• 제목/요약/키워드: chic

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한국 20~30대 여성의 패션 프레임과 패션이미지 유형화 (The Classification of Fashion Frame and Fashion Image of Korean Women in their Twenties and Thirties)

  • 신세영;김영인
    • 복식
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    • 제63권4호
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    • pp.118-131
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    • 2013
  • The purpose of this study is to take a look at the fashion frame of Korean women in their twenties and thirties to sort the actual fashion image and the ideal fashion image according to the fashion frame of Korean women in their twenties and thirties, and also to find out the standards and features that divide such a classification. For this study, we used the Q method, which is valued as an effective way to assess subjectivity. This helps to objectively classify the perception the fashion images of and the response to them as well. The analyzed materials were divided into two actual fashion frames and two ideal fashion frames, and classified them into 12 fashion image types in total, that is, six actual fashion images and six ideal fashion images, and we named each type of the fashion images and analyzed the features of each fashion image type through the in-depth Q workshop in which 14 professionals participated. The results of this study are as follows: First, the actual fashion frames of Korean women in their twenties and thirties was largely divided into 'Fashion Gold Girl', the fashion frame of mainstream and 'Indi-idol', the fashion frame of subcultures, and this was further divided into six fashion image types: 'Basic Casual', 'Vintage Performer', 'Easy Chic', 'Ladies' Look', 'City Office Girl' and 'Club Mania'. Second, the ideal fashion frame of Korean women in their twenties and thirties was divided into 'Urban Refinement', the fashion frame of the mainstream and 'Mismatched Style', the fashion frame of subcultures. It was also divided into six fashion image types: Power Fashion', 'Fashion Conservative', 'Semi-culture', 'Fashion Otaku', 'Sweet Darling' and 'Fashion Panic'. Third, The characteristics of the fashion images' colors are recognizable according to the type of fashion images.

테헤란 스트리트에 나타난 패션 아이템 히잡 연구 (A Study on the Hijab as a Fashion Item in the Tehran Street)

  • 김현서;김현주;나현신
    • 패션비즈니스
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    • 제24권2호
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    • pp.1-16
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    • 2020
  • Hijab as a symbol of women's oppression due to the opening and reform of Islamic State group, is becoming more diverse as younger generation begins to dress more freely than ever before, spreading the perception that it is a fashion item. In response, this research conducted a theoretical review about the history of hijab, various forms of hijab, and characteristics of hijab using relevant literature, media reports, and fashion media articles. As an empirical study, image-oriented photo data shared by Tehran Street Fashion from 2015 to November 2019 were analyzed separately by fashion majors into color, pattern, and hijab-making forms. According to the analysis, six different fashion images were categorized as romantic feminine, modern chic, natural elegant, classic formal, sporty casual and gorgeous ethnic. For Muslim women in the past, hijab was worn as a repressive and closed sense by the religious system. However, in modern times, it is a way to express one's style and ideas as a fashion item. It is also and a means to express one's thoughts and beliefs. Through aesthetic consideration of Hijab as a fashion item, it was found that it was a medium for freedom of expression and a medium for beauty and individuality.

중.노년층 여성의 의복추구 이미지 연구 (A Study on Clothing Preference Images of the Middle-Aged and Elderly Women)

  • 김유덕;김미영
    • 한국의류학회지
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    • 제28권6호
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    • pp.746-757
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    • 2004
  • This study was intended to analyze clothing preference images according to the age groups (30's, 40's, 50's and 60's) and to clarify the differences between present clothing preference images and that of the future after 60. The data was collected through a questionnaire and a total of 482 questionnaires on the age groups ranging from 30s through 60s were used in the analysis. As for the present clothing preference images in accordance with age groups, the younger age groups in the range of 30's and 40's presented higher scores in most of these images. But the older age groups in the 50's and 60's had lower scores in most of these images. On the contrary, the older age groups had higher scores than the younger age groups with respect to similar, mature, magnificent, innocent, plump and virtuous images. As for the future clothing preference images after 60 in the elegant, luxurious, graceful, intellectual, chic, urbane, slimy and sociable images, the age groups in the 30's and 40's presented higher scores than the age groups in the 50's and 60's did. However, with respect to the youth-oriented images such as fashionable, innocent, remarkable, cute and vigorous images, the age group in the 60's had a higher score than the age group in the 30's, 40's and 50's did. There were differences between the present clothing preference images and future clothing preference images after 60. The 30's and 40's presented distinctively different clothing preference images in the present and future after 60. Thus, distinct images were pursued in the older age group. The 50s showed closest images to that of the older age group, presenting more conservative inclination in clothing preferences.

가브리엘 샤넬의 모더니즘 - 패션 비즈니스를 중심으로 - (A Study on Modernism of Gabrielle Chanel - Focusing on her Fashion Business -)

  • 이미숙;조규화
    • 패션비즈니스
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    • 제1권3호
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    • pp.1-18
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    • 1997
  • The purpose of this study is to investigate Modernism of Gabrielle Chanel in respect to her fashion business. Chanel always considered the work of a fashion designer 'a technique, a craft, a trade' and chastised couturiers who looked upon themselves as artists. She was the first to cater to the public in its broader sense and to produce standard which appealed to every taste, the first to democratize the art of dressmaking for purely economic reasons. The results were as follows; 1. Chanel personified ~his new spirit of independence and evolved a style of dress for the modern, liberated woman. 2. Chanel excelled at fabrics, their interpretation, and an ability to use them. She had taken a humble material, one that was used by men and that they had shunned, and turned it into a fashionable fabric. In the process she also accelerated the growth of the ready-to-wear industry for it was a fabric within the financial reach of the majority of woman who wanted to dress fashionably but were not well off. 3. Chanel thought black chic and would never go out of fashion. As American Vogue for 1 October 1926 prognosticated, her little black dress became a kind of uniform. 4. Chanel represented an exception among couturiers because she was flattered that her styles were so popular and widely copied. She believed that her style would be affirmed by high-street copies-after all, copying is the sincerest form of flattery. 5. Chanel changed the concept of costume jewellery. It was not an original idea of Chanel's. Whereas Poiret had pioneered the original idea of costume jewellery, it was Chanel's avant-garde way with it not to mention her usual deceptive simplicity and supreme artistry that made costume jewellery evolve a successful and lucrative part of the fashion industry.

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직장남성의 추구이미지에 따른 패션스타일 표현요소 연구 (A Study on the Expression Elements of Fashion Styles according to the Pursuit Image Types of the Male Office Worker)

  • 최현경;서승희
    • 패션비즈니스
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    • 제24권4호
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    • pp.30-47
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    • 2020
  • The purpose of this study is to derive the type of image pursued by men at work and to present the fashion style element as a method of expressing the image to be pursued. The was carried out by deriving the types of seeking images of men at work through literature research and questionnaire on seeking images and analyzing cases through FGI. The results of the study on fashion style elements for each type of image pursued are as follows. First, the reliable image appeared a gentle and formal fashion style, and colors and items were identified as the main elements of expression. Second, the refined image appeared in a chic and dandy fashion style, and colors, fabrics and items reflecting trends were identified as the main elements of expression. Third, the neat image was identified as a simple and minimal fashion style, and details, fabrics, and colors were identified as the main elements of expression. Fourth, the luxurious image was found to have an intellectual feeling in a classic fashion style, and color and material are the main elements of expression. Fifth, the dignified image appeared in a fashion style that was well-dressed and felt classy and heavy, and colors, patterns, and items were identified as the main elements of expression. Sixth, the energetic image emerged as a business casual style, except sporty or active functional styles, with overall comfortable and cheerful feeling, fit, color, and items were noted as the main elements of expression.

국내 패션에 나타난 고스 스타일 특성 (Features of Goth Style Represented in the Fashion of Korea)

  • 안현주
    • 복식문화연구
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    • 제17권4호
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    • pp.626-639
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    • 2009
  • As the global trend of Retro combined with the tendency of individualism which respects dramatic change and diversity in the 21st century, Goth subculture of Korea developed into various popular styles. This study, noticing the influences of Goth to the Korean youth culture and fashion trends, intends to examine the current fashion trends to analyze the various aspects of the influences of Goth to the Korean youth culture. To do this, various documents and numerous Internet materials on the Korean Goth culture are comprehensively reviewed, and the Goth look images of popular stars, photographs from fashion magazines and fashion collections are gathered, analysed, and classified into types, and the specific characteristics of these types are comprehensively analysed. According to the result of this research, Punk Goth look, departing from the sensational and aggressive style of Punk look, expresses sexy and luxurious images, while Romantic Goth look shows the brilliant and cheerful style by mixing the cute girlish image and the elegant feminine image of exaggerated details and voluminous silhouette. Avant garde Goth look parodies Goth image by using the dramatic effects of Goth images or is expressed in performances. Sexy Goth look, which reveals the sexual attractiveness of men and women much more assertively, tries to do suggestive representation and excessive exposure of human body. Dandy Goth look, which has the simple and modern line, expresses the calm and chic feeling by employing basic items with minimized details and coordinating unique accessories for accent.

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20~30대 여성의 진 웨어 착용 행동 및 디자인/스타일링 선호도에 관한 연구 (A Study on Jean Wear Consumer Behavior and Preference of Design/Styling of Women in Their 20's and 30's)

  • 유명진;김칠순
    • 복식문화연구
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    • 제17권6호
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    • pp.960-971
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    • 2009
  • The purpose of this study was to observe street fashion, to determine preferred design of jean and to analyze preferred jean styling based on types of jean pants design, toward 20s to 30s women. We observed outfits of jean styles on the street using photography method and conducted a survey to 400 females to get information of consumers. Four hundred questionnaires were analyzed using SPSS. As a result of street research, the majority of people were wearing jean pants with T-shirts, sandal/high heel shoes and totes. The results of market research showed that preferred jean styles were significantly associated with age and marital status. Preferred color of jean pants was also significantly associated with age variable. Current popular jean style was a skinny style. We evaluated results of styling with different jean pants, creating five different images. There was a significant relationship between age/marital status and styling image in different jean styles. In a bootcut style, age variable was significantly associated with different styling images. Generally, most of people responded cute/casual image styling was the best for the bootcut style. In skinny pants, there was a significant association between a residence area and a styling image. Modern/chic image styling with skinny pants was the most favored one. In cropped jean pants, marital status was significantly associated with styling image created. We realized that we can create different images through a styling.

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TV 사극 <이산>의 현대적 감각의 남자 궁중의상디자인 개발 (The Design Development of Man's Royal Costume in TV Historical Drama )

  • 이금희;이혜란
    • 복식문화연구
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    • 제17권6호
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    • pp.1112-1128
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    • 2009
  • The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

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피카소의 작품에 나타난 뮤즈별 컬러 칩 도출과 적용 (The extraction and application of the color chip represented in the work of Picasso according to his muses)

  • 이금희
    • 복식문화연구
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    • 제23권2호
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    • pp.193-212
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    • 2015
  • The purpose of this study is to analyze the characters and images of Picasso's muses, to extract the color chip from the works of Picasso, and to apply these results to fashion design. The study includes a literature review, an analysis of visual materials. The results are as follows. Fernande, who was cheerful and voluptuous, was depicted with pink-brown, a few browns, grey, black, white, and green and represents an ethnic and elegant image. Eva, a star-crossed lover, was depicted with a few browns, black, and pale-yellow and represents a gorgeous and natural image. Olga, who was jealous and sickly wife, was depicted with a few blues, browns and neutral-color and represents a classic and dandy image. Th${\acute{e}}$r${\grave{e}}$se, who was innocent and sweet, was depicted with the bright and pastel colors of red, green, violet, and yellow and of white, blue, brown, and black and represents a romantic, pretty, and casual image. Dora, who was intellectually and emotionally- challenging, was depicted with the strong colors of red, yellow, green, and blue, which are in contrast to black and also to white, grey and brown and represents a wild and dynamic image. Gilot, who was strong-willed and prideful, was depicted with the symbolic color of green, a color contrasting with black and white, grey, and pale brown and represents a clear, cool casual and modern image. Jacqueline, the self-giving and reclusive wife, was depicted with deep red, blue, green, black, white, dark brown, grey represents a formal, dandy, and chic image.

패션 하우스의 디자인 정체성 연구 - 생 로랑 하우스를 중심으로 - (A Study on Design Identity of Fashion House - Focused on Saint Laurent House -)

  • 황혜림;박은경
    • 복식
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    • 제65권2호
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    • pp.105-124
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    • 2015
  • This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.