• International Journal of Costume and Fashion
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• v.10 no.1
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• pp.67-79
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• 2010

Cultural sensation by appearance of Elvis Aaron Presley is thought to have been greatly influenced by spread of popular culture beginning to form with the development of mess media in USA that was changed rapidly after the war, changing aspect of popular music in U.S.A through the media development and teenager culture of USA that has rapidly emerged. Elvis intended to change into 'music to be seen' deviating from 'music to be simply listened to' with expressing the conversion of sexual consciousness, defiance to older generation and a sense of value on wealth, and the like, and also suggested a new culture and style to the young people at that time. Flow of Elvis's fashion may be categorized into the classifications such as the fashion in the period. First, Formative period(before 1954) distinguished by pimp look and sideburns with tough image and wild clothes. Second, Establishment period(1954-57) may be categorized into the hot rockabilly style which showed a glittering fashion by brilliant and colorful costumes, the cool rockabilly style which changed him to a fashionable star of modem image(1958-60). Third, re-heyday(after 1968) where a brilliant and bold decoration was displayed. In Elvis fashion, the masculine sensualism, defiance to main value and expression of luxury and consuming culture, etc. are included as a unique aesthetic consciousness. 'Expression of masculine sensualism' represented the sensualism through sexual objectification of men's body by men's sexual ostentation which was prohibited. 'Defiance to main value' means that attempts of non-mainstream image for social class are expressed with an exercise of power by young people through the public. Although the Elvis look has fanned an anti-culture, it was expressed and accepted as having a normally capitalistic appearance. In addition, it being thought of as the standard, symbolizing a success and a wealth through the presentation of image which accepted this material benefit, we may classify this into 'expression of luxury and consuming culture'.

• Journal of the Economic Geographical Society of Korea
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• v.23 no.1
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• pp.18-34
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• 2020

This study aims to investigate Dongdaemun fashion industry once thrived in Seoul, now in a rapid decline. For this purpose, three research themes are put forward. That is, to fix the boundary of Dongdaemun fashion industry, to analyze the characteristics of its value chain, production network and industrial agglomeration, and to search for the cause of its decline and to suggest political solutions against it. The following is the findings of this study. Firstly, Dongdaemun fashion industry has spreaded out over the last six decades and now its boundary can be marked within a radius of 10 kilometers of Dongdaemun Market in northeastern Seoul. Secondly, Dongdaemun fashion industry has a buyer-driven chain and star production network, and therefore can be assumed that it is spatially segmented industrial agglomeration. Lastly, its rapid decline is directly from the shrink of market demand on Dondaemun fashion, and inherently in the topological structure of its star production network. Thus the feasible political solutions can be found in that direction. Consequently, these results have academic implications for clearing up some previous studies' misunderstandings and getting over one of the long-criticized research biases that pervades in industrial agglomeration theory, primarily focusing on the successful regions.

• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.1 s.4
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• pp.1-12
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• 2005

The purpose of this thesis is to study the formative characteristics and symbolism shown in Rock stars' hairstyles through rock music to have influenced youth culture. There were a D.A style and a mop top style which included the youth characteristic to seek a new desire and value as the hairstyles of Rock & Roll stars, along with the characteristics of Rock & Roll music to represent the feeling of teenagers in 1950's at that time unlike the previous music due to high beats mixed with Rhythm & Blues (R & B) and Country music, and use of electronic guitars. We can see the desire for challenge and freedom against the then present regime, shouting love and peace, and resistance in the Psychedelic Rock music stars' hairstyle, which are untrimmed and disheveled, that is, natural. We can find explosiveness in Mohican and Spike style of Punk Rock stars playing fierce and aggressive music, along with words including indignation and assertion against the society's regime. The Artistic characteristic is implied in the following hairstyles: Glam Rock stars' hairstyle, a man's long-haired but a little long crew-cut style to reduce the bulky feeling and to give a bisexual, visible shock with hair dyed in orange to emphasize magnificence, and Punk Rock stars' hairstyle showing beauty in their own way with expression of anti-beauty to intentionally look ugly. Like this, the 20th Century's Rock music and youth culture are closely associated each other, and showed a new style, and played a leading role in street fashion, which became a momentum to much influence high fashion as a look of the 20th century modern fashion.

• The Bulletin of The Korean Astronomical Society
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• v.46 no.1
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• pp.51.2-51.2
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• 2021

Nuclear rings are sites of intense star formation at the center of barred spiral galaxies. A straightforward but unanswered question is what controls star formation rate (SFR) in nuclear rings. To understand how the ring SFR is related to mass inflow rate, gas content, and background gravitational field, we run a series of semi-global hydrodynamic simulations of nuclear rings, adopting the TIGRESS framework to handle radiative heating and cooling as well as star formation and supernova feedback. We find: 1) when the mass inflow rate is constant, star formation proceeds in a remarkably steady fashion, without showing any burst-quench behavior suggested in the literature; 2) the steady state SFR has a simple linear relationship with the inflow rate rather than the ring gas mass; 3) the midplane pressure balances the weight of the overlying gas and the SFR surface density is linearly correlated with the midplane pressure, consistent with the self-regulated star formation theory. We suggest that the ring SFR is controlled by the mass inflow rate in the first place, while the gas mass adjusts to the resulting feedback in the course of achieving the vertical dynamical equilibrium.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.2
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• pp.19-40
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• 2000

It is supposed that the future fashion could be made by the scientist instead of fashion designer. Because it is so intellectual and avantguard. In addition to this the practical value and a certain identity is needed in this future fashion. Especially, the intention of no acceptance of categorization could be explained through the fashion clud of young people and the extremeness in the street. Paul Hedmus has insited that Tokyo club is closely related the fashion styles depended on the western historical street fashions. Fashion is mixeded contrasted, modified, resembled, reversed and finally it includes the new neaning. Instead of distinguishable logo there are lots of messages in the fashion. There are a few thousand of young people who wear silver max metal shoes. And they craze the neon picture and advertisement implies meaning the drug. It could be applied to the people of 90's. The difference between sex from the stone age is induced basically from the fashion and the part of discussion of sex. In this study we research the images of future fashion showed in SF Movie, Star Wars, Episode, The 5th Elements, Nirvana. Those were geometric and natural, technological expansion of space, corset fashion acessoruy image and geometric expression and these characteristics implied in modern fashion trend and future fashion images. Because it is supposed to the future image of current fashion. The millenium fashion is more realistic, practical, and natural instinct realization of ideal. but it is not the unrealistic, the vague of the regendary image.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.117-131
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• 2000

The purpose of this study is for affirmation about fashion and film industry has very important relationship through the image of film fashion in 1990. To this processing , films in 1990 were analyzed by the back ground, time place, persons's status are expressed in period movie but the person's characters, development of story mood in contemporary movies. The contents of this study are as follows : First, film fashion which was related mass fashion design and concept development and fashion designers as constume services were considered. Second, the change of star image through the 20th century. The roles and new image of film fashion in period movies and contemporary movies in 1990 were searched. Third, proposal and results were confirmed for expansion of fashion industry and film industry together. Finally, from the latter of 20th century, a lot of fashion designers have participated in film works than before, So the images of films were sued and reflected as new mass trend . Especially retro-romantic mood was expressed in fashion trend due to period movie fashion. Also minimal city look and elegance glamourous look are represented cause of contemporary movie fashion. Therefore, the cooperation between film productions and fashion professionals is very important for promotion of Korean culture development in 21st century, 'the century of image'.

• Journal of Fashion Business
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• v.10 no.6
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• pp.110-121
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• 2006

The purpose of this study is to analyze the various types and areas of recent collaborations in fashion industry and to find the utility value of collaboration. Seventy seven cases of fashion collaboration marketing strategies were selected from officially announced literature survey and enterprises information around the world. Among the seventy seven cases of fashion collaboration surveyed in this study, collaboration with other fields made up 59.7 percent, collaboration between the same fashion categories made up 40.3 percent. Among the areas of other fields, collaboration with IT(Information Technology) or Motor enterprises were included and made up 36.4 percent. Collaborations with Culture and art world that fashion brands collaborate with world-renowned industrial designer or artist and star entertainers were also included and made up 23.3 percent. Among the areas of the same categories, collaboration of fashion designer and sports or casual brand made up 22.1 percent. Collaborations of home shopping mall and fashion designer made up 18.2 percent. Collaboration cases surveyed in this study were classified according to three types; co-product development, co-branding, and co-marketing. Collaboration for co-product development made up 72.7 percent. Collaboration for co-branding made up 27.3 percent. Collaboration for co-marketing made up 37.7 percent. These collaboration marketing strategies are very efficient to upgrade brand image and cut the marketing cost by creating new target, product, brand, and promotion through successful partnerships. Therefore, much more various types and areas of fashion collaborations should be developed to create something new for future consumers.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.47-67
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• 2002

The purpose of this study was to investigate the differences of Middle and High School Students' influential groups in putting on clothing according to their delinquency and demographic variables. My subject was 1050 middle and high school boys and girls who are resident in Seoul; sample groups were selected, considered their resident area, gender and the kind of school. The results are as follows: 1. The exemplary group was most regarded the opinion and evaluation of teacher, father and mother and followed the clothing of teacher. Compared with the exemplary group, the delinquent group was most regarded the opinion and evaluation of other and same sex friend and tended to follow their clothing style. Besides, the delinquent and middle groups were most regarded the opinion and evaluation of seniors and tended to follow their clothing style. The mass media star was most modelled by delinquent group, following by middle and exemplary groups. 2. Schoolgirls were more regarded the opinion and evaluation of same sex friend and senior and were more remarkable to follow the clothing style of their parent, friend, senior or mass media star than schoolboys. The students who did well at school more were regarded the evaluation of father, mother and same sex friend than those who did commonly or poorly. As for the exemplary group, the poorer a student did at school, the more he/she tended to follow the clothing style of mass media star, but on the contrary, as for the delinquent group, all students tended to follow the clothing style of mass media star regardless of their academic record. And there was no significant difference according to social status in important others and model group.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.382-396
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• 2008

The purpose of this study is to analyze the transition of glamour style expressed in modern fashion throughout the history. The glamour style in modern fashion was categorized into five periods which are Hollywood glamour(H), Feminine glamour(F), Rich glamour(R), Decadent glamour(D), and Trash glamour(T). These categories were analyzed and compared in the viewpoint of aesthetic values deduced on the previous study. As a method of analysis, literature study and case study through the publications in aesthetics, history and preceding theses were used. The results of analysis are: Ostentatious luxury was suggested by extravagance of the movie star in H, the splendid American lifestyle in F, conspicuous consumption in R, fin de siecle bad taste in D and self-assured exposure in T. Mysterious idolatry was studied as exaggerated goddesshood of the movie star in H. It was expanded to celebrities including fashion models, television actresses, pop singers and young couture designers in the other periods. Artificial sensuality was originated from the femme fatale image of the courtesan as well as the traditional femininity of Victorian era in H. It was developed through exaggerated hourglass silhouette of the wife dressing in F. But an aggressiveness in R, a hyper-sexual femme fatale in D, an independent and defiant image of the showgirl in T were observed. Playful queerness stood out clearly by the fin de siecle phenomena. Though it was embodied in sexual perversive subculture, it emerged as hi fashion by young designers in the late R and became a crucial aesthetic value throughout D and T. It is more connected with the origins of glamour which arouses sexual ambiguity, crudity, aggressiveness and death. The continuity and discontinuity of the glamour style based on the theory of 'linked solution' were also analyzed.

• The Research Journal of the Costume Culture
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• v.22 no.3
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• pp.383-398
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• 2014

This research worked on the cooperative case by Marc Jacobs, who was involved in innovative collaboration in the field of fashion, and the analysis on imbedded values. With assessment of it, this paper aims at providing the theoretical ground on prevalence of fashion collaboration for creative innovation and presenting the basic material in establishing the design and marketing in the fashion industry. In methodology, the review was followed up about literature regarding Marc Jacobs and collaboration and his cases in 2001 through 2012. Results showed that his collaboration cases could be divided into those with modern artist, those with fashion brand or designer, those with other field brand than fashion, and those with the public star. They were processed into such a form as development of new product and collection, shop display, and exhibition event. The value could be drawn from this case examination of Marc Jacobs' fashion collaboration, which includes the design innovation through reinterpretation of tradition, innovation of maximized brand value, and transboundary innovation toward a vast extension of realm. Namely, the collaboration of Marc Jacobs would be the driving force for design innovation and the creative process for both parties concerned through endless cooperation and would generate the innovative value for fashion field.