• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.113-123
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• 2011

The purposes of this study were to re-interpret the Traditional Korean Painting of Flower and Bird Patterns from a modern point of view and use them in apparel textile design. A literature review of the Traditional Korean Painting of Flower and Bird Patterns was made first, and then, through manual and Photoshop workings, two apparel textile designs were suggested. The results were as follows. First, Traditional Korean Paintings of Birds and Flowers are covered not only by decorative beauty but also by the common pure hope and ideology of loving and adoring nature, which is inherent in the symbolism and racial characteristics and high aesthetic sense appeared by ancestors' life feeling. The meaning that is symbolized by each subject matter appearing in the Transcontinental Painting of Bird and Flower is important, but the ancestors' deeper and affectionate desire is shown in the harmony and happy aspect of a picture where more than two subject matters appear, such as Song Hak do where pine is with crane, cockscomb with chicken, bamboo with beacon fire, or a couple of them with flower. Second, two kinds of textile designs were suggested. The motif of work 1 targeted professional women of activity and individuality in their late 30s to early 40s. The lotus blossom pattern was selected to present its concept, "Chic Elegance." The motif of work 2 targeted intelligent women in their mid 40s, and the peony blossom was selected to present its concept, "Romantic Elegance."

• Journal of Fashion Business
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• v.12 no.4
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• pp.99-113
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• 2008

The purpose of this study is to compare the social image and the external image of a Korean woman in 1970s and find out that the make-up can provide an important clue to examine the image of a woman in a given period. The research scope covered 10 top news of the daily newspapers and articles of women's magazines. A focus was made to an analysis on words and photos from them. The relationship of each image scale was examined by comparing the linguistic image scale and the visual image scale. The results were as follows : First, a frugal and tidy image. It was the look of our tidy, simple, traditional and classic woman. Second, an image of a cute and pure lady of refined manners. In 1970s, women were supposed to be 'a loving wife', a cultured female image with a faithful role of a 'wise mother' and a lady of refined manners as the best value. Third, a frivolous and decadent image. Double-faced image of a woman which included the women, who had to live as the lady of refined manners during the daytime and seductive woman during the night. Fourth, an image of a contemporary working woman. It was the image as a chic, confident and dignified working woman requested by the society of the times. Namely, it can be understood that women had a make-up of a soft and gorgeous tone as an expression of a will to keep a confident and female aspect in the course of working in the society by the women experiencing 1970s, the turbulent period. Consequently, it is possible to understand that the make-up was utilized as a means to express an ideal beauty of the time pursuant to the historical background or feature.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.37-54
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• 2014

The purpose of this study is to define the tastes of middle-aged Korean men by analyzing their characteristics, such as self-image, and fashion style. This study was carried out by using the Q methodology for survey research. The results of this study are as follows; First, the self-images of middle-aged men were classified into 'comfortable, calm, neat, and gentle,' 'realistic, active, sociable, and familiar,' 'sensible, emotional, romantic, and rational,' 'refined, emotional, luxurious, and sophisticated,' and 'aggressive, sensible, realistic, and rational.' Second, by analyzing the congruity of clothing form, fashion accessory, and fashion color types, this study was classified into the following 10 fashion styles: 'modern classic,' 'sophisticated,' 'town casual,' 'traditional casual,' 'comfortable,' 'chic casual,' 'contemporary,' 'gentle classic,' 'classic sporty,' and 'soft classic.' Third, this study analyzed the self-images and fashion styles of the men, and produced the following personal tastes of middle-aged men: 'success-oriented,' 'ability possession,' 'internal stability-oriented,' 'freedom-oriented,' 'self-satisfaction,' 'individuality compromise,' 'emotional release,' 'stability-oriented,' 'practicability-oriented,' and 'youth effort' types. By combining those types with social dimensions, this study produced the following tastes of middle-aged men: 'stabilized traditions,' 'achievements with high sociality,' 'youthful individuality,' 'active self-realization,' and 'realistic, logical pursuit.' The results of this study can be used as a meaningful data for developing the marketing strategy, which reflects the middle-aged men's changed tastes.

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.626-639
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• 2009

As the global trend of Retro combined with the tendency of individualism which respects dramatic change and diversity in the 21st century, Goth subculture of Korea developed into various popular styles. This study, noticing the influences of Goth to the Korean youth culture and fashion trends, intends to examine the current fashion trends to analyze the various aspects of the influences of Goth to the Korean youth culture. To do this, various documents and numerous Internet materials on the Korean Goth culture are comprehensively reviewed, and the Goth look images of popular stars, photographs from fashion magazines and fashion collections are gathered, analysed, and classified into types, and the specific characteristics of these types are comprehensively analysed. According to the result of this research, Punk Goth look, departing from the sensational and aggressive style of Punk look, expresses sexy and luxurious images, while Romantic Goth look shows the brilliant and cheerful style by mixing the cute girlish image and the elegant feminine image of exaggerated details and voluminous silhouette. Avant garde Goth look parodies Goth image by using the dramatic effects of Goth images or is expressed in performances. Sexy Goth look, which reveals the sexual attractiveness of men and women much more assertively, tries to do suggestive representation and excessive exposure of human body. Dandy Goth look, which has the simple and modern line, expresses the calm and chic feeling by employing basic items with minimized details and coordinating unique accessories for accent.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.4
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• pp.630-640
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• 2008

The purpose of this study was to investigate and make comparison of clothing images presented in women's formal and casual brands. The data were collected from 39 formal brands out of 155 and 64 casual brands out of 256 in Korea Fashion Brand Annual in 2005/2006. 316 words selected were classified into five clothing images according to the definition of previous researches and analyzed according to age ranges and price zones of brands. The results were as follows: 1) Formal brands focused on thirties and forties in age ranges and better and prestige in price zones, while casual brands centered on twenties in age range and better and volume in price zones. 2) Luxury, modem and feminine were more frequent words than others both in formal and casual brands, but elegant was found most frequently in formal brands, while comfortable, chic and simple were found frequently in casual brands. 3) Clothing images were classified into four types and appeared in elegance, modernity, individuality, and activeness order in formal brands, while clothing images in casual brands were classified into five types including youthfulness and appeared in elegance, activeness, modernity, individuality, and youthfulness order. 4) Elegance was a highly presented as clothing image in all the age ranges except thirties of formal brands but modernity and activeness with elegance were presented in price zones of casual brands. This study found that there were differences in clothing images in women's formal and casual brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.1
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• pp.12-26
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• 2012

Young people have got to like 'party' and 'attending parties' is considered 'reflection of trendy lifestyle' nowadays. The more party experiences they have, the more party wear styles get various and detail. They want different styles for the next party and it stimulates designers to create something new. We now realize that the party has become popular with an increased market demand for party wear. In addition, we analyze dress styles according to party types to suggest a new dress style to satisfy consumer needs. We suggest two ways to research party wear industry conditions in Korea. Off-line shop managers need to offer practical and various designs for a good price according to party types that make distinctions between on-line and off-line shops. On-line shop managers need to use better materials and develop better service. Considering an analysis of dress style according to party types, an elegant style is good for a formal dinner party and an evening party. A romantic style is good for a season party (such as a New Year's party, a Valentines party and a Christmas party) and a chic style is good for a music party (such as a classic party, jazz party and pop-era party). In addition, the result of a dress style analysis according to party types can be used for the tip for the development of designs to come in the party wear market as well as for a dress style guide to the partiers.

• Journal of the Korean Home Economics Association
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• v.50 no.6
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• pp.55-64
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• 2012

This study aims to reinterpret formative elements of Baeja, by applying them to the design of modern clothing. The main objective of the studying Baeja is to propose unique layered look items that can be readily put together for various weather conditions and occasions, be easily wearable and bring out unique individualities. After carefully studying Baeja from Joseon dynasty, flexible and practical layered-look items are designed. The following are the conclusions drawn from the work. First, it is possible to apply Baeja elements, such as the silhouette, traditional materials, and colors, to modern clothes, for a layered-look. Second, Baeja characteristics have a profound potential for a modern layered-look design, in that it is sleeveless, its length is long at the front and short at the back, and it comes with slits on both sides and a wide belt. The items inspired by such characteristic can easily be worn over and draped around daily clothes, according to weather conditions and occasions. Third, many decorative elements of Baeja, including detailed ornamental method, knots, patchworks, and string decorations create a unique and traditional image in modern clothes. Ribbonswhich can adjust the width of clothes are both practical and decorative. A reversible jacket is created by utilizing the same traditional sewing method for both inner and outer fabrics. One item can be worn in different styles, which increases practicality. Fourth, traditional and modern materials go well together. Such methods can create an item with both modern sensibility and traditional chic.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.126-139
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• 2009

The following study from the perspective that the identity of a brand is determined by the creative work of the designer, will review the design identity of fashion house, which have maintained a basic concept of couture house until recently. For this purpose, first, the concepts of fashion house and identity could be examined, and then the design identity of both the past couture designer and the present house designer could be comparatively analyzed. This study focused on John Galliano of Dior, and was carried out under the method of document study and case study. Based on this, the analytic results of the design identity of fashion houses are as follows. The design identity of fashion house, which has its origins in the past couture house, appears from the house characteristics, design characteristics and the design image. The original design identity of Dior House seems to be feminism and elegant extravagance, which naturally models the body line of women into diverse lines. The new design identity of Dior House by Galliano, while reflecting wit and fantasy, at the same time is expressed as sexy and romantic elegance which attempts to express the beauty of modern women. The pursue of chic elegance, which is the characteristic of early Dior design, have changed into avant garde and unique designs with tendencies of multi-culturalism due to the most recent house designers. Finally, Dior house design has successfully maintained the master of handcrafted quality based on craftsmanship, the history from the house archive, and the modern trends appropriately added by the creativity of Galliano.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.170-183
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• 2008

The purpose of this study is to analyze the characteristics of different images of movie costume centering on the actresses. The perfect examples are the characters from the movie "The Devil Wears Prada", in which the film is about the fashion leaders of the world. This study consists of visual data as well as images including some scenes from the movie. The sources were collected from relative media, articles in journals, internet sites relating to the movies and photos and we have analyzed differentiated each of the character's wardrobes and its characteristics appearing in each image. The result of this study is as follows. First, the characteristic image of Andy, the main character (Anne Hathaway) in the movie changed dramatically. Andy'swardrobe is focused on the character's makeover in the movie as the character changes from a slob dresser to an assistant of the editor-in-chief of the number one fashion magazine in the world. Each scene definitely shows different styles of the latest premier designers' clothes and accessories. On the other hand, Miranda Priestly appears as the fashion leader and icon throughout the whole movie. Her career look in each scene was very chic and sophisticated in the office while her party dresses were sexy and glamorous in the movie where she was at many of the promotion parties and events. The second analysis of characteristic images of movie costumes is comparing the styles of Andy, Miranda and Emily(the other assistant of Miranda). Andy's wardrobe was divided Into two situations-before working for the magazine and while working for Miranda. As Andy's wardrobe began to upscale, the clothing images of Emily and Miranda became less fashionable. As a result of this study, the movie costumes played a vital role in expressing the changes and differentiating each character's images.