• Journal of the Korean Society of Costume
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• v.51 no.1
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• pp.129-143
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• 2001

Particular historic events such as revolution and wars have given rise to fashion. Luxurious costume representative of the aristocratic culture since the French Revolution was changed into popular look with the collapse of the royal regime. With the restoration of the royal regime by Napoleon, rapid changes associated with the reemergence of the costume of aristocratic brought an opportunity for the revolutionary fashion of bringing about new fashion in the fashion field. Especially, the New Look Presented by Christian Dior in 1947 shortly after the Second World War would be the typical style of revolutionary fashion. Accordingly, this study attempted to analyse the characteristics of new fashion regarding how new fashion occurred and developed in changes in revolutionary fashion after the Revolution and the War, in conjunction with the zeitgeist(time split) of rapid social changes. The ultimate purpose of this study was find out the significance of fashion as to how and why fashion changed in relation to the factors of changes in fashion in the history and create new future fashion by reinterpreting new aesthetic consciousness about the characteristic of new fashion found in changes in revolutionary fashion.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.711-720
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• 2003

The purposes of the study were to categorize eroticism expressed in modern fashion and to find out any significant difference in erotic expressions among designer brands and fashion seasons. The research methods was a documentary analysis. The documentary materials were 180 photographs randomly selected from fashion photographs of 3 major designer brand collections, from 1995 S/S to 2000 A/W. The data were analyzed by contents analysis, frequency, crosstabs. Results were as follows; 1) The existence of erotic expressions in modern fashion was found in 107 (59.4%) out of 180 fashion photographs and the eroticism was one of the major themes in the later 1990's fashion. 2) The erotic expression in the modern fashion were categorized into 5 categories exposure, adhesion, transparency, exposure+adhesion, and adhesion+transparency. The major erotic expression was exposure which was followed by adhesion and transparency. 3) The degree of erotic expression were separated into 3 levels-strong, medium, weak. The erotic levels in the modern fashion ranged between medium and weak; medium level 43%, weak 42% and strong 15%. 4) The erotic expression and the degree of erotic expression showed differences according to three designer brands. Chanel brand used less erotic expression than Christian Dior or Givenchy. Christian Dior brand showed the tendency of strongest erotic level while the Chanel brand showed the weakest level. 5) The erotic expression and the degree of erotic expression showed differences according to fashion seasons. Spring and summer seasons used more erotic expression than autumn and winter. In spring and summer seasons, exposure and transparency were methods used more frequently for erotic expressions, while adhesion was stronger themes in autumn and winter seasons.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.78-80
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• 2003

꾸띄리에 부띄끄의 시초는 주문자의 요구를 그대로 수용해 주는 형태로, 신분과 지위의 상징으로 시작되었으나, 2차 세계대전으로 인하여 디자이너의 이름보다는 실제적으로 유용한 것이 주목받게 되면서 기성복의 출현이 나오게 되었고 꾸띄리에는 축소되어갔다. 그러나 전쟁으로 인해 사회에 진출하는 여성과 사회적으로 출세한 여성들의 숫자가 늘어나게 되면서 전쟁말기의 소비자 심리와 병합하여 다시 꾸띄리에가 주목받기 시작하였다. (중략)

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.162-163
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• 2004

• Journal of Fashion Business
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• v.14 no.2
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1640-1650
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• 2008

The purpose of this study is to make clear the difference between Original brands and extended brands in images and preference of overseas fashion luxury goods. The questionaries were given to female residents in the ages of 20s'$\sim$40s' in Seoul and Kyung-gi province in October 2007. The collected data were analyzed by using SPSS 12.0 software such as paired t-test, ANOVA, Duncan test. The results of this study is as follows; 1. It was found that both original brand and brand extension in images were regarded as the most 'Reputed' image. 2. It was found that original brand reflected more brand images such as 'Luxurious', Conspicuous', 'Reputed' and so on than brand extension. 3. It was found that customers tended to prefer Chanel original brand, fashion goods to Chanel brand extension, cosmetics. On the other hand, it was found that customers tended to prefer Christian Dior brand extension, cosmetics to Christian Dior Original brand, fashion goods.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.923-941
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• 2010

The purpose of this study examines women in 20s~30s who start applying adult makeup and are sensitive to cosmetics and makeup techniques to understand the influence of overseas cosmetic brands' personality on their preference to provide overseas cosmetic brands with unique personality marketing resources. The following summarize the findings of this study: first, overseas cosmetic brands' personality factors were aesthetics, performance, interest, competency, and boldness. Second, among imported brands, the most preferred brand was Christian Dior, followed by Bobbi Brown, Chanel, SK-II, and Estee Lauder. Third, the subjects preferred Chanel when they perceived its aesthetics, performance, and competency and Christian Dior when they perceived its aesthetics and performance and did not perceive its boldness as much. They preferred Estee Lauder when they perceived its aesthetics and competency and Bobbi Brown when they perceived its aesthetics, performance, and competency and did not perceive its boldness as much. In case of SK-II, they preferred it when they perceived its aesthetics, performance, interest, and competency.

• The Research Journal of the Costume Culture
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• v.14 no.3 s.62
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• pp.457-468
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• 2006

The purpose of this study was to understand fashion trend and characteristics by finding out the influences of crossover on modern fashion coordination through the identification of crossover coordination trend and characteristics. With a review of the literature, this study analyzed crossover coordination according to the types of expression methodology, periodical changes and designer's tastes that appeared through the collections of the six representative designers from 1996 to 2004. The results of this study were as follows. As a result of analysis of our sources, we realized that crossover coordination was shown most frequently in 1997 and Christian Dior was the designer who used crossover coordination most frequently. Among lots of crossover coordination cases, most of the cases are the coordination with different materials. In our results, trends of crossover coordination in materials appeared again about every five years cycle. Christian Dior combined different elements through silhouette and material, Dolce & Gabbana combined images and Jean Paul Gaultier combined different elements in the aspect of purpose and wearing configuration.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.117-130
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• 2015

The purpose of this study is to investigate the 'sexy look' of the Paris Haute Couture evening dresses of the past 10 years from 2005 to 2014. The results are as follows: According to the occurrence frequency analysis of the fashion images of sexy look evening dress, the type of sexy look that appeared the most is the romantic sexy look, followed by erotic sexy look, ethnic sexy look, minimal sexy look and avant-garde sexy, respectively. According to the design component-specific analysis of evening dress for each Haute Couture house, 7 Haute Couture houses have used H-line silhouette over the past 10 years, each H-line silhouette being different. In terms of material, Valentino, Elie Saab, Givenchy, Chanel and Dior have shown a trend of favoring see-through material, Gaultier and Armani showed a lot to combine different materials. In terms of color, Valentino, Chanel, Dior, Gaultier, Armani have shown a general trend in the last 10 years to express sexy look by using attractive and mystical black tones, Elie Saab has shown skin color a lot by using brown family colors and Givenchy has used white family colors. According to the design components analysis for each sexy look fashion image, the H-line silhouette showed the most frequency to represent sexy looks. In terms of material, avant-garde sexy look, ethnic sexy look and minimal sexy look showed a lot to combine different materials to express sexy looks, but erotic sexy look and romantic sexy look are characterized by using thin see-through material. As for the color, black series has been most represented in the last 10 years for the Haute Couture evening dress sexy look.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.2
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• pp.123-134
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• 2023

Fashion design, CAD production, and the use of digital software can shorten the time and production processes in the fashion industry, but there are still many limitations in how to similarly express textile textures. Having this awareness, how to implement the visual effects of textile texture similar to that of the real world in the virtual world is one of the major exploration tasks in the fashion industry. Therefore, this study aims to analyze examples of embroidery techniques in Christian Dior collections and explore how embroidery techniques in 3D CLO fashion design can express the texture of real clothes more similarly by creating virtual works through 3D samples and 3D CLO software. First, the analysis criteria and theoretical basis of this study were derived through a literature review on fashion textile embroidery techniques, identifying types and characteristics of embroidery techniques, and classifying them into 12 types. Second, photos of the Dior 2017-2023 SS/FW Ready-to-Wear collections were collected and analyzed through the case analysis VOGUE site. Third, it presents the production of 3D CLO works by deriving a method of implementing embroidery techniques through the design of sample textile embroidery techniques using substances 3D sample software. The study's has some limitations. First, in 3D CLO fashion design, the needle gap for embroidery must be widened to see the thread pattern. Second, by reducing the number of needles, it is necessary to imitate the actual embroidery effect. Third, it is judged that it will be effective to lengthen the thread and adjust the thickness of the thread. Fourth, the thickness of the entire embroidery pattern must be increased to enable a three-dimensional texture.