• Korean Journal of Human Ecology
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• v.5 no.2
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• pp.75-91
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• 2002

The purpose of this research is to investigate and analysis the style of Audrey Hepburn(1929-1993), the most important style icon in the 1950s and '60s from the point of the style of dress in her films - Roman Holiday (1953), Sabrina (1954), Funny Face (1957) and Breakfast at Tiffany's (1966) and fashion activities, furthermore, to know the influence on the contemporary fashion. After 1960s, her style has been recreated by so many designers. In the 1980s, times influenced by post-modernism, there was also the effort to reconstruct the style in the 1950s again. At that time, some Hepburn styles-a reflective of the flamboyant and exaggerating trend in her ages-were appeared by a few designers in the 1980s. Over the 1990s' retro culture, there were a lot of efforts to reemerge the styles in the 1950 and '60s, they led to full-scale reconstruction of Hepburn style - a feeling of the elegance and intelligence harmonizing with the minimal and formal style. By the retro culture adding with the mainstream fashion trend of simpleness and comfort in the year 2000, Hepburn's casual style has been reconstructed to meet the modem need in the 21s1 century. Through these considerations, we could notice that Hepburn style has been recreating from various fashion fields harmonizing with the popular trend of the age.

• Journal of the Korean Home Economics Association
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• v.46 no.10
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• pp.37-48
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• 2008

This study re-examines new aesthetic values pursued by Givenchy, analyzing by the Haute Couture line's chief designers. The following conclusions have been reached: Hubert de Givenchy pursued modernity, infused with simplicity and structured stability. In particular, Audrey Hepburn, who was a loyal client and used his line in several movies, provided him the platform for international exposure which he used to further develop what became known as the "Hepburn" style. The subsequent brief tenure of John Galliano did yield the fantastic and magnificent "Galliano-style", but with irregularity. Based on romanticism, it redefined fashion using a wide range of colors, subjects and decoration. His successor, Alexander McQueen, applied opposite elements using a hybrid technique of pastiche, parody and collage. With innovative inspiration he compromised the concepts of gender, time, space and cultures and recreated futuristic forms of nature, animals, insects and mythical images. Julien Macdonald, who was appointed in 2001 as the Artistic Director for the women's collections, minimized his individual style and preferred feminine, graceful and sexy silhouettes. He breathed fresh life in to Givenchy Haute Couture, reinterpreting the Hepburn style in a modernistic mode. Being passed on the responsibility for both collections (i.e., haute couture and ready-to-wear) in 2005, Riccardo Tisci redefined elegance, combining his unique and tailored gothic style with Givenchy's grace. He is developing the future of Givenchy, experimenting with volume, silhouettes, new kinds of fabric and techniques.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.100-113
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• 2011

The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

• Fashion & Textile Research Journal
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• v.11 no.1
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• pp.48-56
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• 2009

The purposes of this study were to segment knit wear consumers by their lifestyles and to examine knit wear purchase behavior among the lifestyle segments. The subjects of this study were female consumers who were residents in Seoul and metropolitan areas. The researchers distributed the questionnaires and the final sample of 357 was used for the data analysis. The statistical analysis methods used for the study were factor analysis, cluster analysis, ANOVA, Duncan test, and ${\chi}^2$-test. The results showed that the lifestyle factors had 6 dimensions: fashion, planned purchase, socially active, impulsive consumption, brand, and leisure/culture. These factors were categorized into four groups: brand oriented group, passive group, rational/social group, and fashion/impulsive consumption group. The results also showed that there were significant differences among the groups in regard to knit wear purchase criteria, knit wear image preferences, and other knit wear purchase behaviors. For example, brand oriented group considered design and brand name/fashion important as knit wear selection criteria, and the group preferred an elegance image and a modern image than did other groups.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.1015-1026
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• 2006

The purpose of the study were to find out (1) the effect of motives on perceiver's image perception on ramie fabrics, and perceiver's trait, age and gender on sensory image evaluation of ramie fabrics. The research was a quasi experiment and experimental materials developed for the study were a set of material stimuli and semantic differential scales to measure sensory image of the stimuli, an aesthetic value scale. the independent design was motif design techniques(Plain Weave, burnt-out, embroidery, stripe, check). The subjects were 421 adults in Daejeon and Seachun. The results was as follows: The factor analysis of semantic differential scales for the ramie materials emerged 4 different image dimensions: attractiveness, hand, elegance, weight). The five design techniques showed significantly different image affects on some selective dimensions. The burn-out design gave the most attractive image, the embroidery design gave the softest image and plain weaved fabric presented the lightest hand image. Consumer's aesthetic values, gender and age tended to affect sensory image evaluation of ramie materials. On conclusion the result revealed that design strategy for the ramie material, design development though motives will be an essential process. and for material design pursued design image and target consumer's trait should be carefully considered.

• International Journal of Human Ecology
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• v.11 no.1
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• pp.1-10
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• 2010

Two elements of paisley textile design (color and size of motif) were manipulated to investigate their effects on people's perception. Korean and Caucasian American women were selected to represent Asian and Western countries to compare the differences in image perceptions of paisley patterns between two cultures. The participants were 168 female university students composed of 84 Caucasian Americans and 84 Koreans. The experimental design was a $2{\times}2{\times}7$ factorial design: two levels of perceiver's culture, two levels of motif size, and seven levels of the motif color. The four factors used to account for image perception were an elegance factor, individuality factor, maturity factor, and femininity factor. The results of the present study confirm that image perception can be different according to the color and size of a motif and the perceiver's culture. In the results, Americans perceived the paisley pattern as more preferable than Koreans did. Red background + Orange motif was perceived as the most feminine and Dark blue background + Sky blue motif and Dark gray background + Gray motif was perceived as the most masculine in both cultures. Compared to the big motif, the small motif was perceived as more elegant in both cultures.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.3
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• pp.452-473
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• 2018

This study analyzed the expressions of racing girl uniforms that promote automobile brands shown at Seoul and Busan motor shows. The results are as follows. In each of the design components expression, the glossy and plain material, the achromatic color, and the dress style appeared most frequently in the uniform design of both domestic and foreign automobile brands. In the fashion image expression, sexy image appeared the most, followed by modern image, romantic image, active image, elegance image and ethnic image. Based on the analysis results, the following expressive characteristics were identified: First, sexy images were used in uniform design to express the streamline and speedy feeling of a car metaphorically. Second, modern image, glossy material, and achromatic color were used for a uniform design to express advanced technology and the future orientation of an automobile. Third, fashion images that match the automobile type emphasized the brand image of the car. Fourth, some of the manufacturers that prevailed in the automobile market promoted several automobile brands exhibited with a unified uniform design that expressed the design philosophy and concept. As such, the motor show racing girl uniform contributed to promoting automobile brand identity and the automobile industry.

• Journal of Fashion Business
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• v.12 no.5
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• pp.39-53
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• 2008

Today is a 'high concept' era in which consumers make sensible consumption that shares a sensible bond with a brand. Therefore, it is important to analyze consumers' aesthetic awareness; namely, fashion feeling in the fashion industry. This study conducted research into a fashion design planning process according to a fashion feeling focusing on computer graphics suited to the 21st century digital trend. First, the study classified a fashion feeling with eight senses including elegance, classic, modern, mannish, sporty, avant-garde, ethnic, and romantic feelings. Second, the study made an image map, color map, material map, and style map with Adobe Photoshop CS3 by dividing a fashion planning process with a computer graphics program. Also, the study made a flat illustration with Adobe Illustrator CS3. Third, the study proposed the image map, color map, material map, style map, fashion illustration and flat illustration in the design planning process under the theme of the aforementioned eight fashion feelings.

• Journal of Fashion Business
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• v.9 no.5
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• pp.152-167
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• 2005

This study aims to aid hair fashion design for using hair style change by knowing the hair fashion images' characteristics. To accomplish this purpose, posed a questions to capital area university women students from June 3. 2005. to June 23. 2005. The hair fashion images' characteristics are; (1) avant-garde - unique style of every categories, (2) ethnic - korean style of center part, no volume, down chignon, inactivated texture, (3) romantic pretty - girl like cute style of long, wide wave, wide braid, center part or bang, activated texture, using pin or ribon, (4) elegance - graceful style of down point up style having wave, volume and activated texture, (5) sexy - sexual attractive style of long & wide wave or straight with high volume, activated texture(wet feeling hair styles also possible), (6) sophisticate - refined urban style of inactivated textured graduation and layered straight hair, (7) natural - inartificial style of no volume, inactivated long straight and binding hair, (8) sporty - activated style of activated and inactivated textured short hair.

• Cross-Cultural Studies
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• v.19
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• pp.271-293
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• 2010

Japanese Give and Receive Verbs are divided into "YARU", "MORAU" and "KURERU". These are influenced by the subject, speaker's viewpoint and meaning. Three verbs are used in a different way depending on who is the giver and who is the taker. I analyze "YARU" and "KURERU" Verbs used in TOUSEISYOUSEIKATAGI. It focus on politeness, gender, and meaning when combined with 'TE'. As an expression of politeness, 'Yaru' is to give to a person of lower social status or an animal or plant. 'Ageru' is to give to an equal ora person of lower social status nowadays. However, 'Ageru' which is treated as elegance of the language remained expression of respect, 'Yaru' is used when the receiver is a person of lower social status and equal social status in TOUSEISYOUSEIKATAGI. 'Kureru' is used when the receiver is a person of lower social status and equal social status, 'kudasaru' is used when a person of higher social status gives the speaker something in TOUSEISYOUSEIKATAGI. Women speakers use 'oyarinasai' 'oyariyo' 'ageru' 'okureru' and men speakers use 'yaru' 'kureru'. Speech patterns peculiar to men are 'kuretamae' 'kurenka'. If the verbs are joined to "TE", they obtain abstract meaning as well as a movement of things. They express some modality for action of the preceeding verbs. The modality has the following meanings ; good will, goodness, benefits, kindness, hopeness, expectation, disadvantage, injury, ill will and sarcasm. In addition, 'TE YARU' expresses the speaker's strong will, 'TE KURERU' expresses the speaker's request.