• 한국패션뷰티학회지
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• 제3권3호
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• pp.24-30
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• 2005

If one can say that 'Retro' is a revived mode of the style, which was popular in the past, it is confirmed that various complex social and cultural factors have been reflected to making the current and new mode by accepting the past style. By investigating the impact of hippie style, which was popular during the Vietnam War on cosmetics and beauty culture, and the retro-tendency NEO-Hippie style fashion phenomenon appeared at around the time of the US and Iraq War, a theoretical foundation of cosmetics and beauty culture in the 2000s was established, and periodical circulation of fashion was tried to be understood. The 9.11 terrorists' attack and US-Iraq War devastated the heart of modern people, and for this, a retro trend having a meaning to revive the past style with nostalgia of the old things started to be handled with major interests in cosmetics and beauty culture. The retro-style, which is revived in the 2000s, is not the unchanging imitation mode in the '60s and '70s during the Vietnam War, but a newly transformed type of style.

• 복식
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• 제53권2호
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• pp.101-118
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• 2003

This paper describes pop stars' fashion style by the changes of pop music from the 1950's of the formative Period of a rock-n-roll to the 1990's. The author could examine the features of pop music as follows : the 1950's rock-n-roll, the 1960's rock and Psychedelic rock. the 1970's punk rock, the 1980's new wave and the 1990's reggae·hip-hop. Based on the examination, the author could do sampling of the fashion style, on which current pop music had influence, by rock style, new wave style, and reggae hip-hop style. The rock style makes appearance again as a new style when it is recently accepted to be a fashion. The 1960's hippie, which contains long-cherished desire of antiwar and peace after September 11, 2001 Attack on America and the Afghan War. reappeared as luxurious hippie, and the hybrid punk has been made because barriers between cultures have been collapsed to mix items and combine contradicting components at fashion field. The new wave style destroys sex difference of clothes. and men's clothes style has introduced women's dress style, so that androgynous style, which has handsome boy image with womanlike hair style and makeup, and the lingerie style without distinction of underwear and outer garment has made appearance through new cloth wearing ways and overexposure. The reggae and hip-hop style makes appearance to overcome social strata, groups, ages, regions and gender, etc and become one of the 21s1 century culture codes. In conclusion, pop music have played very important roles until expansion and popularity of new fashion style, and has been quickly expanded by mass media development. When the pop music fashion styles are introduced to high fashion, fashion styles have become more polished and high-qualify to expand them at main fashion world again.

• 패션비즈니스
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• 제6권2호
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• pp.67-76
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• 2002

This research examines the characteristic trends through analysis on cue in the contemporary fashion distinctly and systematically. It is carried out by both qualitative analysis and quantitative analysis. In the qualitative analysis, the four important street fashions of neo-mods/jazz, neo-hippie/grunge, sportivecasual and technos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s S/S. It takes frequency, percentage, $\chi^2$-test and etc. by using the comprehensive tools for statistical treatment. There were significant differences between the S/S fashion. According to the cues, there are also significant differences between the fashion in the 1990s. In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special makeup. 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• 복식
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• 제52권2호
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• pp.45-57
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• 2002

21th century is evolving from physical to brain-oriented society, and from class oriented society to network society. In the midst of it, bobos is the new enlightened elite group. In depth analyzationon of the beat generation from the 1950's and hippies from the 1960's, which had influenced the bobos, were done to study on such new and core elite group. According to the research, the emerging of bobos was originated and created from the long gone conflict between the beat and bourgeois, and the hippie and the conservative. And this mixed culture of both free-spirited hippie and materialistic yuppies from the 80's is rapidly growing, and they are easily seem from various commercial advertisements, accessories and fashion designs. In addition, the bobo's were targeted by the main designers, and expressed through bohemian luxury and romantic hippie mood. Naive and childish floral prints, paisley prints that were influenced by the hippies, the hair styles from the 80's and washed denims were seen at the collections. However, the symbolism of the 60's defiant fashion styles seem to fade away but remains only as a style. The comparison and analyzation between the fashion of bobos, hidden meaning of those defiant fashion styles and the aesthetics of it are arranged in the following conclusions.

• 패션비즈니스
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• 제4권3호
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• pp.79-90
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• 2000

On the beginning of 21C, in which it is a facing problem that the expansive image of future in fashion should be proposed from the comprehensive analysis for the fashion trend. Therefore, in this study, the trends of capricious fashion are distinctly quantified by investigating the cue of fashion in each styles. Also, the systematic evaluation is carried out of analyzing photographs to which the four important fashion styles. In particular, this study takes the practical and numerical results through quantitative analysis by statistical treatment as well as through qualitative analysis that has been formerly used in the other studies. The purposes of this study are to examine fashion trends expressed in important styles in the 1990s, and to formulate productive fashion of the future. In the qualitative analysis, the four important fashions of neo-mods/jazz, neo-hippie/grunge, sportive-casual and techos/cyber-punk are grouped. In the quantitative analysis, statistical data are sampled from Collection II of the 1990s A/W. It takes frequency, percentage, $x^2$-test and etc, by using the comprehensive tools for statistical treatment. There were significant differences between the A/W fashion. According to the cues, there are also significant differences between the fashion in the 1990s. The results of this study are summarized as follows: (1) In 'Neo-Mos/Jazz' style shows highly androgynous look, deep and strong tone, green/blue colors, natural fabric, stripe pattern, long hair style, and hided make-up. (2) 'Neo-hippie/gnenge' style shows highly folklore look, vivid tone purple colors, seethrough/knit fabric, natural /traditional pattern, decorative hair special make-up. (3) 'Sportive casuals' style shows highly sportive look, greish tone, white/grey colours, natural fabric, solid patten, bobbed hair, and natural make-up. (4) 'Techno/cyber punk style shows highly comocorps look, pale tone black colors avangard fabric, solid patten, punk/dyed hair special make-up.

• 복식
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• 제62권6호
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• 패션비즈니스
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• 제12권2호
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• pp.28-41
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• 2008

Fashion style in movies delivers their image the atmosphere and becomes the means for containing the personality, spiritual world and inner thinking the characters in the movies and including its plot. When the American new cinema emerged in late 1960's and early 1970's in the American movie history, the new left wing which wants to overturn adult generation and the hippie culture which wants to escape from an existing system also emerged. Therefore, this study analyzed the fashion style in the movie 'Easy Rider (1969)', i.e. the representative new American movie which showed the isolation from adult generation and negative realities of the American society. From the movie, we can understand the young generation after the Vietnam war, i.e. baby boom generation, pursued the hippie culture as their young culture. With their strong self-consciousness, they formed their own lifestyle and values which are different from those of adult generation, and we can understand clothes were used as a tool to express their value system.

• 복식
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• 제30권
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• 복식
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• 제52권7호
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• pp.155-166
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• 2002

The purpose of this study is to investigate the types of jeans fashion in the basis of designer brand. and to analyze the symbolic characters of jeans fashion. Designer brand re-established jeans fashion by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion. and escaped from fixed idea on materials and design. This study divides the types of jeans fashion within the designer brand into classifications of Hippie style, Punk style, American Street style, Neo-classic style, and Grungy style. Today, reinterpreting the resistant image of jeans fashion, designers creates the various styles and also restores the upscale image of it. The symbolic characters of jeans fashion are summerized as sexuality, deconstructiveness, conspicuousness, humour, and multiculturalism. As the results of the symbolic characters of jeans fashion in the new Millennium era will suggest the wide aesthetic expression and continue to influence a more diverse jeans fashion trends.

• 패션비즈니스
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• 제3권4호
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• pp.55-66
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• 1999

The purpose of this study was to analyze the changes and characteristics of street fashion in Japan of the 1980s. The data were collected from the Mainichi Newspaper published in Japan from 1950 to 1990. The results were as follows: 1. After world war II, the street fashion had changed through the styles of the Panpan, Apres, Miyuki, Hippie & Hooten, Bikers in Japan. 2. The 1980s was characterized as an era of post industrial society and the appearance of Shinjinrui which means new human. In street fashion, these changes led to greater focus on unique style in Japan. In the 1980s, the street fashion had developed within four styles : traditional casual wear style, American sports wear style, performance.oriented style, and Japanese DC brand style in Japan.