• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• Journal of Fashion Business
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• v.22 no.3
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• pp.16-29
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• 2018

The present study examines whether consumers' perception of waiting time and their behavioral intentions are influenced by the presence of background music in an online shopping environment. In particular, this study aims to explain the underlying mechanism for the effects of background music on consumers' perceived wait and behavioral intentions toward the online retailer by proposing the mediating role of emotions drawing on the Stimulus-Organism-Response (S-O-R) framework. A lab experiment was employed to test the hypotheses. A total of 102 college students were used for data analyses. Results show that the presence of music has a significant impact on participants' emotions, perceived waiting time, and approach behavior. Moreover, the findings show that pleasure and the perceived waiting time serve as mediators in the relationship between the presence of music and approach behavior. Implications of the model for theory, practice, and further research are discussed.

• Fashion & Textile Research Journal
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• v.16 no.1
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• pp.55-65
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• 2014

This study analyzes music visualization characteristics in modern fashion based on Wassily Kandinsky's music visualization theory. Alexander McQueen's 2014 Spring Ready-to-wear Collection (as inspired by Mondrian's paintings) was selected as the research subject. First, an analysis of Mondrian's paintings based on Wassily Kandinsky's theory shows that music visualization characteristics can be categorized into spatiality, mobility, and duality. Second, McQueen applied Mondrian's paintings to the overall design, structured the model's shape in the painting, or created patterns using colors and lines that introduced them in clothes; symbolic forms were also introduced as part of or a decorative factor of the clothes. Third, spatiality refers to the creation of a feeling of space through emptiness or fill using lines, colors, and shape. Musical atmosphere such as dissonance were expressed in clothing through the application of color contrast, lines and silhouette dynamics, and symbolic format and patterns by Mondrian. Fourth, mobility generally refers to motion caused by a certain stimulus. Mondrian expressed vibration, internal resonance, sound level in music that emphasized color irregularity, primary color contrast, and rough brush touches as well as free and organic patterns. McQueen expressed this with primary color contrast using different materials, rough touch based on texture, and pattern repetition through transformation. Fifth, duality generally refers to the artistic effect caused by overlap. Mondrian created a resemblance of dissonance and music through line and color as expressed through the duality of clothing design components based on the artistic sense of the designer.

• Journal of Fashion Business
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• v.17 no.1
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• pp.13-29
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• 2013

The purpose of this study was to analyze eroticism shown in the fashion of Lady Gaga's music video. This study methods taken theoretical consideration and then was classified eroticism based on previous studies and was analyzed costumes from Lady Gaga's music video. The results of this study were as follows: Avant-garde style exaggerates shoulders, hips, a hat or uses metal and glossy material, tape, leather and it was expressed into emphasizing or baldly exposing breast. Primitive style was expressed in ethnic style and animal patterns, lingerie look with drastic, bald exposing fashion. Romantic style was expressed using rococo style costume, frill, pleats, decoration and was produces eroticism with see-through look or costume fitting to the body. Sportive style expresses a healthier and erotic image using tight costume in yellow, blue and black while exposing belly and legs. Janus-faced style was expressed by dressing up like a man or using the method of attachment and exposure in clergy's costume. Humorous style was expressed by emphasizing parts of body or costume itself. As examined in the above, Lady Gaga was expressed various eroticism images in her music video and is builds her own sexually appealing.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.524-540
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• 2015

This study develops textile pattern design ideas created through the visualization of music. Methods of auditory and synesthesia were employed to analyze various attributes of popular music genres and appoint language image, shape image, and color image to obtain their interrelationships. This study provides data that can be used to express emotional images on textile print pattern designs. This research used different genres of popular music as stimuli. The language image was extracted and introduced to the overall color scheme; in addition, the color image was verified. The analysis of the color image was executed by applying it with the color set image scale of I.R.I colors. Then, the color image of the target genre of popular music was examined and analyzed through a color tone system. The preference in shape image was realized through visual images based on basic principles of points, lines, and sides composition; subsequently, an analysis of the emotional image of popular music followed. An examination of the emotional images of different popular music genres have led to the discovery that language image, color image, and shape image all share a common emotional image. There was also a realization that similarity and interrelationship exists in language, color, and shape images experienced by listening to popular music.

• Journal of Fashion Business
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• v.5 no.1
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• pp.53-71
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• 2001

The purpose of this study how 'Afro-American resistance' is showed up in the fashion trough the study of rapper's fashion present in singing rap music. Rap music produced by the influence of black music. It have been the tool of expression of pain and sorrow of their lives and included their resistant spirit. So rapper's fashion expressed resistance. at this point I categorized the resistant feature of rapper's fashion at two types in terms of the extent of expression. Their are active resistance fashion and passive resistance fashion. Also each fashion types was classified in terms of style, material, color, accessories and so forth. Active fashion is possible to classify these three styles as follows. The first one is Afrocentic style that was raised from longing for Africa. The second one is Military style which contains an ling-time enduring spirit of resistance against the society. The last one is Hiphop style that violated the typical rule of dressing under the hiphop style culture. these kinds of active resistance are also classified as material like blue Jean showing black workers' resistance, color like black showing off superiority of 'black' and red, gold and green color expressing black people's resistance, and other accessories like chains, cross and so on. Passive resistance fashion has several variations according to the style. There are Jazz style, Uniform style and Hiphop style. It is also categorized as high-tech materials, white color which is the expression of desire for white and luxurious accessories showing off wealth.

• The Research Journal of the Costume Culture
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• v.9 no.5
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• pp.747-758
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• 2001

The purpose of this study was to make hip-hop clear as a comprehensive cultural factor, and to analyze how it was reflected and shown in the modern fashion. The fashion influenced by hip-hop consisted of music(mcing), dance(b-boying), art(graffiti), technology(djing), and clothing(hip-hop style) was as follows; 1. Each music, dance, and art factor was expressed as multiethnic style, a oversized sportive style, and a graffiti look. 2. Oversized-Sportive style was the most peculiarity in Old School's hip-hop fashion. 3. Sportive style was changed into Multiethnic-Baggy style in New School's hip-hop fashion.

• Fashion & Textile Research Journal
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• v.7 no.4
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• pp.361-370
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• 2005

This study was intended to investigate intertextuality expressed in fashion; intertextuality within fashion as sex, T.P.O., texture, and coordination and intertextuality between fashion and other genre like animation, music, film and technology. Intertextuality obtained by mixing the masculine and feminine text, coordinating various element without regarding T.P.O., texture has contributed to expending aesthetic realm and redefining the aesthetic value of traditional fashion design. The influence of animation, music, film on fashion and the interaction between these genre and fashion integrated high-class fashion and street-fashion, created the multicultural hybrid. Moreover according to the change of lifestyle the fashionable technical clothing was needed and developed. The intertextual tendency in the 21st-century fashion has given the new possibility of fashion design.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.133-144
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• 2000

The purpose of this study is to examine a distinctive feature and meaning of Reggae fashion and to establish a form of design on the basis of the Reggae style appeared in the 1990s. For the study, we review a formative background and stream of the Reggae fashion. And then, characteristics of the Reggae fashion is clarified through analyzing street fashion and High-fashion. The result of the analysis demonstrates that the Reggae fashion as a general term of the fashion style is connected to the Reggae musci emerged from Such socio-cultural changes as the tendency of the anti-fashion , the influence of the Afro-fashion , and the popularity of the Reggae music. The reggae fashion has been altered in terms of its style with the lapse of time-Rastafaran style, Raggnuffins and Bhangra style, Hip-hop Reggae style. The Reggae fashion emerged in the 1990s falls into three styles ; Afro-Reggae style, Feminine Reggae style, and Sporty Reggae style. The above mentioned results demonstrate that the design of Reggae fashion targets fro a youth in one's early 20s following a tendency in the 1990s and the 2000s. The design concept represents Romantic Reggae.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.48-61
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• 2008

This study aimed to examine emo fashion, a very recent music-related fashion trend spreading fast amongst youths, and understand emo ideas and methods of expression for a greater understanding of contemporary youth sub-cultures and fashion trends. Documentary research, positive research and in-depth interviews were used throughout the study. 4 Korean emo bands and 4 U.S. emo bands were selected based on music chart rankings, and a total of 37 photographs from the bands' Internet websites were selected, and their clothes shown in the photographs were examined. 5 Korean emo band musicians were subjects of in-depth interviews, and they were asked about their emo culture, music, fashion, ideas and styles, and photographs were taken of the subjects and evaluated, too. Lastly, Korean and U.S. emo kids were studied through photographs, and comparatively analyzed. Both Korean and U.S. emo musicians wore slim silhouettes, skinny jeans, t-shirts, sneakers, black, studded belts and plastic-framed glasses. Korean fashion expressed a less depressive atmosphere with color and other details compared to the United States, and did not prefer dark black eye make-up, which United States emo style appeared to express frequently. Korean musicians' emo fashion was closer to other youth fashions, whereas U.S. emo fashion included more formal styles such as ruffled shirts and pin-striped vests. Korean emo kids wore clothes not much different from most Korean youths, but U.S. emo kids wore a lot of eye make-up and black t-shirts with graphic or skull prints, and had more geometrical hair styles, as if cut at home. The reasons for such differences were found to be a longer emo music and culture history in the United States leading to more elaborate fashion expressions and a difference in the states of mind, such as Korea pursuing to express love, and the United States pursuing loneliness.