• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.69-84
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• 1986

The objective of this Paper was to identify the relationship between the fine arts, pop art and fashion in relation to its qualities, motifs, and techniques of graffiti and collage. The data of this study were collected from fashion magazines such as French Vogue and American Vogue from 1962 through 1970 and Elle from 1980, post cards and reports of costume exhibition in Victoria & Albert museum in London, and newspaper accounts and magazine accounts. The qualities of pop art were characterized as 1) Popular (designed for mass audience), 2) transient (short term solution), 3) expendable (easily forgotten), 4) low cost, 5) mass produced, 6) young (aimed at youth), 7) witty, 8) sexy and erotic, ana 9) big business. Pop art was rooted in urban environment. According to analysis of the data for this paper, these special aspects of that environment reflected on fashion in the 60's. Mary Quant, Zandra Rhodes, Y.S.L., Rudi Gernreich, Paco Rabanne, Pierre Cardin, Andre Courreges in the 60's and Castelbajac and Sprouse in the 80's showed Pop art dresses, mods fashion inspired by pop artists such as Hamilton, Donaldson, Allen Jones, Jasper Jones, Andy Wahol, and Keith Haring. New erotism of fashion was Produced by Y.S.L.'s see-through blouse, Courreges'a hipster pants, and Gernreich's bikinis which revealed the navel and the breast. T-shirts and dresses ornamented with Pop idols' faces, Pop graffitic motifs, and slogans, as a resistant to society, were begun to popular.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.10
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• pp.1581-1595
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• 2010

This paper investigates the regional characteristics of street fashion in China. Yanji, Beijing, Shanghai were chosen as three different cities in terms of location, weather, population, and industrial structure. A total of 592 pictures were collected through an internet and fashion magazine search for street fashion in Beijing and Shanghai in addition photos were taken for those in Yanji. Pictures of each city were classified into groups based on overall images covering top, bottom, and accessories to identify the characteristics of style in each group. The classification process included 2 stages. In the first stage, it produced 2 groups: formal and casual. The second stage divided formal into business formal and retro formal; casual was divided into II sub-groups that were easy, sporty, feminine, sexy, ethnic, girlish, nippon, trendy, bulky, military, and mixed. Easy casual showed the highest frequency for 3 cities and military style showed the lowest. Shanghai showed higher frequency in sporty, trendy, and military style than other cities. Each style exposed the similarities and differences in the cities that reflected different regional characteristics.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.125-135
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• 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.

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.129-147
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• 2000

The main purpose of this study was to define the Fashion Coordination through chanel style. The methods of research were review precedent theses. the document rotated to fashion, and fashion Magazine. Also, information on the Internet was used. In sense of the fashion coordination, Designer Chanel understands fashion. Chanel is created that has Chanel Style through garcon style in 1920 by coordination with accessory and so on that means modern fashion. From than, even though Chanel Style has changed over and over according time, that become ideal image model what modern women is running after be. 1. Tubular style has easy to represent personal identity each people, by coordination with accessories and so on. The relationship tubular style and accessory is help to produce image bast. 2. Chanel' Hat was coordination with the same color clothes, contributed to finish wearing clothes and increase position. 3. Necklace has representative accessory in Chanel style. 4. Carmellia made use of point accessories on clothes. 5. Chanel N$^{\circ}$ 5 was produced crystallization that is necessary to make image. 6. Chanel was created Modern style based on the garcon style. 7. That became ideal image what women want to be in 20th century 8. Through cackle kennedy, that has best style symbolized rich and position.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.831-843
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• 2010

This paper examines the advertisements for mass-produced women's clothing, which appeared in the 1980s issues of the fashion magazine Wolganmeot. This study explores the communicative aspect of fashion advertisements of the 1980s as a platform for complex and dynamic interactions between fashion brands, female consumers, and the rapidly changing social, cultural, and economic conditions of the period. The research focuses on advertisements in the formal and character casual categories that targeted young, urban, and career-seeking women. Based on the analysis of the visual and textual elements of the advertisements from a pragmatics perspective, this paper concludes that fashion brands sought to highlight an 'intelligent', 'urban', and 'individualistic' image of women. It also proposes that the prevalence of assertive and straightforward textual elements, copies, indicates the efforts of fashion brands to stabilize and reinforce the advertising messages in the fast-evolving landscapes of the fashion industry and changing consumption habits.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.323-333
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• 1999

The purpose of this study was to analyze the meaning and formative features of the black color reflected on the fetish fashion. This study was proceeded mainly by analyzing with references and plates of magazine. The results of the study were as follows ; First, the sexual liberation and revolution have certainly led to a reassessment of sexual deviations, which changed the meaning of fetishism that has been only regarded as sexual perversion, so that it symbolied a new sexual perception and identification. As the result, black in fetish fashion was symbolized a new fetishism\`s definition which refused to distinguish male from female, and also reflected the meaning to express the second sex that wanted to express themselves. Second, the formative features of black color in fetish fashion have appeared tightness and bareness in form, and in material, glancing materials changed by the effect of light, and elasticity materials-leather, rubber, PVC, and laycra. By these features, black fetish fashion has drawn a higher attention on human body than the dress itself as a symbol about the psychology of erotic sensations and sexual images of the self appearing in black color.

• Journal of Fashion Business
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• v.5 no.3
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• pp.145-158
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• 2001

The purpose of this study is to help you understand the importance of developing of high value added fashion culture goods being integrated with technology and knowledge. And to propose efficient ways of creating a new brand which can be accepted by anyone who has international sensibility. First of all, after making deep research and investigation about the status of current situation in domestic knitwears industries and brands, and exploring problem areas, a growth plan with priority given to strategies for creation of high value added knitwears and its brands will be presented. As methods used in this study, researches was made mainly by digging into technical books on knitwears, fashion trends, and domestic and international fashion information magazine and leaflets, let alone, a lot of domestic market research was performed, as required, and sometimes knitwears simple items were also actually made in parallel.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.221-231
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• 2007

In the modern society of the 21st century where the visuality is emphasized, the illustration which expresses one symbol by embodying it is getting more spotlight than the use of character. Specifically, the fashion illustration serves the role of image promotion in other fields, for such as book, magazine, etc, as well as the fashion, and is taking root in daily lives. In response to that, this study researched on the fusion style fashion and the fashion illustration by using the violet color. The violet color which symbolizes the mysticism is being applied to society and culture in various forms, and has been considered as a precious color that represents god since ancient time, and still possesses its mysterious image even in the modern times. Moreover, as the appearance of fusion styled clothes which consolidates the latest trend image of the west and east is combined with the mysterious image of the purple to express new cultural image beyond highlighting specific image element of a country, the study on the fashion illustration based on the clothes based on the purple and fusion style would be very interesting. This study tried to produce the work that aims at the practical study based on the purple & fusion style and the theoretical consideration of fashion illustration through the analysis and investigative study of preceding studies. The findings from the study is like this: First, the violet the color, which represents the mysticism, can be confirmed to be an sophisticated, elegant and attractive image color that leads the modern fashion. Second, the fusion style which is coming into the spotlight recently can be found to have a great visual effect of consolidating the image of the west and east through the mixture with the purple color. Third, it was confirmed in our production of works that the fashion illustration was expressing a mysterious and new fusion style by blending appropriately with the purple color.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.679-686
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• 2006

The purposes of this study are to look into the formative characteristics of the bolero and to evaluate the visual effects and images according to changes in the line and length of the connecting lines of the neck, center front, and hem lines from analyzing the bolero style shown in 2005 S/S domestic fashion. Theoretical examination of the bolero was made philologically with reference books, theses and some articles. And the bolero style shown in 2005 S/S domestic fashion was analyzed with pictures from a fashion magazine "Ceci" and a fashion website 'Interfashion Planning" from Feb. to Aug. of 2005. As a result, the basic lines of the bolero are classified into three different categories according to the connecting lines of the neck, center front line, and hem line. We altered the length of the bolero in three categories with the changes in the waistline-5 cm, 8 cm, and 11 cm. For the visual evaluation, 9 stimuli were placed in mannequins, and were estimated by the experts in the fashion design. For the visual evaluation according to changes in the line and length of the bolero, we used 12 pairs of items to find the visual effects, and 13 pairs of adjectives to measure the visual images. The stimuli and adjectives were randomly given to the evaluators and were evaluated by the 7-Point Likert Type Scale. Data we got from this experiment was analyzed statistically by using the SPSS 12.0 and practiced the Factor Analysis and Correlation Analysis. In the current women's garments, the bolero is a new fashion item which combines with jackets or cardigans. Usually the bolero jacket is made out of a cotton, denim, leather or fur, and the bolero cardigan usually used knitted materials. The design could be very varied depending on the roundness of the center front line, and hem line. According to the result of factor analysis of the visual effects of the Bolero, four factors were identified the whole silhouette, neck line, breasts and shoulders. According to the result of factor analysis of the visual image of the Bolero, three factors were identified maturity, tenderness, neatness.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.111-124
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• 2003

The purpose of this study is to analyze how the women´s fashion with the design elements(silhouette, material, color, detail and trimming) of androgynous image which has appeared on our specialized fashion magazine from 1986 through 2000. As a result of this study I drew the following conclusion. 1. The bon silhouette led the market in the first stage of mid 1980. The wool and leather with the masculine image, cotton and soft material with unisex image were used to express the androgynous image. The dark and mono tone with the masculine image were used a lot in color. In women´s fashion the minimalism style with simple image was expressed escaping from the decoration, in which the detail and trimming was not found as in men´s wear. 2. It showed that more and more feminine image was accepted in the second stage of early 1990. Women´s wear silhouette with the androgynous image has changed from masculine box silhouette boomed in the first stage to hourglass silhouette and slim silhouette. The wool and leather were used a lot as the materials in the first stage but the usage of the cotton with unisex image and soft texture were getting increased. The main colors were the black and the blue but the usage of the white and the red were on the increase showing the range of the use was extending. In the meantime, the detail and trimming were hardly used like in the first stage. 3. In the third stage of the late 1990, the silhouette has changed to slim style. The wool and leather were mainly used as the materials but the cotton and silk were on the increase showing that the materials of the feminine image were used in the women´s fashion with the androgynous image as well as the materials of masculine image. In color, the black and the white of the masculine image were used increasingly by the effect of the minimalism and the usage of the colors were various for the rising frequency of the trend colors usage.