• 한국의류학회지
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• 제8권3호
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• pp.19-30
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• 1984

There is a symbolic term which has realized custom of an era and has eome into fashion since the middle of 1920's. That is Garconne. This paper studied the image and costume of Garconne expressed in literary works, the form of art made it to come into being, and costume of a group of women played a role of pioneers of Garconne. Garconne attempted simple, casual, and mannish costume instead of usual elegance. It was the boiysh style($\`{a}$, la Garconne) which did not stress on the bust and waist like chanel suits used wool jersey by a designer, Chanel ana short skirts of low waist line. They got short haircut and wore low heel shoes. Garconne meant women who were free of convention, were familiar with love a d profession, and lived for themselves in the same manner of young men. They yieled new mode of 1920's. Though their lives were only a period, they manifested the symbol of the period though their figure and designation was not disappeared at the age but was settled as a mark of fixed image. There were several reasons why the Garconne was born. Rapid changes in politics, economics, and society in Europe were occurred from the First World War to 1920 and the trend of custom and art was a turning point. Especially, the entry of women into the society and the mode of Art Deco influenced it directly. The role of a pioneer of Garconne was appeared from the French Revolution. As Merveilleuse, Lionne, and Bloomers wore peculiar clothings ana had life style being irrelevant to tradition, they were talked about. They informed in advance the appearance of new women who were different from romantic ladies and were more modern and active. The pioneer design of Paul Poiret which were over whelming throughout a period and functional design of Chanel were increasingly accelerated.

• 패션비즈니스
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• 제12권2호
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• pp.12-27
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• 2008

The purpose of this study is to study main characters' (Roxie Hart, Velma Kelly) costumes and color images in the movie "Chicago". First, regarding the costumes and color images in characters, Roxie's straight silhouette slip in skin tone reflected her frailty and monotonous routines in reality. On the other hand, a white beaded dress showed her fame-hungry and self-absorption in fantasy. Also, a low waistline blue dress and a see-through black dress with a white collar were to disguise her guilt and draw sympathy to win a suitcase. Black and contrasting colors of red and blue body-suit style dresses expressed Velma's sensual attraction, aggressiveness, and desperation. Second, these images were reinforced by color images in the backgrounds in the film. On the scene of Velma's 'cell block tango', black and red showed her strong character. Contrasting colors of the red and blue expressed Velma's desire and despair in her act of 'the desperation'. As for images of black color on Roxie's stages, they represented her self-absorption and frustration of failing to attract public attention. On the ending of duet performance of Roxie and Velma, the yellow of the background expressed success and joy in life.

• 패션비즈니스
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• 제24권3호
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• pp.1-16
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• 2020

The purpose of this study is to find the aesthetic characteristics of costume design as mise-en-scène in movie 'The Danish Girl'. the methods of this study was carried out prior research, literature studies and qualitative research of visual content analysis by DVD. The spatial and temporal scope of the study is Copenhagen, Denmark from 1926 to 1931, and Paris, France. The styles of the times(1925 ~ 1931) and the spatial sensibilities of women's costumes in terms of form and color were examined thorough out the story. As the results, the costume are based on the 1920's Art Deco style like straight silhouette and some of them are oval soft silhouette. The colors are harmonized or in conflict based on Nordic colors such as blue-green, gray and yellow. Rather than expressing the internal conflict between the two main characters, the costume was focused on the role and character. And also exotic tastes like Japanese and Egyptian textiles patterns and decorations. Therefore, it was found that the movie costume played a role as one of the very important mise-en-scène.

• 한국의류산업학회지
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• 제9권1호
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• pp.15-23
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• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• 패션비즈니스
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• 제18권4호
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• pp.80-96
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• 2014

The purpose of this study is to consider the expression of costume through the review of cinema costumes and to provide the model of cooperation between fashion and movie industry by analysis of collaboration with fashion brands in the movie . The subjects are the 1974 film directed by Jack Clayton and the 2013 version by Baz Luhrmann. Cinema Fashion was studied by analyzing the costumes of the two main characters, Gatsby and Daisy, in each scene. Gatsby's costume appeared as a model of traditional American classic suit, sensitive G-G look that symbolizes social success and traditional casual style that reflects upper-class life style. Daisy's costume expressed pastel toned luxury flapper look, oriental art deco style, and prestigious jewelry representing high class. The collaborations with fashion brands were carried out with Ralph Lauren and Cartier in 1974 film, and Brooks Brothers, Prada, and Tiffany in 2013. The value of prestige brands that matched the images of the movie was utilized, but marketing strategies for the promotion of fashion goods were not enough in 1974 version. On the other hand, in 2013 film, the effects of collaboration of the movie and fashion brands were forecasted sufficiently and marketing campaigns for promotion were performed in a various ways. The characteristics of collaborations were as follows: (1) the usage of prestige brands value, (2) collections planning and promotion using the stories of a movie, (3) the usage of multidirectional digital media, and (4) multi-dimensional promotion using entertainment factors. In collaborations with the movie, fashion brands could make cooperative relationship to produce the positive effects for promotion and prestige image strategies and draw attention of the people to the movie and fashion.

• 디자인학연구
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• 제20권
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• pp.293-304
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• 1997

본 연구의 목적은 19 세기말에서 20세기초로 접어드는 시대에 유럽의 전위적인 텍 스타일 디자인을 창조하였던 비엔나 공방의 형성과 쇠퇴 동기를 규명하고 텍 스타일 디자인의 특성을 분석하여 이 시대의 시대적 경향을 파악하는 데 있다. 연구내용은 첫째, 비엔나 공방의 형성과정과 비엔나 세세션(Secession)과의 관계를 밝히고, 둘째로, 비엔나 공방의 전반기와 후반기의 텍 스타일 디자인의 변천과정을 고찰하며, 이의 텍 스타일 디자인 특성을 디자이너별로 분류하여 분석하였다. 결론으로, 비엔나 공방의 텍 스타일 디자인 특성의 변화 분석을 소재, 레이아웃, 색상, 용도, 디자인 특성적인 면에서 요약하고 공방의 텍 스타일 디자인 성격의 변천요인에 대해 결론을 내렸다. 비엔나 공방의 전반기의 텍 스타일은 홈 퍼니싱 용도로 직조직물로 제작되었고, 호프 만과 비엔나 공방이 건축한 빌딩들이나 저택들에 사용되었다. 전반기의 디자인 특징은 올 오우버 레이아웃을 지니며, 삼색 상 미만의 단순하며 그래픽 적이며 대담한 디자인이다. 소재로는 동물이나 식물의 양식화와 건축 적 요소에서 유래된 기하학 모티브가 사용되었다. 후반기의 텍 스타일은 직조보다는 프린트에 중점을 두었고, 이들은 여성용 어패 럴에 사용되었다. 후반기에 디자인 특징은 올 오우버(All Over) 레이아웃, 줄무늬(Stripe) 레이아웃, 오지(Ogee) 레이아웃을 지니며, 자연을 양식화한 디자인, 전통적인 디자인을 해석한 디자인, 에스닉 디자인, 아프리카와 아즈텍 문명의 영향을 받은 기하학적 아르데코 디자인의 네 분류되며, 색상은 6,7도까지 사용되었다.