• 복식
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• 제56권7호
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• pp.105-120
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• 2006

Today's radical change of environment and technology spreaded high-technology art by cutting across a general idea of art, expressed machine aesthetic in fashion style by influencing materials and production processes of fashion. The purpose of this research is to take another look at the value and the importance of ornaments in terms of fashion design, to overcome the negative aspect of Technology Fashion by designing Retro Technology Fashion that harmonizes reason with sensibilities through floral patterns. The results of this study are as followings. 1. If Retro technology Fashion was analyzed by time and space element that are postmodernism techniques, there are Ethnic Technology Fashion that are based on space and historical Technology Fashion that are based on time. In terms of spare element, there is the hybrid of revival of exotic folklore with Technology fashion. In terms of time element, there is the hybrid of costumes of before 20th Century with Technology Fashion. It means unifying detail or silhouette of costumes of ancient time to modern time wit Technology Fashion. For another time element, the hybrid of retro fashion after 20th Century with Technology Fashion. The retro nostalgia is revived by the floral patterns or silhouette of Hippie fashion unified with Technology Fashion. 2. Based on above research, Retro Technology Fashion with floral pattern on CAD were designed. As the results, for Ethno Fashion that is spatial retro, 'Asian Technology fashion' was designed with bright colors, China collar that are oriental, and vinyl material. For historical Technology fashion that are based on time, 'Space Middle Age' was designed with tight silhouette, party colored pants and plastic material.

• 복식
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• 제66권2호
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• pp.103-116
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• 2016

This study intends to discover characteristics and methods of retro image wedding dresses by analyzing prior studies about retro characteristics. The characteristics of retro image wedding dresses are as follows: 'Recreative Retro', Trend revival Retro', 'Nostalgic Retro' and 'Remixed Retro'. The expressional characteristics and methods of each character are as follows. The 'Recreated Retro' has been recreated in the wedding dresses worn by celebrities, actresses' wedding dresses in movies, and also in the famous designer's high end wedding dresses. These dresses do not merely duplicate the originals, but also reflect images, which were reproduced by combining modern technology. The 'Trend revival Retro' emerged as a combination of past fashion styles and new trends. It seems to stimulate the customers' reminiscence of past fashion trends and create unique designs through expressing the metaphor or the adaptation of past fashion styles. The 'Nostalgic Retro' started from the discovery of emotional values for something old or the inclination to be attracted to old styles. It has been expressed through design concepts with natural themes. The 'Remixed Retro' is from recombination of Retro elements. It is shown as a new interpretative code which explains how current time blends with different times.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.66-66
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• 2003

The rapidly environmental alteration and technical civilization that have a direct effect on the creation of high-technology art. And spread of this kind of art influenced on material of and method of production. These lead to machine aesthetic of style of fashion.

• 복식
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• 제63권8호
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• pp.58-75
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• 2013

Steampunk is a term generally used for one of the S. F. subgenre in literature, arts, fashion styles, and lifestyles. This study clarifies formative characteristics as well as the meanings of steampunk fashion style based on its attributes in movies and animations. Attributes of the steampunk are blending time, blending technology, and introspection against science development. In order to have an objective research, this study researched frequency of the fashion item, color, accessory of the collected fashion image, and after interpreted that consequence. Men's steampunk fashion was composed of men's basic outfit such as shirts, vest, jacket, pants, and coats of the 19th century. Black color took up the largest proportion for color. In accessory, top hat, goggle, and steam-powered weapons, in order, were most commonly used. Women's steampunk fashion was composed of shirts and long one-piece dresses, long skirt simply applied 19th victorian style fashion. Yellow, brown, and black color took up the largest proportion of fashion color. In accessory, top hat, belt trimming, corset, and boots, in order, were most commonly used. It is the characteristics of the steampunk fashion that represents retro-future fashion, as it features steam-powered mechanic esthetics, a kind of DIY subculture and transcending division of nationality, class, and gender.

• 패션비즈니스
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• 제3권3호
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• pp.69-78
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• 1999

The purpose of this thesis is to investigate of fabric characteristics in women's wear as reviewing the fabric trends in 1990's domestic fashion. As a method to accomplish this research, I have examined the articles related to fashion fabric and fashion trend magerzines. This study considered women's wear relatively used diverse fabrics, there was not previous study regarding the fabrics used in domestic, since the 1990's. The social fators for the 1990's fashion were the influence of the informed, the increased concern for the ecological environment, the sattlement of young popular culture, the increase of resonable consume and social anxiety. To understand the fashion trends of the 1990's women's wear, it is divided three periods. The traditional period is from 1991 to 1993, the mixed period of the naturalism and the technology is from 1994 to 1995, the retro period is from 1996 to 1999. The charateristics of the fabrics used in 1990's women's wear were the appearance of various functional fabrics, the development of new synthetic fabric with high sensitivity, the popularization of circular knit, the fabrics with a retro mood toward traditional feminine mood and the blending of fabrics. The fashion of 1990 have had the characteristics of various utilization of the materials on the base of reasonable and practical trends than the changes of design and detail.

• 복식
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• 제55권1호
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• pp.1-12
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• 2005

The modern society which is going through the big turbulence of civilization experiences the lost of humanity and the phenomenon that the standard of our thoughts, like those for good and evil, truth and false is not clear anymore as the technology is being improved. This makes us miss the past when everything is simple and the standards are very clear and being attracted by the metaphorical culture symbolizing something from the past, like memories of youth, fantasies, fairy tales or myths and we are now having a great interest in the joy of life and the affluent life. Influenced by this kind of tendency in modern society, the minimalism, which had the great influence in the nineties, went out of fashion and at last the romantic susceptibility seems to be the trend forming the major mood of the late 20th century - the early 21st century. This study focus is: (1) the theoretical aspects of romantic images such as the concept, the historical tendency and the character are considered. (2) the variety and multiplicity of the romantic images is discussed after the romantic image is classified into four types of retro character, natural character, ethnic character, erotic character according to major trends in our modern. The purpose of this study is to understand the romantic images in modern fashion, by analyzing the fashion trends together with the various features of romantic images.

• 패션비즈니스
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• 제21권5호
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• pp.61-77
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• 2017

Fashion companies are increasingly becoming aware of the importance of Digilog as a response strategy to an emotional stimulus, in order to win the hearts of consumers, because the Digilog provides a new type of emotional value. The features of Digilog found in modern fashion are characterized as follows: first, the "Fashion Image of Hybrid Nature" expresses nature in a new light or reinterprets existing expressions of nature, by using cutting-edge technology based on the psychological desire to return to, adapt with, and harmonize with nature. Second, the "Fashion Image of Nostalgia," which exhibits past forms of regressive fashion, is a fashion code that can be understood as a social trend. It has a digital exterior, with retro materials and old perfumes that reflect psychological comfort, as its expressive medium. Third, the "Lifestyle through the Technique of Interaction" is the sharing of information through consumer participation and delivery, or its interaction. Fourth, the "Fashion Design through the Technique of Customizing" allows consumers to actively participate in the design process. It reflects the consumer's desire to personally design fashion products. Fifth, the "Emotion Sharing through the Technique of Storytelling," which focuses on intangible values, is based on the sentiment of communication between the consumer and the brand, thereby satisfying the inner values as well as the aesthetic demands of consumers. This study confirmed that digital fashion, which uses digital technology based on analog sentiments, has opened up a new environment for fashion culture and has also widened the boundaries of fashion.

• 복식
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• 제41권
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• pp.117-138
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• 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.

• 한국의상디자인학회지
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• 제22권2호
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• pp.71-85
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• 2020

The purpose of this study was to study the beauty-coordination characteristics of Genderless fashion, which is emerging as a new trend by analyzing the trend in the latest collection and classify the resulting expression characteristics of make-up. Methods and scope of the study were based on collections published in the 2020 S/S season and 35 out of 84 designers with design elements were selected to analyze the garments most likely to be genderless. The characteristics of the expression of the genderless derived through this analysis were classified into compromise, androgyny, sensuality, exaggeration, enjoyment, and historicity. Compromise was the highest, and the lowest was for enjoyment of the classifications. The designer's work according to the characteristics of each expression shows that the pieces by Saint Laurent were the highest in compromise, sensuality, and historicity, and the pieces by Maison Margiela were the highest in androgyny while Balenciaga was the highest in exaggeration and enjoyment. Compromise represented a mixture of discord, such as incongruous bonding and coloring of heterogeneous materials, and androgyny led to the use of silhouettes and colors, with sensuality utilizing see-through material and incision lines allowing for physical exposure. Exaggeration intentionally destroyed the existing concept by breaking the overall balance of the human body through the enlargement of certain parts of the body, while enjoyment showed unexpectedness by destroying the line and sides of the garment. Lastly, historicity was analyzed for its retro design that transcends time and space with regional cultural and period characteristics.

• 한국의상디자인학회지
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• 제25권4호
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• pp.13-28
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• 2023

The purpose of this study is to analyze the characteristics of hippie style in emerging brands pursuing the hippie spirit, examine the changes in hippie style, and apply them to the design development process to propose a hippie style design that reflects contemporary characteristics. The research method of this study was used to grasp the characteristics and current status of hippie style based on a literature review and prior research. Through the analysis of Bode and Story mfg, a new brand that reflects the hippie spirit, the design expression methods and characteristics of modern hippie style were derived, and based on the analysis, the design of the 3D CLO virtual outfit was developed. The results of the study are as follows. First, in addition to the use of eco-friendly materials, the digital technology of the CLO 3D program was applied to the design development process, which made it possible to increase sustainability from the production process. Second, by creating a retro design centered on a striped pattern expressing freedom, revolution, and equality, and a handcrafted design based on a tie-dye pattern, the design was able to express the hippie spirit of loving nature, and through this, a new direction of eco-friendly and modern fashion design was presented.