• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.318-327
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• 2005

The purpose of this study was to analyze the image perception of modern fashion according to erotic expressions ans erotic levels. The research methods werea quasi-experimental research. The experimental materials developed for the study were a set of stimuli and a responsse scale. The stimuli was consisted of 15 photographs according to erotic expressions and erotic levels. The reponse scale consisted of semantic differential scales. The subjects consisted of 254 male and 260 female undergraduate students of Chungnam National University by a convenient sampling method. The data were analyzed by factor analysis, ANOVA, Duncan's multiple range test and t-test. Result were as follows ; 1) The fashion image of erotic experessions and levels, were categorized into 3 images factors : sexy-potency, modesty, attractiveness. 2) The erotic expressions significantly affected on three image factors 3) The erotic levels showed significant differences in three image dimensions and stronger erotic levels pressented more sexy-potency, less models and attractive images. 4) The erotic expressions showed interaction effects with the erotic levels in three image dimensions. 5) Subject's gender had a significant difference on fashion image perception : male subjects perceived the fashion photographs more attractive than female subjects did.

• Journal of Fashion Business
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• v.9 no.6
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• pp.1-11
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• 2005

The purpose of this study were to examine how people categorize obese individuals and if they have stereotyping about obese individuals. Twenty-five female volunteer subjects participated in this study. Subjects were undergraduate students in Textiles and Clothing courses at a midwestern university, US. Subjects were asked to give their one-word responses to four statements or questions regarding their impressions of six stimuli. The six stimuli consisted of magazine photographs of women; the magazines were general interest and fashion publications. Subjects then recorded their answers in the boxes for each of the six pictures. As the results, the relevant question as to whether or not more negative attributes would be assigned to the obese model's photographs was confirmed for the Description of Model variable, but not for the Personality of Model or for the Liking the Model variables. There was significant difference in means between the positive and negative descriptions of the Description of Model variable in the direction of negativity toward the obese group seems to confirm that, not only do people categorize others based on appearance, but there was a tendency to favor the average-size group and to view as negative the obese group.

• The International Journal of Costume Culture
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• v.2 no.2
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• pp.45-59
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• 1999

The objectives of this study were to identify fashion trend in the late 1990's by using content analysis of the design elements of wedding dresses in wedding magazine photographs. The data were selected among the wedding dress photographs in 1997 issues of two wedding's magazines, 'My wedding'and 'She's Bride'. The identified 455 photographs were classified into 15 major-categories of silhouettes, necklines, sleeves, materials, and trimmings, etc. 15 major-categories were consisted of 232 sub-categories. In the late 1990's, fashion trends of wedding dresses have mixed mainly dome silhouettes(56.0%), bell silhouettes, and tubular silhouettes. One-piece forms(90.8%) were familar more than two-piece forms. Necklines were used mainly such as square neckline(14.0%), high necklines(13.0) blended with other off-shoulder necklines, heart-shape necklines, and sweet-heart necklines, etc. Also camisole and strapless were added in neckline. Long-tight sleeves dominated at the late 1990's because that were used most (21.1%) among 22 sleeves sub-categories. And short sleeve, ruffled below-elbow length sleeves, and french sleeves were also used with the other sleeves. Long length in skirts(98.4%) were common but mini length were used rarely. Satin, lace, and solid cloth were the main materials in wedding dresses, however, spandex and velvet were also used. Various trimmings such as flowers(corsages), ribbons blended with embroidery, small flowers, buttons, frills, strings, and fur trimming are used. Especially, flowers used most(11.8%) among 61 trimmings sub-categories. But simplicity was shown in trimmings because there were dresses not having any decorations(14.3%). The wedding dress of the late 1990's has become more varied in design due to the reflection of changes in society and fashion of everyday garments while the traditional design of the wedding dress has been preserved.

• Journal of Fashion Business
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• v.14 no.4
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• pp.111-131
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• 2010

The purpose of this study is to compare the difference between Beijing and Seoul in women's winter street fashion, and suggest strategic methods to improve new competitiveness of the Korean fashion industry. The research was conducted by literature review and empirical research and photographs of winter street style were directly taken by a digital camera from December 28, 2008 to January 8, 2009. The survey was made at 9~11 A.M., 12~1 P.M., and 3~5 P.M. during midweek and weekend. Then 530 photographs(265 each city) of women of the 20s and 30s were selected by random sampling and five fashion professional including this researcher classified styles in accord with majority opinion on careful investigation. The results of comparing the 2008 winter street fashion in Beijing and Seoul show the highest frequency of easy casual style. In detail, while high frequency was found in romantic, classic, feminine, and romantic casual style in Seoul, easy casual and character casual style was prevalent in Beijing. The same frequency of sport casual style illustrates no differences between two cities. Unlike the prediction of the fashion industry that the preference of sport casual style would be increased under the influence of the Beijing Olympics 2008, high preference of easy casual reflects that Chinese women were more sensitive to the changes of their consumption trend. In clothing color, the achromatic color was prevalent in street style in Seoul, whereas multi-color were preferred in Beijing, suggesting a great difference. In the case of accessories, both areas preferred a tot bag but Beijing women preferred active shoulder bag and cross bag in sport casual style. Seoul women preferred pumps and sneakers, whereas Beijing women liked boots of different length according to style.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.132-148
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• 2009

The objective of this article is to examine the possibility of 'story-telling' as united concept of causality and subjectivity through sequence combination, and the 'similarity' between object and image in fashion photographs making diversity of meanings. To analyze and investigate the research, as evidential data this paper used the photos of Steven Meisel from 2002 till 2007 Vogue published in Korea, U.S, and Italy, as well as other visual data like graphic collections, catalogs, art-related data and internet data. This research runs both theoretical and positive investigations to suggest the function of story-telling in the Process of opened-communicative roles of fashion photos. Thus this paper investigated Steven Meisel's storytelling in his fashion photos; short moment of event, continuity of time, compound of sequence, and complexity of viewpoint. This paper also studied the aesthetic characteristics of Steven Meisel's fashion photos as categories of overlapped meaning, arbitrariness of interpretation, exclusivity of message, and decoding. The research result suggests that clothing not only includes current age's value but also among social constitutions it includes multilateral characteristics. Ultimately this paper is also making meaning alive by cutting off the chain of 'firm' meanings of fashion photo. That seems like opening the opportunity for correctly understanding fashion's meaning which has the aspects of ambivalence of changing meanings and values by the motivation of context and text.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• International Journal of Human Ecology
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• v.5 no.2
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• pp.1-12
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• 2004

This study aimed to explore how India madras fashion was diffused in the American women's costume of the different social levels from 1960 to 1975, by using fashion illustrations such as photographs, drawings and advertisements collected from fashion magazines. The purpose was to obtain data for high fashion(Vogue), mainstream fashion(Mademoiselle) and college newspapers for youth fashion. The data were incorporated from 439 clothing items classified by different categories over the 16-year period. The results indicated that the appearance of madras in the American women's fashion in all social classes supported the idea that fashion change during this period accompanied a concurrent change in social environment. In America during the 1960s when there was strong influence of youth counterculture and interest was high on Indian culture, this corresponded to the time of maximum popularity of madras observed in American fashion in general from 1965 to 1971. Though the Indian influence on fashion in the sixties was often ascribed solely to youth counterculture, it is evident that different social groups-high and mainstream social classes, responded to the appeal of Indian culture in different ways.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.137-151
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• 2003

Fashion photographs from leading monthly fashion magazines in 1990s were analyzed. The types and the formative feature characteristics and the aesthetic values of domestic retrospective fashion were studied. The major conclusions of the study are as follows 1. The types of domestic retro fashion were historicism, ethnic, ecology. Retro fashion was expressed through applying and reappearing silhouette, detail. fabric and image of the costumes of the past. 2. Renaissance. Baroque, Rococo styles and the costumes and styles of 1960s and 1970s were mainly applied in domestic fashion. 3. Orientalism was emphasized and Korean traditional styles and Chinese costumes were expressed mainly in domestic fashion. Fashion trends recurrent and intimate to the nature were expressed in patterns, fabrics, dyeing and silhouettes of nature. 4. The formative feature characteristics of domestic retro fashion were recurrence, purity. tradition and decoration. As retro fashion applies costumes of the past newly, it supplies unlimited possibilities to the present fashion which seeks versatility.

• Journal of Fashion Business
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• v.3 no.1
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• pp.147-158
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• 1999

The Purpose of this study is to comprehend the form of Post-modernism in 1980~90 Fashion by comparing to the representative form of Modernism. For empirical data, photographs and critics about fashion were collected from Vogue fashion magazine to differentiate from other studies which is mostly analysed from collection. The results are as follows: The Modernism in fashion can be epitomized simple and functional form as a rational costume and Post-modern fashion expresses all sorts of emotion as a react of rational theme of modernism with manners of anti-formal pluralism such as pastiche, parody and Kitsch. The fashion in 1980-90s in Vogue expressed as follow :1) The Postmodernism is well exploited around 1990 and costrained by traditional and classical Mode. 2) The other main character of Postmodernism, romantic eroticism is broadly expressed with material and slim curved body conscious line. 3) The Modernism and Postmodernism coexisted in the end of 1990, in more matured format.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.5
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• pp.845-855
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• 2001

Now the most important thing in fashion industry is find out the fashion sensibility and preference of customers exactly. Thus it is needed that fashion sensibility is connected with formative properties in clothing. The purpose of this study is to clarify the relationship between the fashion sensibility and the formative properties in clothing. 91 kinds of costume samples have been selected from photographs in fashion magazines under color combination, inside form, texture, pattern type in clothing. I have measured fashion sensibility by using Semantic Differential method. The obtained data were analyzed by GLM, discriminant analysis. The results of analysis are as follow; 1. The discriminative images were significant difference in formative properties - color combination was related to attractiveness, inner form to decorativeness, pattern to harmony and texture to surface of soft and hard in clothing. 2. fashion sensibility was significant relationship with formative properties especially inner form in clothing. And the trimming was identified as gorgeous and feminine. 3. Preference, Buying needs, Riches and Pleasant were significant relationship with formative properties in clothing especially color combination and texture.