• Journal of Fashion Business
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• v.3 no.1
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• pp.147-158
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• 1999

The Purpose of this study is to comprehend the form of Post-modernism in 1980~90 Fashion by comparing to the representative form of Modernism. For empirical data, photographs and critics about fashion were collected from Vogue fashion magazine to differentiate from other studies which is mostly analysed from collection. The results are as follows: The Modernism in fashion can be epitomized simple and functional form as a rational costume and Post-modern fashion expresses all sorts of emotion as a react of rational theme of modernism with manners of anti-formal pluralism such as pastiche, parody and Kitsch. The fashion in 1980-90s in Vogue expressed as follow :1) The Postmodernism is well exploited around 1990 and costrained by traditional and classical Mode. 2) The other main character of Postmodernism, romantic eroticism is broadly expressed with material and slim curved body conscious line. 3) The Modernism and Postmodernism coexisted in the end of 1990, in more matured format.

• Journal of Fashion Business
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• v.9 no.4
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• pp.30-43
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• 2005

The purpose of this study is to examine the ladylike style of Grace Kelly focusing on her costume design of 1950s movie and star image, and to understand how she became a fashion icon today. Her city elegant look was usually composed of A line or H line suits and dresses, pearl jewelry, gloves, handbags and her classic ladylike attitude. Kelly's luxury casual look epitomized a relaxed elegance based on the American sporting image including the Hermes "Kelly" bag. Her sexual elegant look showed the combination of freshness, ladylike virtue and underlying sex appeal. Her self-confident, ladylike style appeals to modern fashionable women who likes to be elegant but also sexy.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.910
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• pp.1329-1340
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• 2004

The purpose of this study is to survey about the images of the sexy clothes that young women sympathize in modern society, that is, to make a research into the cognitive dimensions of 'Sexy image' and the constructive peculiarity of clothing. The researches into dimension of image by sexy clothing make that female mainly consist of in their twenties during May to October in 2003. The independent variables were: 1) The physical beauty dimension, 2) The negative estimate dimension, 3) The characteristic devaluation dimension,4) The elegance/ high grade dimension,5) The freshness/ beauty dimension,6) The sex appeal/ exposure dimension. Judging from each characteristic of costume in classified by articles, that is, colors, texture, shapes, details, and others-phenomenon of outerization of under clothing, print. We can know the clothes showing up our nice figures are the sleeveless design tied with strap, soft texture as silk chiffon and the colors that are not strong. And there were no embarrassed, ugly and pitiful clothing. Expressing sexy beauty by clothing is the result that the wearer produces intentionally by compounding design factors, it's the ideal when the observer's reaction and the wearer's intention correspond. Therefore, it will be helpful in expressing ideally if the subject, what kinds of sexy beauty the compounding design factors express, is studied carefully. Also it is expected to be used in grasping modem consumers' desires that want to look sexy, finding out how to express, dealing with the consumers' desires correctly, and the reference materials of the planning goods, sales promotion, and selecting of a medium of advertisement according to the consumers' desires.

• Journal of the Korean Society of Costume
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• v.33
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• pp.117-142
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• 1997

This study is on perfume case that is one of a great number of ornaments which was designed by out ancestors. We had developed the tradition and the history of perfume case bag fan-weight etc. These have the same function as the present perfume. case. There were basket-shaped perfume cases which were the smellest one among the personal girdle ornaments in the silla era. The various patterned perfume case were made of gold metal coral platinum or green jadeite etc. In the single-crop trinkets a embroidered perfume bag with the gold and silver thread whose forms perfectly match their functions appeared during the Yi Dynasty. There was also a perfume bag which was one of the daily necessities. A precious "jul perfume" was carried by noble women. A fan-weight perfume bag was attached to the fan to emphasize the intrinsic beauty of utility and function. It is necessary to know the function of prefume case. As perfume case is weared on the clothes it was given more decorative effects as well as the function of medicinal amulet with a sweet smell. Therefore it is very important for us to study perfume case that has various function as an ornament. So The purpose of this study is to investigate the practical and decorative side of perfume case with the general examines of perfume finding how to practice use through our life. The results were as follows; 1. The first use of perfume is perfume through smoke which is for ceremony of religion It removes human body odor by degrees and spreads a sweet odor. Also the materials for making perfume of early age is aromatic plants which will be used flour-made flowers stems. As the materials for making perfume use is increasing today we can invent alcohol perfume today 2. Our country the custom of perfume-used is wide. Among them men's perfume-used was very special phenomenon. For example men were wearing perfume bag in the Silla era. Because perfume represented wealth and noble in those days. They shew off social position personality through perfume-used. 3. One of early religion ceremony article there was the perfume. And perfume case was means for containing perfume. Gradually the perfume case was used widly as increasing needs of perfume in human life. 4. In the middle period of 'Koryo' Dynasty perfume cases had a close relationship with clothes but after Mongolian has been attacked 'Koryo' there were changes in wearing clothes therefore the position of perfume cases were transfered to coat string that was the origin of decoration style that they began. That is to say the perfume case has been influenced the position of perfume case shapes with changing of fashion. 5. The perfume case has been made manifest various function as an ornament. In the practical side First medical-perfume in perfume case has been played an important role in first-aid medicine in critical condition. Second it was amulet for self protection. That is the shape pattern color materials perfume of the perfume case was represented the amuletive nature. Third it was used as substitute article of perfume. Modern women use liquid-perfume as our ancestors used perfume case bag or jul perfume As started above. Also In the decorative side the perfume case has a beautiful formative arts by itself as well as a close relationship with clothes. That well as a close relationship with clothes. That is when the perfume case is worn on the clothes costume is showed aesthetices. That is the materials shapes color pattern of the perfume case we can see the visual beauty also the materials colors embroidered pattern knots tassel that are used the perfume case are increased the decorative beauty of costume. Sixth the symbol in pattern of the pattern case is shown ancetor's wealth and rank health longevity immortality many-born-boy in those days. Today the perfume case is not used with changing of costume by degrees, Accordingly I hope that the result of this study is an influened in devlopment of the perfume case design with matching the modern fashion.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.185-194
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• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

• Journal of Science of Art and Design
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• v.6
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• pp.249-266
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• 2004

Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

• Journal of the Korean Society of Costume
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• v.30
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.

• Journal of the Korean Society of Costume
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• v.22
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• pp.135-158
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• 1994

The fashion industry of today is closely re-lated with the information activity. This study investigates now they take advantage of the fashion information by analysing some related fields including fashion design. Furthormore this study identify the factor which makes the design activity distinctive and predict and fu-ture trend in design. The purposes of this study through analysis are : to help find the way to facilitate the fashion industry and to develop the fashion merchandising in order to activate the re-cession of manufacturers and to improve competitiveness in the world market and to contribute to the academic achievement in the study of fashion merchandising. In the experimental approach the tasks of research are as follows: Research 1: The application of fashion infor-mation is discussed in terms of process and level. Research 2: The differences of the fashion design activities are captured on the basis of the characteristics of manufactures and fashion specialists and fashion information ac-tivities. The factors are identified which pre-dict and discriminate the results of fashion de-sign activities. The questionaire and interview were conduc-ted among women's clothing manufactures in Seoul and their fashion specialists in charge of merchandise development. The methods of survey were designed on the basis of theories developed so far and on he advice from the social scientists and fashion specialists. the methods were corrected and complemented through the 1st and 2nd preliminary investigations before their application For data analysis cronbach's a coefficient fre-quency percentage average standard devi-ation pearson's correlation coefficient were calculated and t-test F-test(ANOVA) Duncan's multiple range test regression and Discriminant analysis were conducted. The results of analysis throughout the experimen-tal studies were as follows: 1. The analysis of fashion in formation (1) the present application of information a. The source of information : Both the foreign and the domestic information came mostly from fashion journals magazines newspapers and other periodicals, the main source of market information was collected from the survey of popular items in recent years the data about the life-style of customers and their tastes for wearing were widely used as the information about consumers. b. The applicaton of information : The most widely used information was about fabrics. The foreign information was prefered on the whole. The domestic problems pointed out in this investgation were that the domestic journals showed the lack of specialty and the special organizations for fashion informatino were in urgent need. (2) The research of fashion information a. The various processes and levels of in-formation activities: Among the process of collection analysis and distribution the collec-tion process showed a good acheivement whereas the distribution whereas the distribution didn't. In levels of the systematic activities the acceptance of support and the utility of supported instruments the first indicated a high degree whereas the second showed lowest. b. The correlationship among subvariables : There was a significant correlation between the collection and the analysis process. The systematic activities revealed close relation-ship with the analysis process and the accept-ance of support with the distribution process. The close correlation was found between the utility of supported instruments and the analy-sis process. 2. The analysis of the fashion design activities (1) No significant differences were found in the design activities when the characteristics of companies were compared only. (2) According to the characteristics of fashion specialists the one with age experi-ence and high income showed rather good achievement but no significant differences were captured among sex department in charge title academic background education in abroad and field experience (3) The fashion information activities were strongly correlated with the design achieve-ment : The analysis process and the system-atic activity level had a great influence on the design activities. (4) In order to examine which cha-racteristics in (1-3) made it possible to pre-dct and discriminate the achievement in de-sign activities the Discriminant analysis was carried out. The results were as follows: the fashion information activities showed the highest discriminant rate. Next came the in-come level experience and age in that order Those four variables discrimated 37 from 50 who showed great achievement in design area (74%) and 51 from 83 in low achievement group (81%) Thus the total discriminant rate was 77.5%.

• Journal of the Korean Society of Costume
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• v.22
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• pp.263-276
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• 1994

The achievement of notable social reoforms attained during the period of 19th and 20th centuries needlessly speaking remodelded the social environmental into several different patterns such as :1) high industrialization 2) propensity to consume 3) up graded overall social stands. Accordingly the industrial world of the but-tons too established the mess production syhstem by breaking from convention of hand-craft work of 17th century. The raw materials used in the production line on buttons during the 20th century are almost all-kind of materials one can possibly named including cheap plastic which enabled production lines to produce cheaper but higher productivities of the buttons being produced, The design (incused design) used in the 19-20h centuries are : men landscape, sports features, birds, livestocks, bugs, or geomatric features, tec, 1, The classification o f the buttons by materials Techniques shapes colors marking (Incused design) used in the productionof buttons in the England United States of America Laska Italy france Denmark Japan and India are categolizzed as : natural raw materials and syntetical resines. 1) Of the natural raw materials used are : Matal Enamel Iodine Agate, Coral, Green jade(Jasper) Granite, Wood, Ivory, Horn and bone etc. 2) The sythetical resin used in the button in-dustries are : Artificial jewell glass Acrylic material Styroform Celluloid and Nylon etc. 2. The thecnique quoted in producing buttons are hand craft work inlay work precision casting press mosic dye etching, processing, engraving and embossed carving etc. 3. The major designs used in the buttons in -dustries are : Round shape however elliptical column angular and edge shape often used. 4. The colors used are : The multi-colors were highly used than mono-colored materials such as : Adjoining Color and Contrast Color. The highest consideration to be considered in choosing the colors for the buttons are harmonization and matching factor with the garment or dresses to be wore. 5. The major design(incused design) on the buttons are embodiment and the design were also used in order of abstractive-combination abstractive with has offers much surprising. The button industries during the 19th and 20th centuries were not only the determination factors those can judge the value of self-pride of Nation and which were far beyond the in-dustrial arts in those days but also highly refelected and influenced by cultural sense ideology and self-pride of the Nation of those period. The followings are details of the role of the buttons categolized in the order of functional ornamental and symbolical aspects : 1. The functional role : The functional role of the buttons were simply designed for dress how-ever the buttons beyond from this role of function now a days. 2. The ornamental role : The ornamental role of he button beyond from this role of the button were effectuated by : 1) shape materials colors 2) technique locations size and design (incused design) 3) The ramaterials used for buttons shall not be over looked because it is highly depends on the taste sense and combination of harmony with the garment to be wore. 4) The color of the buttons are made well contrasted with the color of garments just as in the case of other artistical area such as matchs with the color of garment of contrast with brigtness of colors contrasted as complementary color and so and so. 5) The technique being adoped are: precision casting press handcraft inlay work etching mosic etc,. Since the buttons are no longer a simple catching devise used to fasten together the different part of the dress but now it has formed own and occupied the independent role in the garment or dresses location can be de-termined and varying depending on the ideas of designers. The size of the buttons has no specific limits, However the variation has widely dependined on the entire circumperence rhythm contrast harmonization of the garments. 3. The symbolical role : Since the button is no longer a just a simple devise for catching and fastening device used fastening together the different part of the garments but now were built a independent area as major part of the Garment and well reflected all kinds of occupations political background cultural as-pect etc. on the buttons. The design of buttons in the western circles are more simplified but they are polished looks and their techniques of manufacturing are comination of both machanis and handcraft. The colors used in the buttons are pretty well harmonized with garment(dress). Almost all kind of materials can be used in the but-tons however materials used in the buttons are : Bone of livestocks ivory, turtle shell are no longer used because the prevention of cruely of animal. On the contraly the level of buttons indus-try of Korea is far to reach and catch up with the level of western circles. It is highly suggested therefore the but-tons industrial field of Republic of Korea shall place and encouragement in producing beter industrial environment of the buttons based on the traditional and cultural aspect of republic of Korea to produce both manufacturing of qulified and best designed and colored buttons.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.136-151
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• 2014

This study systematically analyzed types of fashion brand application focusing on accounts created in Korea. While referring to 'Chanel' which has developed a fashion brand app for the first time in August of 2008, not only for App store by Apple Inc. of the greatest market share but also for Android market, the one and only competitor of App store, the study examined cases of fashion brand app in Korea and foreign countries which have been in service till August of 2013 since the year of 2008. To achieve the research goal, the study conducted a literature research and a case review, categorizing the app by their distinctive functions which were Basic Information, SNS, AR, LBS, Entertainment, Mobile Shopping and Live Streaming. As for the first function, Basic Information, it was considered to provide information on a brand such as prices, sizes and colors of products which should be the most fundamental function of a fashion brand. The function would include look book, catalogues, photographs and others of products, helping users of the app with their understanding on images and concepts of the brand. Second, SNS function was considered useful for its mobility and communication and with the help of theirs, the users share fashion information with each other. Third, AR function as in a filed of virtual reality would edit virtual objects to look real in an actual environment. This would eventually offer the users a chance to try for clothes virtually. The fourth function, LBS, would work with GPS to find a store closest from a present location. This would be a help when the users try to find stores holding promotion events or trails while hiking in mountains. The fifth Entertainment function would include all sorts of games and chances for the users to listen to music and keep fashion diaries. The sixth function, Mobile Shopping, would help the users purchase items online via the app as they would not visit a store in person. The seventh function, Live Streaming, would give the users chances to actually see fashion collections in real time, held all over the world in every season. Because of this function, not only fashion experts but also regular people have become able to enjoy the fashion shows. The distinctive characteristics of the fashion brand application discussed in the study will be a useful reference when any relevant fields try to design other new fashion brand application.