessary to look for a universal sense of Korean beauty that could be accepted by the people of the world.

• 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'.

• 대한가정학회지
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• 제46권4호
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• pp.61-69
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• 2008

The definition of convergence employed in this study is a sociocultural phenomenon where different patterns, genres or fields coexist along with the existence of a knowledge based society. The focus of this study was centered on identifying the characteristics of contemporary fashion paradigm in association with changing cultural convergence according to the theories of Mark Weiser and other futurologists. The purpose of this study was to delve into the features of this paradigm in conjunction with changing cultural convergence in 21st century's knowledge-based society, and the influence of convergence paradigm on fashion. After identifying the features of knowledge-based society paradigm in association with changing cultural convergence, the characteristics of the fashion paradigm in order to ascertain and analyze fashion trends. Conclusions based on analyzed data indicate that in a knowledge-based society, paradigm change resulting from convergence phenomena contributes to facilitating the dissolution of fashion from other fields and its fusion with other areas.

• 한국의류학회지
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• 제35권10호
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• pp.1215-1227
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• 2011

The recent craze for so-called skinny jeans is illustrative of the restraint of the body through dress. This phenomenon is noteworthy when considering the internalization of the corset in contemporary fashion. Grown out of the garments of soundly practical use, blue jeans have led the stream of fashion for about 150 years and now they serve as the new corset idealizing the female body in the form of skinny jeans. This study intends to examine the idealization of the body in contemporary fashion and focus on skinny jeans as an externalized corset. The struggle with corsets continues in that the real body is overwhelmed by fashion items. In the aspect of idealizing the body by constraining the body parts, skinny jeans externalize the control of the body as contemporary corsets. This study conducts literature research and content analysis as the method of investigation and focuses on women's fashion from the 20th century. Exerting a harmful influence on health (as corsets have done) the body in skinny jeans is regarded as a modifiable entity. The thinness of the body achieved by skinny jeans suggests the controlling power over the body. Moreover, this gives access to the power presented by the contemporary ideal of thinness. Skinny jeans are modern day glass slippers.

• 패션비즈니스
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• 제1권2호
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• pp.1-19
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• 1997

This thesis is a reflection of Korean aestheticism and how it has evolved and influenced Korean contemporary fashion throughout the last century. Up to the current, there have been five notable trends of fashion that have been influenced from and have reflected the qualities emblematic of various periods in Korean history. They can be characterized as the era of Missionary fashion, Uniform fashion, Salon fashion, Brand Name Fashion, and finally, fashion from the current era of diversification. The specific characteristics of each fashion era have been analized and illustrated in a comprehensive table. Design characteristics of Korean contemporary fashion are as follows : 1. A point of emphasis is given to facial feature, unconstructive design and ample silhouette and A silhouette, two-piece and pants. Korean style wrap skirt, a smooth curve and layered style. 2. Effect of flatness from material; as methods of quilting, reinforced dual stitching(Kaeki), patchwork, embroidery and goldfoil thread extra, it is turned up that texture of cloth stuff and effects of flatness. 3. Simple color combinations give effects in two different directions For instance, white and a variety of vivid colors, a dull color and bright colors, black, blue. 4. Over-design, diffusion of fashion. Based on the design characteristics described above, the essence of Korea's beauty consciousness can be captured and summarized through the following points: 1. Emotionalism and non-characterism: traditional and simple natural beauty and modernized natural beauty. 2. From authoritism to non-authoritism: traditional and formal personal beauty and casual characteristic beauty. 3. Polaris (antithesis) phenomenon: chastic beauty and ostentatious beauty, simplicity and lavishness, conformity of fashion and originality. Although the beauty consciousness of Korean contemporary fashion is changing from traditional passive metaphor to aesthetic expressionism for the new generation, after all the basic foundation or root of the spiritual beauty of idealism is usually recognized by focusing on the face.

• 복식
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• 제57권7호
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• pp.70-83
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• 2007

Contemporary fashion design has been made a new attempt to extend restricted expressions through fusion with other genres in art. The recognition of fashion has recently been changed not only product but as a piece of work in specific value, concept and meaning created by fashion designer. It is observed that the contemporary fashion design has a notion to persue formative intentions and manners of Conceptual Art in Post-modern era. This study is to define this region of fashion design represented in cultural phenomena as 'Conceptual Fashion', also analyze the formative feature of this from a point of view in Conceptual art. The results which are analyzed according to outward techniques and forms, meanings and elements immanent in aesthetic contemplation of conceptual fashion lead to four distinctive things in such as anti-form, intervention and appropriation, metaphor and detour, process and series. The intrinsic values in conceptual fashion through aesthetic contemplation are indicated the four significant values in the following: the pluralistic interpretation, the parody and amusement, the pursuit of essence and truth and the participation and interaction. Conceptual fashion design is appeared complex not doing separate through classified formative features previously. And It has been evolved as a indeterminate concept which is able to variable elucidation by a non-player, as a instrument for communication on fashion culture which is aggrandized. The purpose of this study is to present of theoretical foundation about Conceptual fashion design and also to make proper understanding about interrelationship between contemporary fashion and art.

• 복식
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• 제63권6호
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• pp.84-96
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• 2013

In researching the ontological status of fashion, a good grasp of fashion can decide the direction of fashion study. Fashion is sometimes considered an area of industry far from art from a point of view of purity of art, in spite of its aesthetic value and expression. However, art properties can be differentiated from the purity of art in modern aesthetics, and fashion properties which were the reason for that fashion to be considered as non-art can be affirmed as the same with properties of contemporary art properties. Therefore, the purpose of this study was to suggest the possibility that general properties of fashion can be accepted in the art arena through justifying art properties deviating from the purity of art. It can provide a boost to fashion's cultural status. For the research method, a literature review and case analysis were carried out through specialty publications related to art history, aesthetics, and fashion, regular publications and websites specializing in fashion, and art museums. Through the research, art properties deviated from the purity of art, which are; tactile sense, impermanence, dailiness, and commercial viability, were justified as being the same as fashion properties. These art properties were not general properties of fine art in modern aesthetics, but the ones occurring in contemporary arts. These properties, now present in contemporary art, can no longer disqualify fashion as a non-art.