• Journal of Fashion Business
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• v.22 no.1
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• pp.1-19
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• 2018

The purpose of this study is to analyze the fashion style of Kate Middleton, the Royal Family, and to examine the social and cultural influence of Middleton fashion. We selected 314 photographs collected from a Google site and Gettyimages.com April 2011-December 2016 as the final research subjects. We categorized the situation by domestic events, royal events, diplomatic activities, and social contribution activities, and analyzed fashion styles focusing on item composition, color, material, silhouette, detail, trimming, and length. As a result of the study, the one piece was the highest in the combination of items, and the color was the most in white. The color tones were mostly vivid, and the material texture was silky. The image was classic, and the dress code was high in semi-formal. In a situational style, the coat was the most common at the Royal Family events and blue or white of the light tones appeared in the formal style of the classic image. In domestic events, there were many silky textures of modern image, and vivid, strong tonal knee length H line dress was the most prevalent. During diplomatic activities, various colors such as red, green, gray appeared in addition to blue or white and in social contribution activities, many dresses of vivid and dark tones of red appeared in the dress code as semi-formal. In conclusion, the stylistic features of Kate Middleton and the Royal Family are largely in the form of royal and noble, low cost and chic, and body-conscious styling.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.45-56
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• 2011

This study is about the features of hybridization of ethnic-cultural elements in Korean fashion magazines. Its purpose was to embody more creative and newer images in fashion by promoting better mutual understanding of foreign cultures and addressing the issues of fashion design from multicultural perspectives. In doing so, the present study conducted a literature review and analyzed a total of 130 photographic images with any hybrid ethic element from two Korean fashion magazines, Vogue Korea and Harper's Bazaar Korea, issued between 2005 and 2009. The analysis revealed that there were 66 images(50.8%) with a mixture of two different cultures and 64 images(49.2%) with a mixture of three or more different cultures. As seen from the results, the two categories had a similar number of cases. In regional terms, the use of two different cultural elements included a mixture of Asian and Western cultures in 32 images(24.6%), a mixture of Western and African, Middle Eastern or Latin American cultures in 23(17.7%), and a mixture of Western and Russian or European folk cultures in 11(8.5%). In the use of three or more different cultural/national elements, the present study found a mixture of Asian, African, Middle Eastern, Latin American and Western costume items in 20 photo images(15.4%), a mixture of African, Middle Eastern and Latin American elements plus Western costume items in 19 images( 14.6%), a mixture of all regional cultures in 13 photos(10%), and a mixture of Asian ethic cultures plus Western costume items in 12 cases(9.2%). The results of this analysis indicated that the hybridization of ethnic-culture elements in Korean fashion magazines consisted of diverse clothing and accessories from various ethnic groups. The expression of these multi-cultural hybrid images that consists background images and models from different cultures well-portrayed the multi-cultural elements based on total coordination and broke the stereotypical aspects of styling.

• Journal of Fashion Business
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• v.6 no.1
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• pp.53-70
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• 2002

The purpose of this study is to review the innovation of Vidal Sassoon's hair design. His hair styling was created in 1950-60, and it was related to the Zeitgeist, 'Convulsion'. It was aesthetic reform that eliminated artificially of headdress through new design concept and high technique. It was social renovation that changed women's life through freedom, ease and mobility of hair form. Also, it was scientific innovation that emphasized improvement of hair care. Therefore this researcher set a high value on his contribution in beauty industry, and studied the formative characteristics of his hair styling. The results are as follows: The formative characteristics are classified into the simplicity of form, the mobility of construction, and the variety of color and texture. 1. The simplicity of form showed through geometric form. Vidal Sassoon's hair design had the overthrow traditional concept of femininity and beauty; in addition, it conferred freedom on not only hair itself but also women's action. 2. The naturalism and mobility of construction was found in layered and softly swinging hair made up by skillful cutting technique. It was developed by studying on the dynamism of sports in 1984 LA Olympic games. 3. The variety of color and texture showed conspicuously its visual evidence because of the simplicity of form. Especially, he borrowed factors of fine art, that is to say, form, space, texture, line, color and light, and created a performance art. His work is analyzed into an art, and he is one of the best artists.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.57-72
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• 2012

Interest in the environment is rising in all the sectors of industry and culture. Even in the fashion industry, fashion designers have recently begun delivering messages on the environment. In particular, $Issey$ $Miyake$ has been constantly interested in environmental issues, and has been deemed as a designer who values practicality and universality in clothing. This study seeks to examine Issey Miyake's fashion from the perspective of an eco-friendly design. This research analyzed collections of $Issey$ $Miyake$ from 1980 to 2010 through photo works and www.firstview.com. The research method was to study 8 people who have professionalism in fashion design and have analyzed 201 works of $Issey$ $Miyake$ from 1980s to 2000s that have the characteristics of eco-friendly design. The results showed the following characteristics of eco-friendly design in Issey Miyake's fashion : naturality, simplicity, sustainability and transformability. First, $Issey$ $Miyake$ preferred natural materials and used Japan traditional dyeing that integrated modern techniques for naturality. Second, he expressed simplicity in his fashion by applying the least cutting and sewing in geometric panels. Third, he pursued sustainability with comfortable clothing that anyone could wear regardless of trend, age and body shape. Finally, he developed the A-POC system that eliminated the usual needs for cutting and sewing and tried transformability on clothing using buttons, strings, belts, zippers, and layered styling.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.3
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• Journal of Fashion Business
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• v.16 no.2
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• pp.138-150
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• 2012

Nano Inkjet DTP technology, a new technology introduced recently, can be applied to various types of fabric, and pre-treatment process can be omitted, which makes the whole printing process compact. Some important factors for DTP are color difference between the color selected by the designer on PC and the color on the final product and durability of the final fabrics. In this study, the twenty-three trend colors of 2012-2013 F/W suggested by PeclersParis have been picked to be printed on cotton, silk and polyester fabrics, then K/S and ${\Delta}E$ value and color fastness were measured. The results show that dyeability of fabric is varied for each color group, and that also tone of color affect to dyeability when measured for colors in the same group. In general, for all fabric, light fastness, washing fastness and color fastness to sublimation are outstanding. However, because of poor rubbing fastness, additional treatment to fix colorant on fabric is required.

• Journal of Fashion Business
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• v.20 no.4
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• pp.128-140
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• 2016

In this study, dyeability of Urtica Dioica L. extract, which is relatively less studied, was measured. The extract of this plant was used to dye cellulose and protein fiber to check its usage as a natural green dye. Three different methods were used to produce extract. Dried Urtica Dioica L. was extracted with 100% ethanol, 50% ethanol with 50% distilled water and 100% distilled water. Then dyeing solution was obtained by blending with distilled water at 1-to-1 ratio. The maximum dyeability was obtained when 100% ethanol extract of dried Urtica Dioica L. used to dye fabrics at 60 degrees celsius for 60 minutes without mordant treatment. Cotton, rayon, wool and silk were dyed and dyeability for each fiber was measured for color difference value then compared to its control. The results show that dyeability of rayon and dyeability of wool are stronger, and that when color position for each mordant is measured, color difference is most diverse on cotton with pre-mordant treatment. Color fastness to wash, perspiration and rubbing crockmeter were superb, but color fastness to light was low, therefore, additional study on this is needed to improve. Urtica Dioica L. is now expected to be used practically as green color dye as well as medicinally and edible.

• Journal of Fashion Business
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• v.18 no.4
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• pp.28-44
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• 2014

The purpose of this study is to analyze the hat fashion worn by the British royal family. The research range has been limited to hats which Elizabeth II, Camilla Parker Bowles, and Kate Middleton wore from April 29, 2011 to April 11, 2014 when Kate Middleton married Windsor Prince William and became part of the royal family. The methods of the research were: previous studies and literature about the royal family were referred to, the function and types of hats were considered, and then the plasticity of the designs seen in hat fashion of the royal family were analyzed. The results are as follows: first, the shape of the hats of the British royal family: Three-dimensional shapes(84.2%) were the most frequent, the detailed shape of the hat Canotier(33.5%), Boater(12.7%) and Bowler(10.3%) had greater frequency. Second, the color of the hats were W(13.7%), Bk(10.5%), Y(9.8%), B(9.6%), YR/PB(9.4%) and RP(9.2%) color. The Color Combination is the Monochrome Color(62.3%), Analogous Color(16.1%), Accent Color(13.2%) and Complementary Color(8.4%) were most frequent. Third, the material of the hats were Felt(44.5%) and Straw(40.3%) were used most frequently. Finally, the decoration of hats were: Flowers(25.7%), String(25.0%), Ribbon(18.4%) and Feathers(17.9%) were the most common. This study can be utilized as basic data for effective styling and design ideas in the field of total fashion.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.1-13
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• 2015

The purpose of this study is to make a contribution to men's fashion by analyzing changes related to excessive and decorative expressions of latest men's wear design in the viewpoint of Maximalism, and using the results to develop a new fashion style. Results of the study are as follows: The characteristics of Maximalism in men's wear collection in the last 5 years can be classified as 'Fusion Maximalism, 'Decorative Maximalism', 'Exaggerative Maximalism', 'Humorous Maximalism', and 'Duplicative Maximalism'. The characteristics of each type of Maximalism can be summarized as follows: First, Fusion Maximalism creates new men's fashion style by fusing designs from different cultures in clothing items as well as dismantling gender boundaries in clothing design, and by having designs which transcends time and space. Second, Decorative Maximalism expresses ambiguous decadence by implementing feminine decoration that applies handicraft technique, as well as exaggeratedly using details and trimmings of contrasting images, and applying women's clothing items. Third, Exaggerative Maximalism represents extreme avant-garde that changes the idea of fashion design by changing the styling or the exaggerated silhouette. Fourth, Humorous Maximalism expresses not only the creation of new men's fashion look, but also expresses humanism with exaggerative enjoyment and pleasant ideas. Fifth, Duplicative Maximalism expresses creative design by implementing vivid images of different period and culture, and reproducing successful images of the past into modern fashion.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.1-13
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• 2009

The villains in recent films are given interesting roles not only through the actual contents of the story but also by attractive personal characteristics including internal and psychological aspects. The purpose of this paper is to take a deeper look into the image styling process of villain characters. The cases will focus on seven representative Korean films that have attracted over one million audiences as of the year 2000, and the leading and supporting actors within those films. Analysis will be made mainly on the visual image creations of those villains. The visual images are categorized by the make-up, hair-do, clothing and accessories relevant to the psychological personality type of each actor's role and their background based on the given scenarios. The results are as follows: First, villain characters are portrayed as an individual with multiple personalities with regards to psychological, economical, and vocational aspects. Second, fashion trends of the character is an important element to keep pace with the times or to visualize the sense of the times in which the villain exists. Third, a specific point that characterizes the villain's character are expressed through various touches using noticeable accessories, specific colors in make up, hair style, and a certain fashion.