• International Journal of Costume and Fashion
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• 제5권1호
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• pp.26-41
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• 2005

In this study homosexuality as a discourse represented in contemporary fashion magazines is explored in context. The main concerns are the contemporary construction of homosexuality, fashion symbols to identify homosexuals, and relationships between homosexuality and heterosexual masculinity in fashion images today. After elaborating homosexuality conceptualized historically, an analytical framework from Foucault's discursive approach was made up to interpret the fashion spreads since 2000. As a result, as it is assumed that the concept of homosexuality is constructed by historical specificity, homosexual fashion styles are dynamic. So, it should be recognized that they are formed by power relationships with heterosexuality, and other social factors such as class, race, age, and consumer culture and market trends. On the basis of photographic themes and fashion looks homosexual images are classified into 3 kinds of versions, the effeminate trend setter, the masculine athlete or biker, and the neo camp. However, most of contemporary homosexual photographs are not also so conspicuously different from heterosexual ones. Therefore, in the contemporary structure at least from fashion images, homosexuals can be recognized equally with heterosexual people only except for sexual preference. Thus, homosexual fashion also shares a lot of fashionable products with heterosexual one, with often homosexuals' role as trend -setter.

• 복식
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• 제53권7호
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• pp.111-123
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• 2003

The purpose of this study was to investigate girlish fashion as a contemporary as well as Romanticism of the 21st century. The background of girlish fashion is regarded as a hot blast of restoration and a appearance of kidults, such characteristics of these factors, that is, the moderns's longing for the memory of old days and kidult's concerns for the dream of their childhood, have a direct influence on the Romanticism. So the plasticity of girlish fashion was analyzed as a results: 1) This plasticity named Recurrent Romanticism as 21st New Look, especially the plasticity represented in a princess style fashion. The princess style fashion of girlish fashion means not only a expression of the moderns's self-confidence but also nostalgia toward old days. 2) Sweet Romanticism developed into angel style fashion, which the style expressed the moderate cuteness with clothing construction and detail etc and the innocence with white color. 3) The plasticity of girlish fashion called a feast of color named Fantastic Romanticism. Fantastic Romanticism of girlish fashion means not only a expression of a lovely girlie's image but also hope toward 21st century. Throughout the study, Romanticism as a cultural code of 21st century was considered to reflected in the whole livelihood as well as contemporary fashion, especially, girlish fashion.

• 복식
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• 제29권
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• pp.53-70
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• 1996

The inspiration and its application in fashion design is considered as one of the important factors in boosting the fashion arena. Many inspirations are adapted in fashion de-sign and they make the fashion design unique and characteristic. In this study many fashion designs are analyzed to find what kind of inspirations were adapted and utilized for the fashion design in reality. The nature historic costumes ethcin costumes arts sciences literature music sports were revealed as the sources of fashion inspiration.l The concerns on the environments movies and dramas could provide inspirations in fashion as well. Several contents or steps were studied to provide the one of the example of appli-cations as follows: 1. The works of Marc Chagall were analized to figure out and several plastic characteristics from his works were revealed such as fantastic strong colors unreal animal pattern or their details his wife and friends various divisions of the surface and so on. These attributes had been favored in depiction of his works to ex-press his home town or nostalgia. 2. '90s fashion designs inspired by the works of Chagall were analized to find out the meth-odology or the process of designs. The same Chagall colors were used in design and similar pattern were expressed through beaded work or printing jobs. The surface designs such as printing were the most prefered method in adapting the inspirations. 3. The plastic characteristics of the work of Chagall were attempted in clothing design and construction. The color combination patterns which remind the animals the surface divisions were used in design ot practive the methodologies.

• 복식문화연구
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• 제22권4호
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• pp.526-542
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• 2014

The purpose of this study was to investigate the differences in the dissatisfaction with and design preferences for mountain gear among the segments divided by specialization activity-pursued for recreational mountaineering. Data were collected by questionnaire survey from 900 subjects with the experiences of mountaineering and purchasing mountain gear in the past year, and 891 were used for the data analysis. The results of the study were as follows: Three factors were formulated based on mountaineering specialization activity-pursued: expertise-pursued mountaineering, mountaineering with psychological attachment and activity-oriented mountaineering. Four segments were identified based on the specialization activity-pursued: the emotionally-committed, the continuously-participated, the expertise-pursued, and the passively-participated. Significant differences were found in dissatisfaction with and design preference for mountain gear among the segments. The expertise-pursued tended to be more dissatisfied with color and fabric than the others, and preferred various mountain gear design of shape, color combination and construction line. On the other hand, the passively-participated tended to prefer simple and comfortable style with solid color and simple color combination.

• 대한가정학회지
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• 제36권12호
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• pp.43-54
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• 1998

From the viewpoint of clothing construction, it is necessary to grasp exactly the shapes of the neck and the shouder, such as the line of the neck base, the neck gradient, the shoulder gradient, the shape of the scapular, and the shape of the breast. In this report, factor analysis was applied to 39 items of neck & shoulder level measurements, including stature, weight, but grith, waist girth, to demonstrate the most relevant measurements for collar and bodice pattern designing, and to classify the neck and shoulder level shapes. The subjects investigated were 126 women of the age 20-29. The main results are follows : 1. For factors of body form were extracted by the factor analysis. The 1st principal component can be interpreted as "size" component, the 2nd-3th principal component is "shape" component relating to neck and shoulder level, and the 4th principal component is "shoulder shape" component. 2. With regard to factor loadings, we were able to extract the most relevant measurements for collar and bodice pattern designing. M16, M22, S26, S30, S34, S35, S36, C37, C38, C39.

• 패션비즈니스
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• 제18권3호
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• pp.91-103
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• 2014

Shirts which have been a inner-wear in men's suit in the past, are being changed into an item that 20's men utilize to their individuality. Dress shirts have gotten out of its shape, becoming tight and slim with activity and fashion trend. In this study, two patterns of fitted dress shirts in a clothing construction text book were compared with the pattern of an apparel company with regard to the size tolerance and appearance silhouette; this comparison was performed through a fitting test and an appearance evaluation. According to the study, size tolerance of chest girth and waist girth were about 6~8cm and 10~18cm, respectively. Neck girth of the collar was tight in both the fitting test and appearance evaluation. Thus, the measurement value of the neck base girth had to be used for the collar pattern making. Moreover, approximately 35cm is a moderate size for the width on the upper arm in sleeve. Therefor the factors such as size tolerance of waist girth, height of sleeve cap, slim sleeve width and measurement value of neck base girth are being considered for the pattern making of fitted dress shirts.

• 패션비즈니스
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• 제11권6호
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• pp.87-100
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• 2007

This study aims at analyzing the characteristics of deconestructionism expressed in Issey Myake's fashion who is one of the most creative designers in the world. Method and contents of this study are as follows. Through the review of literatures, three major categories such as interminacy of meaning, decentring, and intertextuality and eight subcategories have been identified as major features of deconestructionism. These subcategories for content analysis were selected to examine the characteristics of deconstructionism expressed in Issey Myake's design in depth. Interminacy of meaning was divided into unstructured and unconstructed factors while decentring into qualities of cross-gender, subculture, anti-fashion, and post-humanism. Lastly, intertextuality was classified into factors of disordered mixing mode and mixed styles. Materials for analysis were chosen from total 349 designs on the website,www.firstview.com, which carries Issey Miyake's collection from 2002 S/S through 2006 F/W. 2 fashion major analysts including the researcher participated in 1st analysis and two another fashion major analysts participated in 2nd analysis. The final level of consistency between analysts was over 97% for all categories. The data analysis quantitatively evaluates the frequency of each category and qualitatively evaluates the characteristics of design. The result is as follows. First, the avant-garde facets of inter-textuality are most prominent. In particular, Miyake has introduced the various novelly textiles to fashion and employed the mixtured styles, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has used various fabrics in order to inflict shock and contrast but still create subtle harmony, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of Miyake's fashion design. Miyake has employed unconstructed expression techniques, which has projected unusual images free from basic forms of designs and also has used the unstructured styles which dismantle harmony and balance-the common rule of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. He has demonstrated a unique perspective on cloth construction and presented a love for artistic collaboration in the development of his collections A distinct manufactured aesthetic is exaggerated, even hyperbolic. Thirdly, the aspects of decentralization were also shown in Miyake's design, however, it has been visibly decreased after 2002 S/S.

• 한국의상디자인학회지
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• 제22권4호
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• pp.1-16
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• 2020

This study focused on front-blouse-type skirts from the 15th and 16th centuries and aimed to investigate their formative characteristics and wearing patterns. Previous studies, literature, records, paintings, and excavated clothing items were used as research materials. The researcher categorized front-blouse-type skirts into three types based on the construction method. The first has the front-center portion of the skirt folded up, the second has the center portion cut short, and the third has horizontal dart pleats on either side. An examination of 48 items from 18 excavation sites of front-blouse-type skirts showed that only the front-center portion folded up type appeared in the 15th century, and it was only in the 16th century that the other forms of skirts were worn. Finally, based on the analysis, the pattern of wearing front-blouse-type skirts and their changing factors was deduced. Front-blouse-type skirts were identified as ceremonial skirts that were popular in the 15th and 16th centuries among the types of long skirts available. The popularity and usage of this type of skirt began to spread gradually in the 15th century. In the 16th century, various types of front-blouse-type skirts were brought into vogue by the royal family and the external register. It can be inferred that the popularity of front-blouse-type skirts gradually declined in the 17th century as other types of long skirts, folding skirts, and Sran type skirts emerged.