• 복식
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• 제58권3호
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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.

• 한국의류학회지
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• 제32권5호
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• pp.704-716
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• 2008

This study aims to explore the creation of fashion design that embraces the diversity of human culture by examining oriental images that appear in the modern fashion with a focus on new paradigms that significantly affect human life as the latest trends, and by reflecting the trends of the times. The results of this study are as follows: First, this study examined that with regard to paradigm, a theoretical frame to view universe, the dichotomous, determinist, mechanism, linear paradigm collapsed to convert to undetermined, exoteric, pluralistic, indeterministic, organic, and holistic paradigm. The new paradigm is identified to have emerged before and after 1950s, and through the new paradigm, the characteristics of postmodernism such as historicality, popularity, locality, folkways and the characteristics of deconstructionism, internally mutual text, post phenomenon, undeterminability and externally exposure, destruction, poverty, decomposition and analysis, were identified. Second, the Orient is defined as the generic term referring to the entire Asian areas east of Turkey. Through the developmental process of oriental images, it was converted from the Oriental image, which mysteriously and romantically represents oriental elements, into the ethnic image that represents long time oriental traditions and indigenous culture together with the characteristics of the new paradigm. Third, the artistic characteristics of the Oriental costumes presented by Korea, China and Japan are expressed in developmental types, T-type plane structure, layered style, asymmetrical adjustment and easy silhouette, and they show indigenous characteristics of each country, for example, Chinese styles in dragon pattern, red and yellow, Japanese styles in flower design and achromatic color. Fourth, the Oriental Image, combined with the postmodernism and deconstructionism through the new paradigm, has two: one Oriental image highlights traditional elements by creating new Oriental image such as natural image, folk image, hybrid image and deconstruction image; and another is undetermined and vague by combining or decomposing Oriental or Western elements. It is expected that fashion designs that reflect these contexts of the times will contribute to the strengthening of international competitiveness.

• 복식문화연구
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• 제24권4호
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• pp.441-456
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• 2016

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun-Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.

• 한국의류학회지
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• 제23권8호
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• pp.1206-1217
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• 1999

This study is focused on 'mysticism' in fashion which is recently marked as one of the cultural phenomenon emerging at the end of the century, First of all the concept of 'mysticism' and 'occultism' are reviewed to define the mysticism in fashion. Mysticism as a cultural phenomenon is also examined in historical and social context. With these theoretical basis articles which were publshed in 1990s from Korean newspapers and magazines which reported cultural phenomenon related to mysticism are analyzed and categorized. Finally these categories are applied to fashion phenomenon and 'mysticimsm in fashion' is analyzed and clearly examined as a fashion trend. As a result mysticism in fashion that has arose as an end of the century phenomenon within the historical and social context could be categorized into five groups such as 'primitive religion' ' Christianity ' 'oriental philosophy' 'universe' and 'magic and witchcraft'.

• International Journal of Costume and Fashion
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• 제2권
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• pp.73-85
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• 2002

• 복식
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• 제52권5호
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.

• 한국의류학회지
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• 제34권9호
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• pp.1429-1441
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• 2010

This study examines the post-national trends of the $21^{st}$ century fashion that has embraced multiculturalism. This study conducted a literature view to explore the concept of multiculturalism and the background of post-national phenomena appearing in contemporary fashion. In addition, as a case study, the author used local and foreign fashion magazines and collections published between 2000 and 2009, in addition to other related materials available on the Internet. The objective was to analyze photographic materials in which post-national features are reflected. From this study, the post-national trends in $21^{st}$ century fashion that adopted multiculturalism are as follows: The first is that oriental culture is more actively embraced. In the past, the tendency of embracing the oriental culture was mainly developed with a focus on China and Japan, but recently the tendency has spread to Southeast Asian countries and national/ethnic minorities that include Mongolians and Tibetans that is present in more active ways that reflect oriental sentiment and philosophy as well as adopts simple images. Second, $21^{st}$ century fashion based on multiculturalism broadens the interest in the understanding of nations in the regions of Africa, Middle East, and South America and uses regional folk costumes or indigenous characteristics to create new things instead of staying within a fixed paradigm. Third, as horizontal transfer is involved in ways of looking at culture, $21^{st}$ century fashion shows a post-national tendency to use regional cultures and folk costumes of the occidental world that includes North and West Europe in addition to non-mainstream regions (as considered so far). Fourth, dress elements of many heterogeneous national cultures are combined to create multinational images difficult to define in terms of a specific national culture or clothing style.

• 복식문화연구
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• 제13권3호
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• pp.361-379
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• 2005

The purpose of this study was to find how hybrid fashion and make-up responses to multiculturalism condition and how expression of hybrid. Today, every culture has taken on the compromise form by means of the cultural difference, variety, and pluralism according to the internationalization and the advance. In accordance with this current of the times, this study observed the hybrid found in the multiculturalism of the 21th century. The expression of hybrid in multiculturalism of contemporary fashion and make up combination of difference. Second, the society development and a generalized knowledge of multiculturalism and hybrid and history of make up. Third, characteristic of fashion about multiculturalism and characteristic of fashion about hybrid classify a divide into five according to fashion trend. Oriental and western of hybrid, the past and the present of hybrid, high society and the lower classes of hybrid, the main current and non mainstreamers of hybrid, the present and the future of hybrid. Fourth, characteristic of make up about multiculturalism and characteristic of make up about hybrid classify a divide into five according to fashion trend. Oriental and western of hybrid, the past and the present of hybrid, high society and the lower classes of hybrid, the main current and non mainstreamers of hybrid, the present and the future of hybrid take measures too.

• 한국의류학회지
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• 제32권1호
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• pp.77-87
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• 2008

Modern fashion industry creates complex and multiple fashion by amalgamating and mixing all elements that emerged in fashion without limiting them to a specific genre. The results of study are as follows: First, with regard to the conceptual differences among poor look, anti-fashion, and resistance fashion and the background. second, As aesthetic categories of poor beauty, its image with the feeling of poorness, beggar-likeness, worthlessness, poorness, and uncleanness is divided into the beauty of moderation, deconstruction, unfinished beauty, natural beauty, and ostentatious poor beauty based on the formative characteristics and poor look. Third, Oriental and Western poor images are comparatively analyzed. The poor beauty found in Oriental fashion, which is based on Zen aesthetics, seeks loneliness, poorness, and simplicity as an empty origin and features internal meaning that expresses the purity of poor beauty itself and external form that is visualized through no decoration, no color, and asymmetry in material and composition. The poor beauty in the West features non-form of no shape, asymmetry and disharmony and the characteristic in its contents is "distortion", and the characteristic in its expression features external form of "incorrectness" and internal meaning implying modem humans' frustration, resistance to materialism, and skepticism about mechanicalism.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.1-7
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• 2007