• Journal of Fashion Business
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• v.16 no.4
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• pp.186-199
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• 2012

Most of employees in service area frequently and strongly experience job-stress caused by emotional labour than in general. This job-stress is supposed to incur employees' burn-out, which burn-out brings a lower service quality in various aspects of physical and spiritual hospitality. The purpose of this study is to identify the impacts of burn-out on emotional labour of hair designer, with 155 primary data from a sample of 200 employees of hair shop in Seoul and Gyeongnam area. The reliability and validity of the collected data were checked through the calculation of Cronbach's ${\alpha}$ and factor analysis. The empirical research made by regression analysis confirms that emotional labour significantly has a negative effect on burn-out of hair designer. Therefore, hypothesis presented to mediate the effect of burn-out on emotional labour of hair designer was supported in positive. Hopefully, this study contributes to hair business shops for setting up a management strategy on effective job-satisfaction of hair designer.

• Journal of the Korean Society of Costume
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• v.39
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• pp.239-255
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• 1998

Art deco means decorative form on the base of cubism which has widely spread from 1910's to 1930's. Also it pursued the rational & functional design even than deecoration of art nouvear, and colorful combination of fauvism. The analytical study on design included occurrence, developing process and formative features expressed in the art deco fashion. The changes of the art deco style, it referred to the fashion illustration which was the Graphic-s of Ert in 19 century. Besides analysised activity designer in the art deco style, at the same time considered fashion design as comparable analysis. Paul Poiret, a representative french designer, contributed to the clothing culture which accepted oriental influence and it was all the fashion enough to call the originator of present fashion. He did away with the corset, relaxed the waistline, and freed the body from clothing constrictions of almost a hundred years. Since 1914, because of industry of woman clothing that art deco represent concern of one's Chanel's perennial rival in the firmanent of parisian high fashion was the Italian designers, Elsa Schiaparelli, Schiaparelli's originalily was profoundly influenced by the avant-garde art of the time ; Da da and Surealism were principal soures of new ideas. It apply the style to geometrical or abstract form impressed straight and smooth line on suitable technic. Such inflection of art deco heralded a close collaboration between the artist-jeweller and the fashion industry. Especially, jewelry designers were fond of juxtaposing transparent faceted stoned which reflected the light, with matt stones, which offered rare or unconventional contrasts through their opacity. Consequently, art deco will exert value of utility for the progressive fashion & jewel CAD through continuous research.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.151-167
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• 2010

This research is to analyze ethics in fashion design for more valuable and sustainable human life against the increasing alienation of the human being, the global ecological crisis resulted from contemporary consumption society. I expect that it can be helpful to plan ethical fashion design practice more effectively. For this, the documentary study and practical case study have been executed. The results are as follows. The ethics in design can be defined as the responsibility to reform the social, environmental problem of consumptive design, to sustain together without human alienation, environment disruption and to do social good for total human being ultimately. The ethical design practice means to suggest solutions to problems of human rights and environment and to act willingly. Based on this, ethical fashion design appeared as responsible design solution which has two directions. One is the fashion design for coexistence and sharing, including the design for all which considers even underprivileged minority, the design to promote public issues as well as to donate some profits. The other is the eco fashion design for sustainable environment, including eco-friendly design which is reductive and slow in whole design process, the design to inform the seriousness of environmental crisis as well as to donate some profits. The last one of the most important ethical responsibility as fashion designer is to abide by vocational ethics, that is, the prohibition of design piracy.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.134-147
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• 2013

Today, the convergence of fashion design and digital technology has become a popular method and accordingly been tried variously in the fashion area. This study aimed to analyze the character of the collaboration with fashion and technology, and the meaning of technology as emotional expression methods. Selected designer's collections, literature and other related studies were reviewed in order to analyze the generative structure of the meaning and the binary-opposition in the convergence of body, fashion design and technology. Literatures and selected designer's collections were reviewed and quantitatively studies were performed to classify the convergence of human bodies, fashion design and technology through Greimas Semiotics rectangle based on binary-opposition of meaning and isotophy analysis. The research presents three types of fashion technology methods: mechanical movement, light/digital media, and virtual image. The convergence of fashion and technology was classified as the direct convergence and the indirect convergence. The direct convergence was characterized by variability and has automatic, independent movement, but the indirect convergence was shown closed and to have contradistinctive images.

• Journal of the Korean Society of Clothing and Textiles
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• v.20 no.1
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• pp.197-206
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• 1996

We can see the relationship between Fashion creation and Art through the characteristic of clothings at Fashion Collections such as the round, abstractive motive, optical effect, symetric line, etc. This relationship between Fashion creation and Art brings the affective image and the aesthetic shock to open the door to imagination. Art-related people such as artist, fashion designer share the creativeness, new vision and artistic fever. We can see the link and co- work between art and fashion creation all over the 20th centary. Specially it reached its peak in 1960s when Paco Rabanne, Andra Curreges, Pierre Cardin and Yves Saint-Laurent introduced their works. This study includes not only the influence of the art but also the relationship between the art and fashion creation to analyze the way and the reason of the influence of the art in terms of the form, technique, material and process. Doing this, 1 try to ask and answer the question "through what form and at what situation fashion creation can be considered as an art." The study reaches the conclusion that fashion designer is the creator, technician and transferer if the the art.e the art.

• Journal of Fashion Business
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• v.15 no.4
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• pp.28-42
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• 2011

Philp Lim, Alexander Wang and Jason Wu are the American fashion designers as descendants of Chinese immigrants. They had the honor of being given the Swarovski Awards- new premier fashion designer- from CFDA(Council of Fashion Designers of America). The purpose of this study were to investigate the characteristics of their collection, and offered the informations for Korean designers entering the American market. This research categorized characteristics of these designers'- whole characteristics and the characteristics of details such as formal characteristics, optimistic characteristics, tactile characteristics-, and fashion styles from the S/S season of 2009 to the F/W season of 2010 were analyzed. These young and male designers being received attention as a star, didn't make creative art pieces. But they made pragmatic, commercial, and con-temporary works in whole characteristics and succeeded in their fashion business like other American designers. On the other hand they oriented high fashion clearly in terms of the detail characteristics - their own accent color, tiny change in variety, unique material, delicate ornaments. Therefore Lim created chic and stylish, Wang made a sporty street style, Wu made a luxury style with mannish and casual through work characteristics suitable for their costumer.

• Journal of Fashion Business
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• v.28 no.3
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• pp.1-15
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• 2024

Christopher Nemeth is a designer who combines characteristics of a pioneering upcycle design and deconstructionist design with fabrics, waste clothing, and pieces of fabric recycled in the 1980s. By hommaging his work from the Louis Vuitton 2015 F/W collection, Kim Jones is once again becoming a source of design inspiration in an era where upcycling fashion is attracting attention. Accordingly, an upcycling design approach might appeal to the MZ generation. Christopher Nemes' design presented in this study as a representative fashion designer of dismantling upcycling is basically based on dismantling. It can also be interpreted as dismantling upcycling design because it uses used clothing, waste clothing, and discarded fabrics as materials. This study examined main techniques of upcycling fashion design and derived characteristics of Nemes design as "deconstructive techniques using free lines of construction," "recycling upcycling vintage materials and clothing accessories," and "using handcrafted techniques of artistic sensibility." By applying Nemes' dismantling upcycling technique, four designs were developed for men's top and bottom sets for targets in their 20s and 30s to suggest the commercialization possibility. This study is meaningful in that it proposes a methodical alternative to the new deconstructionist upcycling design that can show Nemes' aesthetic characteristics, creative perspective, and personality by modernly reinterpreting the deconstructionist upcycling technique extracted through analysis of fashion designer Christopher Nemes' design. In particular, by actually producing the work and confirming whether the design technique can be implemented, the value as a fashion product that can be sold is realized.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.25-39
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• 2000

Raoul Dufy devoted and was involved in textile design between 1910 and 1928. It was a transitional period in fashion. especially Poiret took an important role as a fashion designer at that time. After meeting Poiret, he won the fame as a textile designer rather than a painter, in his early stages, He had been deeply involved in fashion design. For instance Dufy and Poiret shared their world of art, collaborated to mount exhibitions, the Print textile fabrics by Dufy was used for dresses by Poiret and so on. The textile design which showed Dufy's artistic abilities was used as a method of expression of an exchange and a communication between art and fashion in the same period, through collaborations with Poiret. For instance, Dufy as a fauvist created and produced textile designs using his magnificent and cheerful colors and lines. He brought about a revolution in the textile design due to his participation in fashion design, as well as encouraging fashion designers. Textile design by Dufy, which grafted onto his world of art impressed Poiret greatly. It proposed the new direction of the fashion and influenced modern costume. The positive collaborate between Dufy and Poiret provided a momentum to a costume for being a part of art. Textile design as one of the important area in modern fashion needs a design originality for creating a high value-added products.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.125-143
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• 2013

This study aims to clarify the identity of contemporary Chinese fashion design by examining how the characteristics of Chinese tradition are accepted and presented in fashion under the influences of western cultures. This study performed a literature survey on related works. Also this study performed demonstrative analysis of Chinese daily newspapers (People's Daily and Xinmin Evening News, 2007-2010) and fashion collections by Chinese and Chinese descent designers(2007-2011). The results are as follows: First, China is trying to express Chinese traditional ideas and factors in the design areas, and also trying to achieve an universal generalization. Second, the Chinese designers emphasized traditional ideas and culture in their designs. The Chinese descent designers were affected more by western culture. The common aesthetic consciousness were the beauties of sophisticated and splendorous decoration, vastness and elegance. Also the compromised images, neutral images and antique images were common in both groups. Third, the Chinese designers presented fashion designs on formalized and imitation stage. Also they tried to make a metaphorical stage. The Chinese descent designers showed designs on a metaphorical stage. In conclusion, the contemporary Chinese fashion design should find the way to globalize and identity of the traditional culture code simultaneously.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.93-110
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• 2011

This study investigates the analysis on the acceptance of Foreign Fashion trends in Korean Fashion Collection by collections, years, season, and designers. The purpose of this study is Korean collection's degree to adopt and receive foreign collections, by comparative analysis of design features between Seoul and foreign collections. For such purpose, from 2006 S/S to 2011 F/W, 5185 pictures were collected from designer's photos of Seoul, Paris, Milan, NY, and London collections. The content analysis and statistical analysis using SPSS will be conducted for data analysis. The results of the research are as follows. First, regarding the design features, square-form silhouette, achromatic colors, and none pattern were presented as well. Second, there were significant differences in the design characteristics of each year. Particularly, in 2008, X-form silhouette, Yellow and Green color, and flower pattern were emphasized. Third, the design features by season were significant differences. In S/S season, square-form and X-form silhouette, achromatic colors of white and gray color, none pattern were evident while in F/W season, square-form Silhouette, achromatic colors of black and gray, and none pattern were emphasized. Fourth, the design features by designer are as follows. In terms of form, Seoul collection was influenced by Paris collection. In terms of colors, it was influenced by NY and London collections.