• Journal of Fashion Business
• /
• v.1 no.1
• /
• pp.71-83
• /
• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• Journal of the Korean Society of Costume
• /
• v.55 no.6 s.96
• /
• pp.51-66
• /
• 2005

Fashion is to emphasize the importance of total coordination in creating an image. Therefore, modern fashion is not the conformation of fixed beauty but it exist in the expressed form of the variety and the completion according to the individual's personality for the self image of the clothes, the hair and make-up, the accessories and the like. This study Is aimed at reviewing one of the tendency of modern fashion coordination and the characteristics of John Gallianos fashion work and there upon, analizing the characteristics of John Galliano's fashion show, who is one of the most leading fashion designer, by dividing them Into four categories in large: 1) The maximum effect of fashion image by make-up and hair style 2) Adventurous fashion coordination with daring decoration 3) Fascinating fashion coordination Harmonized with color 4) Enlargement in the concept of fashion coordination by experimental way of clothing

• Journal of Fashion Business
• /
• v.14 no.2
• /
• pp.95-109
• /
• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.7 no.2
• /
• pp.53-59
• /
• 1983

The purpose of this study was to investigate the relationship between five aspects of clothing behavior and needs for exhibition and autonomy among high schoolgirls. Five aspects of clothing behavior were studied: fashion interest, clothing exhibition, attitudes toward the abolition of the school uniform and control of school dress. A questionnaire of 20 items prepared by Kahng, Lee, and Creekmore was used to assess fashion interest and clothing exhibition. Assessment of attitudes toward the abolition of school uniform and control of school dress was made with questions devised for this study and included several modified items from Kim's questionnaire. Preferences for fashion style were determined by line drawings representing current fashion and outdated fashion. The questionnaires were administered to 341 second year senior high school girls from three types of schools. Statistical analysis was performed using the correlation coefficient, chi-square test, ANOVA, The results were: 1) The need for exhibition was positively related to clothing exhibition and fashion interest, that is, students who had a higher need for exhibition were more interested in clothing exhibition and fashion. 2) The need for autonomy was positively related to attitudes toward the abolition of school uniform and control of school dress that is, students who had a higher need for autonomy wanted the abolition of school uniform and less control of school dress. 3) Fashion interest was positively related to preference for fashion style, that is, students who a higher fashion interest prefered fashinable styles in the selection of new clothes. 4) Scores of clothing exhibition and attitudes toward loosening of control of school dress were significantly different among three types of school. The orders from highest to lowest are following: single-sex preparatory, coeducational preparatory, vocational high school.

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

• Archives of design research
• /
• v.20 no.1 s.69
• /
• pp.143-154
• /
• 2007

The purpose of this study is to investigate fashion product image evaluation according to life-style groups of middle-aged women. The subject of investigation was 352 middle-aged women from 35 to 59 living in Daegu by random sampling method in April and May, 2005. The investigation was carried out by questionnaires which were composed of 3 sections: Fashion product image measure, Life style research and demographic variables(age, academic background, occupation, monthly clothing allowance, monthly income). The statistical methods to analyze the data were frequency, percentage, average, factor analysis, cluster analysis, ANOVA, Duncan's multiple range test. The results are summarized as follows: 1. As a result of factor analysis for fashion product image, the four factors including noble image, bold image, practical image, female image were extracted. 2. Middle-aged women were classified into four life-style groups including tradition oriented group, negative oriented group, activity oriented group and appearance oriented group. 3. Significant differences in fashion product image preferences according to life-style groups were found. Tradition oriented group preferred noble image and practical image. Negative oriented group tended to pursue practical image. Activity oriented group pursued a bold image. Appearance oriented group liked a noble image the best and then noble image, bold image in order.

• Journal of the Korean Society of Costume
• /
• v.55 no.1 s.91
• /
• pp.86-100
• /
• 2005

The purpose of this study was to investigate lifestyle of male college students and their preference of casual wear style. A questionnaire consisted of 60 lifestyle items, 1 casual wear style-preference question and demographic variables was developed. Data were collected from questionnaires distributed to male college students of 7 universities located in the Daegu${\cdot}$Gyeongbuk area during August 2003. After eliminating incomplete questionnaires, 303 were analyzed by descriptive statistics, factor analysis, cluster analysis, one-way ANOVA, and $x^2-test$. As a result of factor analysis on lifestyle items, 8 factors were determined: consumption and fashion orientation, future preparation, social concern, a wide range of thought and experience, health orientation, independent spirit, masculinity, and family orientation. 4 groups were identified on the basis of these 8 factors and named as active pragmatic group, liberal empirical group, prospective self-supporting group, and social accommodative group. Their component ratio were $30.2\%,\;33.2\%,\;19.6\%,\;and\;16.9\%$ respectively. The most preferred casual wear style by male college students was determined as basic casual wear, followed by adult casual wear, fashionable casual wear, and sporty casual wear. Other than the most preferred style, basic casual wear, by every group, the preference of casual wear styles differed among 4 lifestyle groups.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.15 no.2
• /
• pp.65-75
• /
• 2013

As a typical subculture, Goth exercises influence on our culture in broad areas. Features of Gothic style, such as dark aesthetics, images of death and fear, and erotic horrification, emerged as attractive themes to contemporary fashion designs. Based on the dark attraction of black color, Goth fashion creates mysterious and fantastic atmosphere as well as grotesque and horrifying mood. 'Hallyu' or Korean wave is a term to describe the phenomenon of fervently loving Korean popular culture. As the fast spreading Hallyu is strongly engraved through the visually conspicuous fashion, we can say that fashion plays important role in diffusing Hallyu. In addition, a number of analyses and researches on the Hallyu, including K-pop, have been conducted, while concentrating keen interest in fashion of Hallyu K-pop stars. Accordingly, this study is designed to examine relations between fashion of K-pop stars and Goth fashion after analyzing features of Hallyu and K-pop and contemplating Goth fashion. Namely, this study will analyze various Goth images shown in K-pop fashion, which is the core of Hallyu, and identify aesthetic features of Goth shown in the fashion of K-pop stars. An investigation and analysis of the Goth images shown in the fashion of K-pop stars identifies the following features : a black aesthetic, eroticism, defiance, reversal of gender identity, and mystery.

• Journal of the Korean Society of Costume
• /
• v.61 no.2
• /
• pp.20-31
• /
• 2011

Decentralization is an effort to liberalize people from its character of neutralizing or restraining people while indwelling in the previous thought system. Decentralization in fashion is one of the phenomenon of post-modernism fashion, and it is closely related to de-culturalism, crossover, abolition of rank, and etc, and it is in line with Asian look which includes orientalism fashion. The study intends to consider the Phenomenon of Decentralization of Asian Look and its Method depicted in the western fashion. The study focuses on documentary data, and the it is held with the basis of Asian look shown in western fashion. If ideology which influenced the formation of folk costume of Asia, Asian look is the dissolution of such ideology, and post-modern amusement is substituting it. The most conspicuous characteristic of decentralization phenomena of Asian look is pastiche which is a combination and reallocation of external style of many cultural zones and many folk costumes, and it shows mutual irrelevance, and it is a neutral imitation which has internal meaning and humor disappeared. Also, Asian look shows characteristics of parody and irony, which are reversal characteristics of aesthetic value which is expressed through methods of addition, modification, distortion, exaggeration, inversion, dissolution, and etc. Parody which is expressed through imitation regarding previous style shows effect of humor or satire, but its characteristics show that it expresses respect or admiration regarding the original The method of irony is showing sarcasm with ironical method regarding the peculiar style of Asian folk costume, and it pursues unexpected shock and joy, and it is closely related to orientalism fashion. Expansion and constancy of Asian look reflects the interest regarding folk of Asia and Asia, and it is a movement which intends new attempt by abolishing stereotype, and furthermore, it is expressing liberty of humans.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.2
• /
• pp.91-105
• /
• 2010

The purposes of this study were to segment consumers by life style groups and to investigate the differences among the segmented groups in regard to Korean image preferences in casual wear. The subjects of the study were 653 women consumers who lived in Seoul. Data were collected from July to September, 2007. Statistical analyses used in the study were factor analysis, cluster analysis, ANOVA, and Scheffe test. The results showed that there were seven factors of life style: fashion and appearance interest, pride in Korea, sociability, interest in foreign culture, family centered, sports/culture, and interest in Korean food. Based on the seven factors, the consumers were segmented into three groups. They were fashion/diverse culture interest group, family/recreation oriented group, and sociability/family oriented group. The results showed that there were significant differences among the lifestyle segmented groups in regard to Korean image preferences for color, fabric, pattern, and categories of casual wear, and the intention to purchase the casual wear. For example, fashion/diverse culture interest group preferred diverse Korean prints, red, orange, blue and white colors, natural fabrics, and various types of casual wear. Also, the group has the highest interest and intention in wearing Korean image casual wear.