• Fashion & Textile Research Journal
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• v.22 no.2
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• pp.139-148
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• 2020

This study classifies black fashion-mania by each type based on their motivation for wearing black fashion as well as verifies how they express their style. To achieve the objectives of this study, the research questions are as follows. First, the images of black fashion-manias are classified. Second, each type of black fashion enthusiasts' motivations for wearing black fashion are verified. Last, black fashion-mania style are analyzed according to image types. In order to answer the research questions, a literature review and in-depth interviews (total 30 respondents (male 15, female 15) were executed. As a result, black fashion-manias use black fashion for self protection, their self-images such as charismatic professional image, modern sophisticated image, body-conscious sexy image, avant garde image which is an anti-fashion norm and unique image. The strong reason why black fashion-manias insist on black fashion is to 'look cooler'. The expressions could be articulated from sophisticated styling techniques that appear to be undecorated rather than an overt decorated styling. It is helpful information to plan black fashion products and to establish a design direction that requires an understanding of why black fashion is pursued, while promoting an understanding of groups of black fashion-mania.

• 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.

• Fashion & Textile Research Journal
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• v.5 no.4
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.70-82
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• 2006

The purpose of this study was to analyze the trends and features of male fashion and hair style image and thereby, determine the relationship between fashion and hair styles, and thus, provide for some basic data for future studies about male hair styles as well as for new male hair style trends. For this purpose, relevant literature was extensively reviewed including some visual materials. The major references for this study were domestic and foreign books, journals and preceding studies about fashion and hair. The visual materials referred to for this study were domestic magazines specialized in fashion and hair, visual data supplied by hair product brands, Korea Beauty Parlor Journal, Beauty and Cosmetic Newspaper, Beauty Today, and such fashion special websites as $S{\cdot}F{\cdot}I,\;C{\cdot}F{\cdot}T$, firstview.com, fashionwide.com, etc. Based on the results from a questionnaire survey of master or Ph degree holders of apparel science, reputed designer were sampled and then, 80 works were finally sampled from their collections published between January, 2002 and April, 2005. As a result of analyzing the images shown in modern male apparel and hair style fashions by classifying them into natural, restored, folklore and eclectic ones, it was confirmed that both male apparels and hair styles have been reinterpreted in modern terms depending on social and cultural settings to be expressed as new styles, and in particular, that male hair styles have evolved diversely into new styles depending on fashion tendencies, while having been versatile in some relationships with their fashion tendencies.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.125-137
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• 2003

This study is to explore the Post-modern fashion image appeared in the costumes of the movie $\ulcorner$Matrix2-Reloaded$\lrcorner$, which is believed to adapt successfully the Postmodernism ideas on screen. From this study, we can find that the movie costumes express certain formative characteristics considerably affected by the contemporary fashion trends such as Minimalism, Formalism, Futurism, Ethno-eclecticism, Asexualism. These are mostly common tendencies aroused in the complex and pluralistic circumstances of Postmodernism where many diverse values are equally regarded. Finally, the 5 trends lead to represent the following symbolic meanings with entanglement in multiplex ways, that is Virtual Reality, Mechanic Artificiality, Human Dignity, Mysticism, Multi-Culturism, and Nonsexuality to create a strong unified imagery and style in that Post-modern movie.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.49-58
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• 2006

In the 21st century, fashion design trend is focused on 'retro'. 'Retro' is the one of the important trends in this century. In the rapidly changing present, the more people want to find a clue to the hope and happiness from the past nostalgia. Reflecting such people's desire, retro fashion has boomed again from 2000 as one of powerful trends. This research conforms the meaning of retro fashion and characteristic of retro fashion design. And through this processing, it was find that retro fashion design had lost century retro romantic fahion image. Therefore, in this research, the processing about development of retro dress design of retro romantic fashion image was showed by using CAD. The results of this study are as followings. First, Retro fashion is worth the high value of good producr of new and creative for consumers who pursuit tranquil mood in the midist of dailly change Second, Nostalgia and revival of style for each 10 years after 1920's is well brought out in Retro trend of modernt fashion. Also decorative and elegant style are marked by retro romantic fashion mood. Third, fashion design using the computer graphics was presented by application retro romatic image. It is mixed with elegance and modernity based on retro feeling, It is suggested that computer graphics was effectively used in fashion design development to the newly romantic and modern style through 1950'-1960'intimate retro fashion image.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.1
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• pp.21-35
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• 2000

The purpose of this study was to evaluate the preference of image for modern application of Korean traditional patterns. A survey was conducted using the randomly selected 292 undergraduate women students of Taegu city. The degree of interest and preference in Korean traditional style or something like that had measured by 5 scale method. And then they had two groups which are interest/non-interest group, and preference/non-preference group in Korean traditional style. Also, preference of Korean traditional patterns was measured by 5 scale method. The image of Korean traditional patterns consisted of semantic differential scales. Analysis was by frequency, percentage, and mean. For difference of groups analysis was by t-test. The results were as follows:1. For the survey, 53.8% showed the interest and 40.4% did the preference for the traditional patterns. There was the positive correlation(0.782) between the degree of the interest and preference. 2. Among twenty traditional patterns, the patterns of plants and nature were very preferred, but the patterns of geometrical things was not preferred. 3. For the nature pattern, the image seemed to be elegant and feminine(womanly). For the plant pattern, the image seemed to be feminine, neat, weak, light and mild. For the animal pattern, the image seemed to be heavy, gorgeous, deluxe, virile(manly), strong and active. Last, for the geometrical pattern, the image seemed to be elegant, deluxe, rigid and strong. 4. Between the interest／non­interest groups, there was the significant difference in pattern of cloud, mountain, lotus flower, plum blossoms, orchid, dragon, chinese phoenix and bogy. Especially, for the orchid pattern, the preference difference between these groups was large. 5. For the plant pattern, the image difference between these groups was very large as the elegant-rustic image. Especially, the interest group evaluated as the elegant image. 6. Between the preference／non­preference groups, there was the strongly significant difference in the preference for the orchid pattern. 7. For the geometrical pattern, the image difference between these groups was very large as the mild­cold image. Especially, the preference groups evaluated as the cold image.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.35-48
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• 2003

The primary goal of this study is to define the future image of modern fashion. By review of many references, this study has examined predictable future in common, various researches on future, and futurism that appeared from art history. This study has also identified the trend of future image and the properties of the image in terms of fashion as well. The purpose of this study is defined as future image of modern fashion. First of all. through a large literature, this study is to examine general future and the study of future, to investigate futurism appears from art history. and to identify the trend of future image and the properties of the image in terms of fashion. The main results of this study include : 1) General future means forthcoming sometime or a state of life at that time, and future is not drawing near naturally in accordance with the passage of time. The future is developed according as which the owners of time have independent meaning and what they select. 2) The futurism had started with the background based on Darwins and Einsteins scientific theories and Bergsons and Nietzsches philosophical thoughts, which was then established by Marinettis Futurism Statement and Dynamism Theory of Umberto Boccionio, Giaomo Balla, Luigi Russolo and Gino Severini. As the purpose of futurism is to represent the dynamism of machinery and the beauty of speed, it has been developed toward op art and kinetic art including video art, laser art, and holography. 3) Fashion style and trend of futurism from the beginning of 20th century up to now can be defined as follows : Firstly futurism fashion represented by loud colors and geometric pattern appeared from 1910s to 1930s in the first place. Secondly, or art fashion and kinetic fashion appeared in 1960s due to the influence of op art and kinetic art which were developmental arts of futurism paintings. Space Look and Cosmo Corps Look that were designed by Andre Courreges, Pierre Cardin, Rudi Gernreich and Paco Rabanne, were also the trend of future image fashion. Thirdly, various materials and techniques developed this future image fashion in 1980s, and Glitter Look and Collage Look were its representative style. Fourthly, in 1990s, human beings dreamed the freedom of mind by human-oriented thought. and created the ecology of new concept mixed with technology due to anxiety on environmental destruction. which influenced on the advent of Zen style.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.255-268
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• 2011

This study carefully explored today's preferable beauty images, analyzed Korean adult purchasing trends of functional underwear and market analysis of the most popular items and their designs. Information and methods are based largely on reference book material as well as analysis of real domestic data. The paper's research timeline simply spans the last three years, as in accordance with project parameters. Helping improve body shape, foundation literally means 'substructur' and 'base'. The formativeness in these adult foundations typically has three main category classifications. First, natural modern image. This is where we find natural beauty including that which embodies a cool modern sense. Here, you can often see such patterns as either stripes and dots, or simply no patterns at all. Colors are green, red-brown, incarnadine, or khaki from a natural or basic human body color. Its products are marketed as both solid and durable eco-friendly materials, and lace-seethrough. Fashion's natural modern image is undoubtedly the most popular style purchase choice among both genders. Second, sweet romantic image. This mainly consists of two concepts : a sweet and romantic theme, and visual appeal. Patterns include flowers, lips, heart, stars, candies and various other appealing characters. Its main colors are pink, yellow, red, purple, and violet. Products are decorated with laces, frills and ribbons. Since only men's semi-girdles carry such designs, this fashion foundation is largely a women's world. While men show an obvious interest in foundation, they still mostly prefer the choice of natural modern images. Third, mystic sexy image. This is defined as all feminine images of mysterious and classic sexual beauty. Patterns are variously expressed as paisley, flowers, and geometric. Colors are largely purple, blue-green, royal-blue, cobalt, and black. Products are commonly decorated with beading, spangles, hot-fixes and so on. While this image can be found in all kinds of women's foundations, it typically appears only in men's corsets and girdles.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.63-78
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• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.