• 복식문화연구
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• 제5권4호
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• pp.68-79
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• 1997

In this thesis which takes fashion advertising that functions a marketing communication as an objective, I try to bear witness to the signifying system of garments though analyzing with semiotic methodology the signifying procedure on the base of the structural concept of Ferdinand de Saussure and the advertisement semiotic theory of Roland Barthes, to make clear their signifying structure and it meaning by understanding the characteristics of contemporary society and its cognitive system. Each sign of fashion advertising transfers the brand image through syntagmatic signification which contains the mythology of goods. Mannish style is encoded as tailored jacket, white shirt, H-silhouette and pants, non-color or being color, and it is presented as a clothing sign of casual wear for career women. Feminine style is encoded as X-silhouette, soutien collar suit style, various colors, and other details with womanly image, and it is presented as a clothing sign for maid or young wife 20\`s or 30\`s. Formal style is encoded as jacket vest, inner wear(blouse), two and three piece dress by pants or skirt and one-piece dress, and it is used in every age and class. Casual style is similar to formal style, but differs only in textile code. Clothing sign for housewives in middle age is encoded as H-silhouette of formal style, long jacket and pants and brown, being and grey colors. Contemporary popular phenomena in the signification of fashion advertising, and its temporal ideology reflected are as follows; According to the context of fashion advertising in the middle of 1990\`s, its fashion is that first, military look applied from the designs of various sort of military uniform and vest look and pant style applied from dandy-style imitated from man\`s wear are popuar. This mean that it reflects the change of point of view on woman\`s role in society today. That is, due to the equality between man and woman, it mirrors the ideology of feminism, and then, describes beautifully professional woman with carrer. Second, because that individualism is underlied for the change of consumer\`s consciousness, standardized popularity is disappeared, and in accordance with the mixture of various trends and personalities proposed every season, layered look that emphasizes individualism, easiness and naturalness is popular.

• 한국의상디자인학회지
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• 제26권1호
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• pp.1-16
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• 2024

This study aims to investigate the differences in blue jean styles and the visual images associated with them. To achieve this, literature reviews, case studies, and surveys were conducted. The results are as follows. 1) Based on previous studies, it was found that the design elements influencing the style of blue jeans and their visual images include waistline position, silhouette, details, decorations, and color. Additionally, differences in the preferences and visual evaluations of Korean and Chinese individuals regarding the style of blue jeans were confirmed. 2) Skinny blue jeans are typically characterized by a high waistline and a length that reaches the ankles, featuring a snug fit with stretchy fabric. Straight blue jeans, on the other hand, usually have a natural or high waistline and cover the instep, with a straight silhouette descending from the thigh to the hem. Bell-bottom blue jeans are primarily high-waisted and cover the instep with a silhouette forming a bell shape from the knee to the hem. 3) Korean and Chinese women in their 20s evaluated skinny, straight, and bell-bottom styles of blue jeans as having a 'casual' image. However, they also associated bell-bottom style blue jeans with 'unique' and 'attractive' images. Interestingly, Korean women described skinny-style blue jeans as making someone look 'youthful', while Chinese women perceived them as 'sophisticated', 'making the waist look thicker', and 'unassuming'. As for straight-style blue jeans, Korean women saw them as 'well-fitting', while Chinese women described them as 'making one appear taller', 'desirable', and 'free-spirited'.

• 복식문화연구
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• 제4권2호
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• The International Journal of Costume Culture
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• 제4권3호
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• pp.229-240
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• 2001

The purpose of the present study was to analyze the acceptance level of forecasted information of casual wear in tate 1990s in Korea and the way of utilizing fashion trends information by casual wear industries. The Present study was implemented by content analysis and descriptive survey using questionnaire and interview. Trends information in fashion journals published by fashion institute and articles in daily newspapers were analyzed in terms of fashion image, color, fabric, and silhouette. The data collected from questionnaire and interview with 113 fashion specialists were analyzed through frequency, percentage. The results indicated that among the forecasted information regarding fashion image, romantic and feminine images showed a high level of acceptance to national brand women's casual wear in the late 1990s, while mannish image showed a low level of acceptance. For men's casual wear in the same time period, androgynous trends appeared most frequently, not only in forecasted information, but also in actual trend. it was forecasted that yellow, white, and gray would be in trend and those colors appeared frequently in actual trend. On the other hand pastel tone appeared much more frequently than forecasted. Natural, thin - transparent (S/S) and stretch fabrics (F/W) were in actual trend as it was forecasted. Fit and Pare (woman), and long and slim (man) silhouettes were in actual trend as if was forecasted, but barrel silhouette appeared only in forecasted information. Most of the information forecasting fashion trends for next season were applied to the product planning of the season, right after the information comes out.

• International Journal of Costume and Fashion
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• 제4권2호
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• pp.18-29
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• 2004

The purpose of this study was to analyze the formative beauty of metro sexual expressed on the 21C men's fashion. in 21C, metro sexual is being accepted as an object to lead the world consumption culture, and it is said to be most appropriate to the definition as a model that can determine the most modern men. Moreover, with well being life style, it shows characteristic that expresses chic sense through fashion. The results of the study were as below. 1. In recent men's wear, sensory feminine that looks young and trendy is being presented through clothes, rather than the image of men who are strong. Therefore, by wearing splendid flower print, bold color and gorgeous accessories, men send off their attractions. 2. The recent body king syndrome gave new aesthetic value on men's body. Therefore, men's body is becoming cultural icon of metro sexual as another face that shows social status and cultural taste. 3. The men's image of metro sexual that is felt from softer skin and hair than women, and well-built body is appealing more through body conscious look. Here, men's body silhouette is being sublimated aesthetically through design with various materials such as see-through and leather etc., and this is body conscious image that can be seen only in metro sexual. Like this, metro sexual fashion sense was expressed by feminine softness sometimes, and beautiful body silhouette sometimes by expressing one's sexiness enough, being away' from conceptual masculine. Therefore, the appearance of metro sexual can be understood that men's body exposure is becoming a social virtue that expresses beauty.

• 패션비즈니스
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• 제23권5호
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• pp.19-30
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• 2019

The aim of this study is to analyze the stage of image change in Korean fashion design in regards to the simulacre of Jean Baudrillard. The changing phases of Korean fashion design are as follows: First, the initial stage involved simple imitation, which replicated the original as much as possible, it expressed the basic composition of Hanbok, flat cut and rich silhouette, the color scheme of traditional colors, traditional patterns, materials, and traditional ornaments. In the second stage, the subject matter intervened to distort and transform from the original, the basic composition and structure of the Hanbok were barely maintained, they were either removed or part of the structure modified or expressed using modern materials and patterns. The third stage, were based on reality but differed from reality through subject and imagination, and only left a part of the basic composition of Hanbok, and were expressed through the partial modification of the elements of the Hanbok, for instance the silhouette, skirt waist, collar and breast-tie. The fourth stage of pure simulacre, which refers to a new image with complete independence regardless of the reality. This stage differed from the basic structure and composition of Hanbok, and showcased traditional Korean image of Korea's unique cultural elements, such as hanbok or crafts and artworks, in a modern fashion with a modern sense and practicality.

• 복식
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• 제63권2호
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• pp.14-28
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• 2013

This study attempts to systematically analyze a red carpet style. I have researched the Academy Awards called representative film awards which symbolizes international fame and the Grammy Awards which is the most prestigious award in the music industry by subdividing into formative elements such as silhouette, color, fabric, pattern, detail, accessory, fashion image, and so on from 2000 to 2012. Firstly, when it comes to silhouette, mermaid silhouette accounts for the highest proportion in the Academy Awards. Compared to this, fit silhouette is shown almost the same percentage as the mermaid silhouette in the Grammy Awards. Secondly, with regard to color, black color has not only the highest percentage but also examples of different unit forms such as various color, showy gradation and single colors. Various colors in the Grammy Awards have similar percentage in comparison with the Academy Awards. Thirdly, in terms of fabric, silky material is often used most, which looks like putting more weight on dresses for the formative elements of clothes. Fourthly, in pattern, patternless dresses are represented by high percentage at both the Academy Awards and Grammy Awards. Dresses with patterns have mild, stylistic elements and geometric designs. The Grammy Awards shows many different unique patterns, color and size, compared to the Academy Awards. Fifthly, in detail, frill and ruffle ornaments are shown most at the Academy Awards and Grammy Awards. Especially in the Grammy Awards, beads ornaments are used most. Sixthly, in accessory, there are many accessories of graceful, elegance styles in the Academy Awards. On the contrary to this, there are many accessories to effect on many performances of large, fancy, unique styles. Seventhly, elegance images of a goddess style among fashion images emerge as fashion of the Academy Awards. In spite of romantic styles in the Grammy Awards, many various images are the same rate as there, which means different appearance of experiment and sensational styles.

• 만화애니메이션 연구
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• 통권32호
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• pp.1-21
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• 2013

실루엣 애니메이션은 애니메이션의 시작을 알린 20세기 초반부터 애니메이션의 한 장르로 인정받아왔으며, 특유의 움직임과 조형성은 다양한 의미론적 해석과 조형적 활용을 가능케 해왔다. 특히 프랑스의 애니메이션 감독 미셀 오슬로는 실루엣 애니메이션에 디지털을 접목하여 실루엣 애니메이션의 확장 가능성을 끊임없이 모색하고 새로운 활로를 개척하고 있다. 최근작인 <밤의 이야기>는 3차원 입체로 실루엣 애니메이션을 제작함으로써 실루엣 애니메이션이 가지고 있던 고질적 한계들을 그만의 방식과 스타일로 진화시켰다. 오슬로 감독은 점점 더 사실적인 움직임을 지향하는 디지털 애니메이션의 흐름 속에서도 선택된 움직임과 대안적 요소들을 통해 느림의 미학을 제시한다. 뿐만 아니라, 정서, 감정 등의 무의식적 요소들을 강조하는 색채, 구도, 패턴 등을 그만의 방식으로 활용함으로써 이미지 범람의 시대에 절제되면서도 오히려 디지털로 강화된 회화적 인상과 이미지를 선사한다. 이와 함께 디지털의 획득으로 가능해진 3차원적 공간 활용은 관객들에게 더욱 폭넓은 조형적 상상력을 제공한다. 이 논문에서는 움직임, 이미지, 공간의 세 가지 범주에서 미셀 오슬로의 디지털 실루엣 애니메이션인 <밤의 이야기 Tales of the Night>(2011)의 진화된 미학적 특성들을 기존 전통적 기법의 실루엣 애니메이션과의 비교를 통해 분석 하였다. 이를 통해 <밤의 이야기>가 기존 실루엣 애니메이션 특유의 환영적 특징들을 새롭게 환기시키는 동시에, 여러 가지 제약으로 침체되었던 실루엣 애니메이션 제작에 디지털 접목을 통한 새로운 활기와 가능성을 모색하게 하였음을 발견하였다. 점점 더 획일화되어가는 디지털 애니메이션의 현 시점에서 이와 같은 디지털을 접목한 실루엣 애니메이션은 기존 아날로그 방식 특유의 정적 매력을 그대로 유지하면서도 디지털로 새로운 조형적 상상력을 극대화시킨다는 점, 그리고 이러한 부분들이 향후 디지털 애니메이션의 다양성 획득과 발전적 진화에 큰 보탬이 될 수 있다는 점에 있어서 충분한 연구 가치와 그 가능성을 지니고 있다고 볼 수 있다. 뿐만 아니라, 이를 통해 미셀 오슬로의 새로운 실험과 작품경향에 대해서도 살펴볼 수 있는 기회를 마련하고자 한다.

• 복식문화연구
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• 제11권2호
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• pp.293-319
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• 2003

Retro, one of these fusion styles, was found in various pattern in fashion. Recent fashion trend shows coexistence with variety which cannot be represent by one or two themes, and introduces various images in a season. Therefore, this study was found three fusion image of Retro pattern which has appeared since 1990; Romantic, Ethnic, and Hippie-look. shown in VOGUE, BAZZAR and etc. 1, Romantic image overcame the exaggerated style of 18th century and expressed in a volume gown, a tight dress of high-waist, and bustier. In addition, beads or sequin became more brilliant and gorgeous which decorated the whole clothing. 2. Ethnic image was expressed with fusion of particular traits from all of the world such as Japan, China, India, South America, Greece, and Africa. 3. Hippie-look image has been shown in slim & long silhouette style, and fusion styles of romantic factors or ethnic factors were also found. Retro as one of the phenomenon of fusion was found in romantic image, ethnic image and hippie-look Image.

• 지능정보연구
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• 제12권1호
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• pp.95-105
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• 2006

본 논문에서는 영상을 비전 중심점 이동에 따라 정밀하게 표현할 수 있는 형태 기술자를 제안하고, 이를 이용하여 영상이 표현되는 방법을 조사하였다. 제안된 기술자는 영역의 중심점에 모든 영역의 크기가 집중되어 있도록 표현하는 방법이며, 이 비전의 중심점을 다른 관심영역으로 이동시킴으로써 좀 더 정밀한 영상표현도 가능하게 되었다. 이는 또한 영역의 크기 정보를 포함하고 있어서 더욱 효과적이다. 영상의 윤곽선이 제안된 기술자에 의해 정밀하게 표현될수록 영상 내용 검색 등에는 더욱 효과적으로 이용될 수 있다. 제안된 형태 기술자는 정규화가 가능하여 크기, 위치, 회전에 무관하게 표현될 수 있으며, 일정한 영상 패턴으로 구성된 데이터베이스 시스템을 만들 수 있다. 제안된 형태 기술자를 이용하여 실루엣 영상 검색에 적용하여 실험하였으며, 실험 결과, 영상 표현에 효과적으로 사용될 수 있음을 보였다.