• Journal of Fashion Business
• /
• v.23 no.5
• /
• pp.19-30
• /
• 2019

The aim of this study is to analyze the stage of image change in Korean fashion design in regards to the simulacre of Jean Baudrillard. The changing phases of Korean fashion design are as follows: First, the initial stage involved simple imitation, which replicated the original as much as possible, it expressed the basic composition of Hanbok, flat cut and rich silhouette, the color scheme of traditional colors, traditional patterns, materials, and traditional ornaments. In the second stage, the subject matter intervened to distort and transform from the original, the basic composition and structure of the Hanbok were barely maintained, they were either removed or part of the structure modified or expressed using modern materials and patterns. The third stage, were based on reality but differed from reality through subject and imagination, and only left a part of the basic composition of Hanbok, and were expressed through the partial modification of the elements of the Hanbok, for instance the silhouette, skirt waist, collar and breast-tie. The fourth stage of pure simulacre, which refers to a new image with complete independence regardless of the reality. This stage differed from the basic structure and composition of Hanbok, and showcased traditional Korean image of Korea's unique cultural elements, such as hanbok or crafts and artworks, in a modern fashion with a modern sense and practicality.

• Journal of the Korean Society of Costume
• /
• v.41
• /
• pp.117-138
• /
• 1998

This study can be divied into three major sections: 1. Background on the 1980s : The 1980s can be characterized as a era of rising expectations over the quality of life. Interest in art, history, culture, and new technology increased to appeal to a greater audience. In fashion, these changes led to greater focus on quality and unique stylishness as fashion represented a medium through which luxury and refined tastes could be expressed. 2. Textile Trends of the 80s Divided into 4 Periods : The period of 1980-82 saw the mixture of natural lines with constructive lines. The textiles used in fashions in this period can be characterized by natural materials, mannish materials of the 1950s, feminine materials of the 1920s and 30s, and spoty materials of the 1960s. The period of 1983-85 was an avante garde period which used rustic avante-garde materials and art craft materials. The period of 1986-87 can be described as minimalistic and neo-classical which incorporated materials which represents a metropolitan feel, retro decorative materials and sporty, futuristic mat-erials. Lastly, the period of 1988-89 produced ethnic and natural fashions which relied on traditional British materials, country elegant and innocent look fabrics, ethinic and ecology-minded materials, in addition to comfortable and sports casual materials. 3. Characteristrics and methods of expression for textiles in the 1980s, : In the 1980s, the development of textiles have can be divided into 4 distinct patterns: decorative materials, sporty materials. In generals textiles have increased in their decorative nature-especially decoration by texure. Textile have also incorporated the mixture of contrasting themes in order to create new fabrics.

• Fashion & Textile Research Journal
• /
• v.25 no.4
• /
• pp.419-428
• /
• 2023

This study examines customer reviews from online stores of Korean vegan fashion brands to determine the qualities that customers value in vegan fashion items. For this purpose, we conducted a case study of online reviews-2,285 reviews were collected and analyzed. The results are as follows: The clothing evaluation criteria for vegan fashion products can be divided into four categories: aesthetics, material characteristics, affordability, and characteristics. This suggests that evaluation standards for vegan fashion items operate at multiple levels. The animal welfare aspect of the product was the most important factor, followed closely by how well the clothes fit. High-quality vegan materials and the use of recycled materials that are environmentally friendly were emphasized. The findings of this study suggest that even for vegan products, stylistic features remain an essential component of fashion items. To understand the main aspects of clothing evaluation criteria in the current vegan fashion market, this study differs from other studies in that it examined online reviews of vegan fashion brands. This comprehensive analysis contributes to a deeper understanding of customer preferences and highlights the importance of ethical considerations alongside style in the evaluation of vegan fashion items, providing valuable insights for the industry. Moving forward, this study is significant in suggesting that vegan fashion brands should develop their products as well as their brands, capitalizing on the demand for ethically conscious and stylish options.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.25 no.4
• /
• pp.59-76
• /
• 2023

The COVID-19 pandemic has brought about environmental severity and new social, economic, and cultural changes. Conscious fashion, which is oriented to sustainable and valuable consumption, has become a trend to consume products produced using eco-friendly and ethical processes, from the selection of the product materials to the manufacturing process. The purpose of this study is to identify the concepts and characteristics of conscious fashion and zero waste, and to explore design trends of zero wastein the new normal era of conscious fashion through the analysis of various cases. The research method is a literature review on conscious fashion based on relevant professional and academic books and articles, designer collections, and campaigns from 2010 to the present, when conscious fashion as eco-friendliness and sustainable fashion became a trend. The concept and characteristics of conscious fashion were examined them in terms of environmental, ethical, social, and cultural aspects and the concept and characteristics of zero waste through previous studies and case analysis. Through this, the trends of zero-waste design in conscious fashion were categorized into: first, an eco-friendly design orientation that utilizes reuse and reduce methods of clothing and fabric; second, a variable design orientation that practices zero waste designs by using diversity of patterns through deconstruction, disassembly, and various cutting methods. Third, long-term circulation of design through the recycling of resources by second-hand trade, the utilization of stock clothing, resale, and availability of eco-friendly materials through the development of new technologies. As an active practice for the sustainable fashion industry expands, it is expected that continuous research will be conducted as a future core value to realize the possibility of long-term circular zero-waste design through social responsibility and conscious recycling, reuse, and reproduction.

• Proceedings of the Costume Culture Conference
• /
• 2000.09a
• /
• pp.91-92
• /
• 2000

• International Journal of Costume and Fashion
• /
• v.11 no.1
• /
• pp.53-61
• /
• 2011

This study examines the prati fashion style. prati fashion refers to a practical fashion, the most sought-after trend and newest fashion concept. This trend emerged as a response to the trio of minimalism, the recent economic downturn and the modern life style, and has led to powerful fashion lines and items. Therefore, this study is to understand and analyze the prati fashion style, with its focus on the 2010 modern fashion collection that embodied functional, economic, and minimal styles. First, the functional style realized by new materials provides comfort and allows multi-style changes. Second, the minimal style adds detailed changes to minimal silhouettes. Finally the economic style means easy to wear and easy to match items at affordable prices. The analyses stated above found that the prati fashion brought about a new paradigm to society, and influenced social, cultural and economic aspects of our daily life. It also helped find solutions to economic problems of this era. Drawing global attention, the prati fashion has functional, design and economic values, and thereby influences the shift of market paradigm.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.20 no.3
• /
• pp.63-78
• /
• 2018

This study analyzed gender-fluid images as expressions of feminism and gender identity expressed in fashion collections. As for the research method, this study searched the fashion collections, with the theme of feminism, utilizing key words related to feminism on an online portal, and collected the photo materials of fashion collections provided by vogue.com. This study classified the photo materials of 31 fashion collections, with the theme of feminism, into femininity, masculinity, androgyny, and avant-garde, according to the fashion design elements that divide gender identity. As a result of the classification, 326 photos were collected, in which gender identity was expressed ambiguously. This study reclassified the collected photos according to their fashion items and styles. As a result of the study, it was noticed that the fashion collections with the theme of feminism expressed the messages, using lettering graphic images, and performance. In addition, they showed a form in which men's collections and women's collections were integrated according to the change of the perceptions of gender identity, of feminism, and delivered body positive expressions, respecting differences and diversity as individual subjects, by casting diverse models in terms of age, body size, race, and culture. As for the gender identity expressed in the fashion collections, the gender-fluid images were classified into empowerment images, that expresses social rights and dignity; agender images that expresses the possibility of a gender-flexible transition; rational images that expresses the rational and practical characteristics that removed the boundary of fashion; and images of pro-sexism that expresses a new gender identity.

• Fashion & Textile Research Journal
• /
• v.6 no.2
• /
• pp.163-168
• /
• 2004

The domestic textile industry is currently making an active effort to present high value-added materials that can respond immediately to the wants and needs of consumers sensitive to the of originality of design and emotionally appealing fashion materials. This paper attempted to present the creative development of materials in the contemporary clothing culture in which consumers' needs are individualized and differentiated and the cycle of life in fashion materials is getting shorter. To be specific, the paper presented the texture of peculiar expression to diverse cotton materials using the Woolsmok technique in the processing of felt. The chosen Merino wool was felted to 8 kinds of cotton with different density and structure. The touch, texture, visibility and complex susceptibilities of new materials were presented as different materials of cotton and wool were transformed into one material. In felting cotton fiber through wool, the transformation of diverse textures was presented and compared in the method using the washing machine in an attempt to enhance the efficiency of the traditional craft technique and work. This study proposed the possibility of placing the new material made up of cotton and wool beyond the range of functionality of each simple material, activating it as the peculiar material and expanding it to the range of its use as fashion material in the clothing industry. It is expected that this material will become competitive material at home and abroad by being activated as the clothing material of artistry, workability and marketability that can satisfy the tastes of consumers who call for high quality and diversification.

• Journal of the Korean Society of Costume
• /
• v.30
• /
• pp.167-181
• /
• 1996

Towards the second half of 20th century the fashion market has become increasely fragmented reflecting the pluality of cultures. As a result style no longer had time to accrue individuality and so people lost interest. In the aftermath of this fashion has turned its atten-tion to its materials for inspiration and inno-vation. Taking their inspiration for new working designers have began to explore diverse materials and expressive techniques of tex-ture. Textural expression can change the im-age of a garment even on with the same structural design. This study is to present the crinkle express-ive technique of texture through the applied examples in contemporary fashion and related backgrounds. The result of this study testified the import-ance of texture as plastic element through various techniques of crinkle; 1) creasing technique is reminiscent of the delphos of Fortuny by modern materials 2) twisting tech-nique is that finished garment is twisted and crumpled by hand 3) shirnking technique is recreated method that is crushed and tied for granting the human touch to the material.

• Journal of Fashion Business
• /
• v.5 no.5
• /
• pp.65-76
• /
• 2001

The hat is the most flexible human head covering. Almost entirely enveloping the hair, it can be simple, pure, elegant and mysterious. Yet it is frequently a highly decorative form of dress. The hat also takes a part in the extension of the area of art as soft-sculpture. My purpose of this thesis is to present diverse artistic hats with natural images by nontraditional materials and natural resources. The reason why I select nature as them is that it is absolutely the origin of life and art. To develop the innovative hat design, I focus on the material to extend the range of art expression. I observe nontraditional materials such as wire, paper and so on that enhance heterogenetic feeling from natural images. The attempt is made to enhance the visual effect by harmonizing the disharmonious feeling. Natural resources such as moss, orange, feather and so on could be adapted to the hat and applied for unique design, which supplies new expression. Therefore, the harmony of natural images and natural resources could avoid dullness, bestow elegance and polish the unique beauty creation of the hat.