• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.911-922
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• 2007

In this study, for the purpose of correct viewing on the image of Africa and understanding of modem fashion, African image and art, the general characteristics of African costume, the background of fashion subjecting African image, and the trend according to ages were examined based on theoretical background. Then the researcher drew African image by analyzing the works in four 2005 S/S major fashion collections to designers and design factors. The ten voted designers' and brands' works in 2005 S/S collections had four concepts of African image; 'Wild Erotic', 'Abstract Primitive', 'Natural Elegant' and 'Sporty Romantic'. The viewpoint of modem fashion on African image from the aspect of design, designer and fashion trend can be examined as below. First, African costume, which was religious and ceremonial, appeared to emphasize its esthetic side with decorative details in modem fashion design and designers competed to choose a method to harmonize tradition and modem style and by adopting these from occult to decorative meaning, Second, fashion designers presented city unpolished beauty of modem women to a special style and made african image to be recognized as a code of fashion culture by integrating it with modem people's mind to go back to the past and admiration for the purity of nature. Third, thanks to the instinctive vitality hidden in the primitive life, inspiration for creative design that is found in the esthetic mind of the Indians, foreign taste emphasizing ethnic trend, and admiration to naturalism due to the increase of concern over ecology, 'African image' led the beginning of 21C trend by being settled as a in fashion trend.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.49-59
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• 2018

The purpose of this research is to study the semantic characteristics of men's cosmetics brand names by analyzing 51 brand names in the domestic market, so as to find ways to develop strategic brand names. In order to investigate this area, the study looked at the Interbrand Company's Name Spectrum, and the results are as follows. The men's cosmetics brand names turned out to be freestanding brand names, descriptive brand names, and associative brand names, in that order. The freestanding brand names were found to be the initial combinations of the words that have the desired benefits in the concepts of the pertinent brands; in other words, coined brand names that were made by synthesizing words such as nice men, naturalism, eco-friendly plant-derived materials and ideal skin. Associative brand names are generally used to express the effect of enhancing brand awareness by considering the phonetic image of the word or prompting a masculine and favorable image. Descriptive brand names use language symbols such as men, homme, man, monsieur and gentle to represent specific business and product categories for men, and also use stem, plant, flower, skin, beauty, moisturizing, tosowoong and so on to provide the properties and beneficial information related to the products. In conclusion, the men's cosmetics brand names embody an important factor that symbolizes the concepts, functions or features of the brand, and there is a need for men's cosmetic brands to develop more unique and distinctive brand names to promote their brand names as constitutional factors that can build brand power and strengthen brand image.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.33-45
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• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.199-208
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• 1998

This study forecasts the trend of ethnic theme through market survey, concentrating on Los Angeles market. First, the background of ethnic theme was examined, and the present situation of shops, department sores, and headquarter was also surveyed. After that, fashion trend suitable for market was suggested by analyzing the life style of consumers through zip code. The results of the study are as follows. The conspicuous trend of '97 F/W retail stores is ethnic. This reaction to complicated modern life, and symbolizes the desirable evaluation on the simpleness of basic life and nature. The model of ethnic design is identified in natural clothing, primitive arts, ethnic culture and African theme. In short, this ethnic fashion is expressed as simpleness, naturalism convenience and freedom. On the other hand, the standard of general department stores such as Broadway and Robinson May which are the headquarter of this trend is to satisfy various consumers with various styles. Ethnic goods from Broadway has not arrived at the top for its introducing step. To elevate sales of these goods, promotion through VMD and suggesting various ethnic goods should be done. Besides, when analyzing the consumers of Beverly center Broadway, the target of these goods are mostly professional young people in their 25-34 and 35-44. The life style of these people emphasizes sophisticated life in aspects such as job-oriented activities, and up-to-date fashion. Especially, image is very important. They want individuality different from others. These images are diversified from simpleness, naiveness to sexy character. Accordingly, suggesting fashion trend satisfying the demand of consumers through market survey will make fashion market create infinite possibilities.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.122-136
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• 2007

All costumes used for dramatic effect delivers the character's individual data such as sex, age, social position, job, personality, and sense of values in the scene and leads the progress of drama as a media that describes psychological condition and image of the drama etc. symbolically. Therefore, it has a meaning of finding out the importance of film costume, recognizing the traditional culture through the expression and creativity limited to the age in expression, finding out the unique Korean beauty and succeeding it to the future generation. The film is the first costume drama in Korea, which is remake work of Lt;Les Liasions dangereuses, 1782> in the age of the King Jeongjo in Joseon Dynasty. And is comic costume drama that the story goes as a man of the noblest birth debuts as a filthy novel writer. Both films have remarkable grace, elegance and magnificence as having Joseon Dynasty on the background, and treats irregularities and dissipation hidden in the noble society that looks elegance on the surface. There are three aesthetic symbolism in films, naturalism neat beauty, traditionality expressed.

• Journal of Fashion Business
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• v.13 no.4
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• Journal of Fashion Business
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• v.19 no.3
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.28-44
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• 2012

The aim of this research is to examine the tendency of national tastes reflected in global SPA brands based on the theories of Gans' taste culture and Bourdieu's cultural capital. In this study, the leading global SPA brands such as H&M, ZARA, GAP and UNIQLO can be considered as a representative taste culture as well as an icon of popular culture in the $21^{st}$ century global fashion and also the aesthetic taste of each brand differentiated from their national aesthetic values based on socio-cultural backgrounds. H&M represents fashionableness, practicality and environmental friendliness based on naturalism, democratic humanism, and functional practicality of Sweden. ZARA emerges as the most trend oriented brand as well as customer centered on the basis of cultural diversity, passion and glamorous artistic sensibility of Spain. GAP shows American iconic style, which is the functional sports casual wear, originated from American leisure culture and mass production. Lastly, UNIQLO represents high-tech functionalism and practical simplicity based on Japanese delicate workmanship and simple, concise lifestyle while relatively does not much follow the fashion forward trends. Consequently, the national taste has been proved as a solid foundation to identify each global brand. This should be the key component also applied to Korean global brands for developing their concepts and strategies more successfully based on our own national aesthetic taste.

• Journal of Fashion Business
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• v.19 no.5
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• pp.175-187
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• 2015

Body painting according to physical types is a method to express the body as it exists in nature or as an active element of nature. There is a need to research physical formation that applies the trend of contemporary naturalism to the types of nature art by emphasizing the artistic value of body painting with natural environmental overtones. Importantly, body painting according to physical types attempts an intact reproduction of natural objects and the reflection of the beauty of natural objects in body painting. Thus, the purpose of this study was to analyze body painting according to physical types based on the types of nature art. The methodology of the study included theoretical and empirical review. Theoretical review examined the characteristics of physical formation in nature art and relevant nature art works and body painting of physical types through previous research and literature. The empirical review applied analyses to works extracted from web sites of body painting. The study included physical type cases extracted from body painting works from 2005 to 2015 in foreign web sites(www.ilovebodyart.com and www.angel cakebodyart.com). Body painting works were based on the characteristics of physical types. As a result, the body painting of physical types based on nature art is as follows. First, organic continuity with nature art through the artists'thoughts and beliefs. Second, the specificity of place that respects the natural phenomenon itself. Third, the creative diversity of formative shapes for the body. Fourth, the social implications of body painting with human empathy. Fifth, immediacy to embody the artistic will of the artist. Finally, the application of physical types according to affinity with nature, as well as an independent artistic entity.