• Journal of Fashion Business
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• v.18 no.4
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• pp.45-65
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• 2014

The importance of the cultural identity of each country is emphasized among the new cultural paradigm of the 21st century. Leading world-wide trends, overseas licensed fashion magazines have expressed characteristics close to the culture and lifestyle of each country at the same time. The goal of this study was focused on finding out the differences and similarities between overseas licensed fashion magazine, or if the content would be compared to the aesthetic characteristics and criteria of the country they were published in. To accomplish this, we extracted the color, material and modifier from the scripts of the Korean and Japanese editions of VOGUE published during S/S in 2012 for comparative analysis of the aspects of color, fabrics and modifier between Japan and Korea. There were common but also unique characteristics, as the issues of VOGUE KOREA and VOGUE JAPAN published during the research period had modifier to fit each season and trend, the emergence of color and fabric. Especially, the kind and frequency of color, fabric and modifier could be considered as expressing their own unique fashion culture. In case of Korea, maximal with colorful and decorative image is especially strong, while in Japan the soft and gentle feminine image was rather strong.

• Journal of Fashion Business
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• v.18 no.5
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• pp.116-133
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• 2014

This study is to research the characteristics of garment which are 'written(or described)' in fashion magazines. With examples particularly of Korea and Japan, this study aims at pointing out the similarities and differences described by modifier in oversea licensed fashion magazine. It is considered to be meaningful to provide fundamental document, which can estimate the aspects of fashion that has global features and localized characteristics. This is a follow-up of a previous study, covering its range of "Vogue Korea" and "VOGUE Japan" research document, and we researched on the materials that have been mentioned most frequently in each country from May to August of 2012. To target analyzing list of top 6 materials, we compared and analyzed the characteristics of the kind of material represented by Korean and Japanese fashion magazines and modifier's properties. As established in the previous study, to designate each contrary concept to a total of 8 groups as an analyzing frame, we researched the properties of each material and differences between Korea and Japan.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.37-47
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• 2014

Recently, the Korean wave has caused many foreign nations to pay attention to various fields including Korean culture, arts, fashion and beauty. Korean images so far were mainly discussed in terms of aesthetics, and there is lack of efforts to visually shape Korean images. On the contrary, Oriental images focused around Japan and China have greater global influence and better globalized fashion styles compared to Korea. Therefore, it is necessary to suggest a globalized proposal of Korean fashion styling which reflects original and unique aesthetic characteristics of Korea that can be accepted by the global market. In this study, the concept and types of fashion styling and stylists were examined, as well as the definition of Korean image and types and characteristics of Korean images shown on fashion magazines. Also, after collecting photographs having Korean images that were included in the editorial fashion styling of Vogue Korea, their characteristics were analyzed. The results of interviews with professional fashion stylists were summarized to propose an editorial fashion styling with Korean image for overseas consumers who long for and wish to imitate Korean fashion styling.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.95-103
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• 2024

This study examines the works of Yohji Yamamoto, one of the most influential fashion designers in 21st century Japan. The research focuses on the Yohji Yamamoto Women Ready To Wear collections showcased at Paris Fashion Week (2019F/W-2024S/S). The research methodology includes case analysis and summarization of images. The study analyzes the Yohji Yamamoto brand development and design style. A total of 399 runway images from 2019F/W-2024S/S were downloaded from VOGUE and analyzed based on four aspects: silhouette, color, material, and item. The analysis of these aspects reveals the aesthetic characteristics of Yohji Yamamoto: Zen-like, simplicity, naturalness, and elegance. The findings indicate that these aesthetic ideas are the core elements of Yohji Yamamoto's unique aesthetic and play a significant role in shaping the brand's style.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.293-319
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• 2003

Retro, one of these fusion styles, was found in various pattern in fashion. Recent fashion trend shows coexistence with variety which cannot be represent by one or two themes, and introduces various images in a season. Therefore, this study was found three fusion image of Retro pattern which has appeared since 1990; Romantic, Ethnic, and Hippie-look. shown in VOGUE, BAZZAR and etc. 1, Romantic image overcame the exaggerated style of 18th century and expressed in a volume gown, a tight dress of high-waist, and bustier. In addition, beads or sequin became more brilliant and gorgeous which decorated the whole clothing. 2. Ethnic image was expressed with fusion of particular traits from all of the world such as Japan, China, India, South America, Greece, and Africa. 3. Hippie-look image has been shown in slim & long silhouette style, and fusion styles of romantic factors or ethnic factors were also found. Retro as one of the phenomenon of fusion was found in romantic image, ethnic image and hippie-look Image.

• Strategy21
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• s.36
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• pp.5-32
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• 2015

Geopolitics or Political Geography is an essential academic field that should be studied carefully for a more comprehensive analysis of international security relations. However, because of its tarnished image as an ideology that supported the NAZI German expansion and aggression, geopolitics has not been regarded as a pure academic field and was rejected and expelled from the academic communities starting from the Cold War years in 1945. During the Cold War, ideology, rather than geography, was considered more important in conducting and analyzing international relations. However, after the end of the Cold War and with the beginning of a new era in which territorial and religious confrontations are taking place among nations - including sub national tribal political organizations such as the Al Quaeda and other terrorist organizations - geopolitical analysis again is in vogue among the scholars and analysts on international security affairs. Most of the conflicts in international relations that is occurring now in the post-Cold War years can be explained more effectively with geopolitical concepts. The post - Cold War international relations among East Asian countries are especially better explained with geopolitical concepts. Unlike Europe, where peaceful development took place after the Cold War, China, Japan, Korea, the United States, Taiwan and Vietnam are feeling more insecure in the post-Cold War years. Most of the East Asian nations' economies have burgeoned during the Cold War years under the protection of the international security structure provided by the two superpowers. However, after the Cold War years, the international security structure has not been stable in East Asia and thus most of the East Asian nations began to build up stronger military forces of their own. Because most of the East Asian nations' national security and economy depend on the oceans, these nations desire to obtain more powerful navies and try to occupy islands, islets, or even rocks that may seem like a strategic asset for their economy and security. In this regard, the western Pacific Ocean is becoming a place of confrontation among the East Asian nations. As Robert Kaplan, an eminent international analyst, mentioned, East Asia is a Seascape while Europe is a Landscape. The possibility of international conflict on the waters of East Asia is higher than in any other period in East Asia's international history.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.