• 한국의류학회지
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• 제35권10호
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• pp.1215-1227
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• 2011

The recent craze for so-called skinny jeans is illustrative of the restraint of the body through dress. This phenomenon is noteworthy when considering the internalization of the corset in contemporary fashion. Grown out of the garments of soundly practical use, blue jeans have led the stream of fashion for about 150 years and now they serve as the new corset idealizing the female body in the form of skinny jeans. This study intends to examine the idealization of the body in contemporary fashion and focus on skinny jeans as an externalized corset. The struggle with corsets continues in that the real body is overwhelmed by fashion items. In the aspect of idealizing the body by constraining the body parts, skinny jeans externalize the control of the body as contemporary corsets. This study conducts literature research and content analysis as the method of investigation and focuses on women's fashion from the 20th century. Exerting a harmful influence on health (as corsets have done) the body in skinny jeans is regarded as a modifiable entity. The thinness of the body achieved by skinny jeans suggests the controlling power over the body. Moreover, this gives access to the power presented by the contemporary ideal of thinness. Skinny jeans are modern day glass slippers.

• 한국가정과학회지
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• 제9권4호
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• pp.27-39
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• 2006

Surrealism, appeared in the beginning of the 20th century and affected almost all art fields, is one of the most representative art trends. Surrealism, not restricted from any rules and traditions but tried to produce a new appreciations in the world of dream and unconsciousness, also has affected fashion. In this paper, I have tried to find out how the surrealism has been expressed in the modern fashion, especially in Thierry Mugller's design. Thierry Mugler is one of the most famous designers who have expressed surrealism in their fashion designs. I have classified his designs and researched them by the application into the human body and the nature, by the metaphor and transformation of things, and by the metamorphosis of location and an optical illusion. It was based on Depaysement which is one of the ways in surrealistic expressions. The result of the study is followings; First, surrealism made fashion design possible to creat unlimitedly and sublimated it anew modern beauty by attempting the varieties of the fashion, not restricted from any rules and traditions. Second, surrealism made the general public to complete anew recognition and valuation about fashion by expressing the external character and the internal meaning on the clothes. Third, surrealism made people to recognize, which clothes is not simply wearing thing but also one of the art expression forms.

• 복식
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• 제63권8호
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• pp.188-208
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• 2013

This study aims to find out factors of historical specialty and cultural ethnicity that influenced the formation of Spanish fashion as well as examine the characteristics of Spanish fashion by comparing its historical costumes, such as folk costume and court costume with contemporary fashion of major Spanish designers in the 20th century. Documental investigation and analysis of visual materials were used as research method. The study results are as follows: The major factors that affected the characteristics of Spanish fashion in the history include the geographical features, invasion of foreign nations, cultural heritage of various ethnic groups, strengthening of the national power, advancement of international trading through the newly developed routes, and influence of religions such as Christianity, Islam, and Judaism. Featuring the coexistence of variety and heterogeneity, the ethnicity reflected in the culture harmoniously embraces various spirits such as conflict and coexistence, individualism and collectivism or regionalism, and exclusion and tolerance of religions. In addition, the characteristics in the cultural phenomena include passion, sensuousness, individualism, sense of reality, sense of chic, and the people-centeredness. The basic Characteristics of Spanish fashion include the sensuality of excessive zeal, decorativeness of gorgeous handicrafts, exoticism of people-centered variety, extreme contrast of harmony, touching artistry of chic, and fantastic surrealistic wits.

• 한국의상디자인학회지
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• 제12권2호
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• pp.41-54
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• 2010

This paper aims at studying about spatial structures and formative characteristics of Lucy Orta's fashion design. Her works utilizes the thought related on the architectural space that has been revealed sharp change of the paradigm since the late of 20th century. Lucy Orta against individualism of the urban life, and manufactures portable and moving housing and multi-functional fashion that is paved with individual rest unit and give a sense of security through simple combination among the units. Besides, she has development multiple portable clothing and equipments for the rescuethrough exploiting pioneering high technology. The results of this study can be summarized as the following: 1) refuge habitant creates individual space for physical and mental protection from the urban surrounding, 2) nomadic dwelling shows multi-functional fashion space fit for digital nomads' life style aims at continuous movement, 3) connective nexus and urban life guard are comprise of detachable individual unit in public space for remaking of the bonds, affinity, and relationship, and the complex of rescue clothing and equipments for meeting a challenge of the threat about human existence from uncertain environmental change in the future.

• 복식
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• 제50권8호
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• pp.129-147
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• 2000

The main purpose of this study was to define the Fashion Coordination through chanel style. The methods of research were review precedent theses. the document rotated to fashion, and fashion Magazine. Also, information on the Internet was used. In sense of the fashion coordination, Designer Chanel understands fashion. Chanel is created that has Chanel Style through garcon style in 1920 by coordination with accessory and so on that means modern fashion. From than, even though Chanel Style has changed over and over according time, that become ideal image model what modern women is running after be. 1. Tubular style has easy to represent personal identity each people, by coordination with accessories and so on. The relationship tubular style and accessory is help to produce image bast. 2. Chanel' Hat was coordination with the same color clothes, contributed to finish wearing clothes and increase position. 3. Necklace has representative accessory in Chanel style. 4. Carmellia made use of point accessories on clothes. 5. Chanel N$^{\circ}$ 5 was produced crystallization that is necessary to make image. 6. Chanel was created Modern style based on the garcon style. 7. That became ideal image what women want to be in 20th century 8. Through cackle kennedy, that has best style symbolized rich and position.

• 복식
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• 제62권1호
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• pp.62-75
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• 2012

The purpose of this study is to analyze the color and color coordinations and their aesthetic values expressed in the military look designs from 1996 to 2000. The research data were gathered from Vogue and Collezioni Donna from this period. Total of 1004 works were collected and used for this study. The results were summarized as follows. In the colors of the military look, achromatic colors such as black and white were found to be of the highest quantity, which indicates that achromatic colors continued to be proposed as fashionable colors since 1996, and this influence was reflected in the military look. In terms of color coordination, monochromatic coordination accounted for 52.7% of the military look, through which it could be presumed that designers utilized it greatly to make an effective expression of the masculine image of the military designs.

• 복식문화연구
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• 제17권6호
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• pp.1083-1098
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• 2009

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

• 복식문화연구
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• 제17권5호
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• pp.849-865
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• 2009

This research is a study of fashion design that applied formative features of formal beauty of architecture into clothing design; we focused on Gaudi's architectural style as well as Art Nouveau style that became popular from the end of the 19th century to the beginning of the 20th century. We noted that in general the simple and flat features of cloth impose a limitation on the expression of formal features in clothing design, but a unique diversity of designs can be achieved, evoking a sense of freshness by an ideal combination of flat patterns and draping. The aim of this research is to present a possibility of extending the sphere of design expression by creating three-dimensional clothes with pattern-cutting skills and applications of three-dimensional patterns as well as flat patterns found in Gaudi's works of architecture that are distinguished in curvaceousness and formal beauty. As for the research method, we reviewed previous studies by making a close review of books, papers, the pictures and web sites related to this topic. We made our clothes on the basis of this theoretical consideration. We found the following points. First, by presenting a work of fashion inspired by architectural designs, we realized that formal beauty in architect can become a motive for clothing design in a broad scale by noting the formal images, decoration details, and formative features of architectural works. Second, the characteristic lines of Gaudi's architecture are suitable to be adapted for expressing the detailed lines of decoration in clothes. Third, we can express formative beauty in clothes by highlighting the variation of shapes and lines through various attempts of change in background pattern, even though there is a limitation in the availability of cloth material because we must choose pieces of cloth with right texture and thickness that can be cut and sewn appropriately to express formative beauty. Fourth, we confirmed that it was possible to create unique formative designs by a creative application of both flat and three-dimensional cutting.

• 복식
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• 제57권10호
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• pp.87-98
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• 2007

The development of mass media in the $20^{th}$ century has resulted in the rapid growth of the fashion industry. Fashion magazines like are performing the function of spreading new styles in addition to simple provision of fashion trend information. Therefore, the present study tracked the trend of changes in the cover models of USA during the last 10 years $(1997{\sim}2006)$, and examined qualitative and quantitative changes in the contents of USA for the last 20 years. According to the results, $50{\sim}75%$ of cover models were super models during the period from 1997 to 2006, but the percentages of fashion models and celebrities became similar to each other in 2001, and from 2002 to 2006 celebrities occupied around $75{\sim}92%$ of cover models. When the contents of USA were analyzed by category, columns that showed strength in 1986 but decreased gradually until 2006 were style suggestions(p<.001), fashion shooting on the theme of TPO and items(p<.05). Fashion columns that showed weakness in 1986 but increased through the 1990s and until 2006 were celebrity style(p<.05), item introductions(p<.001), shopping information(p<.001), designer interviews(p<.05) and fashion shooting on the theme of mood and celebrity(p<.05). These results suggested that the function of USA as a fashion magazine was mainly the provision of information on how to wear the new styles in 1986, but nowadays the contents have changed to information on what to buy. In addition, the results show that contents using highly popular celebrity increased rapidly in the 2000s.

• 패션비즈니스
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• 제4권2호
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• pp.1-17
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• 2000

Kitsch is one of the various mass-cultural phnomena in the late 20th century, with it's own new aesthetic value, 'self-expression' through 'destruction', denying the existing established way of thinking and escaping from the stereotypes or fixed ideas. This is called 'aesthetic inadequacy'. The purposes of this study are to examine the different preferences between the western and the domestic Kitsch Fashions to investigate the formative and aesthetic characteristics of domestic Kitsch Fashion based on substantial data, and to propose the creative Kitsch design. The results of this study are as follows; 1. The formative characteristics of domestic Kitsch Fashion are marked by amusement, disharmony, epicureanism, satire, and use of imitation. 2. Then, based on theoretic research, this study applies aesthetic characteristics of Kitsch to the creative design. According to the formative characteristics for Kitsch Fashion, the Design Concepts are developed in order of Optimism, Multi Form, Decadence Chic, Neo-Naturalism, and Poor Vintage. And the Fabric direction is given in Design Story with sub theme such as Cheerful, Game, Decadence, Environment, and Grunge.