• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.39-52
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• 2004

The purpose of this comparative study what is the way to express difference fashion design between Japanese fashion designers and Western fashion designers in the 1990s. The design data were 422 pictures of contemporary fashion designs which represented the Japanism style design from fashion collections and analyzed by literature study and classification categories. The results were as follows : 1) Early general Japanism expression was directly borrowed from traditional fashion design elements and has changed indirectly with fashion trend. 2) Japanese fashion designers have used color, fabric, and pattern than shape to express Japanese traditional images. 3) Western fashion designers have directly borrowed aesthetic elements of Kimono design, that is, layering. bending, neck-line, sleeve, and traditional Japanese men's wear to express Japanism.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.47-61
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• 2013

This paper compared and analyzed costume design shown in two movies that was adapted from the same original work, 'Snow White'. One movie consists of a western director and a western designer team while the other movie is shot by an Asian director and an Asian designer team. Two movies show similarity and difference in expression of characters in 'Snow White'. The findings are as followed;- Both movies project an image of modern women, which is mainly represented by active and confident women, However, Ishioka Eiko, the costume designer of < Mirror, Mirror >, created unique costume in the movie by applying splendid and vivid colors to western costume to make exotic feeling. On the other hand, Colleen Atwood, who was inspired by costume in each historic period and region of the Western. created costume that was closer to the tradition of the Western in his movie, < Snow White and the Huntsman >. The purpose of this study is to help the Korean movie industry to find a way to advance to the world market by fully understanding how the Easterners and the Westerners feel and express 'Snow White'. Moreover, this study may present a chance to review importance and value of the movie costume design area.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.125-143
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• 2013

This study aims to clarify the identity of contemporary Chinese fashion design by examining how the characteristics of Chinese tradition are accepted and presented in fashion under the influences of western cultures. This study performed a literature survey on related works. Also this study performed demonstrative analysis of Chinese daily newspapers (People's Daily and Xinmin Evening News, 2007-2010) and fashion collections by Chinese and Chinese descent designers(2007-2011). The results are as follows: First, China is trying to express Chinese traditional ideas and factors in the design areas, and also trying to achieve an universal generalization. Second, the Chinese designers emphasized traditional ideas and culture in their designs. The Chinese descent designers were affected more by western culture. The common aesthetic consciousness were the beauties of sophisticated and splendorous decoration, vastness and elegance. Also the compromised images, neutral images and antique images were common in both groups. Third, the Chinese designers presented fashion designs on formalized and imitation stage. Also they tried to make a metaphorical stage. The Chinese descent designers showed designs on a metaphorical stage. In conclusion, the contemporary Chinese fashion design should find the way to globalize and identity of the traditional culture code simultaneously.

• Journal of Fashion Business
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• v.24 no.1
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• pp.1-14
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• 2020

Based on the trend of pluralization and globalization the collapse of national borders now is a manifestation of mixed and compromised cultures and societies. It is also emerging as a hybrid fashion in fashion. Hybrid fashion means creating a new image by mixing various cultures beyond the time and space. This study aims to analyze the current state of Chinese fashion design and present its direction by grasping the characteristics of hybrids in the works of rising Chinese fashion designers in the era of pluralization. The research method was literature review and empirical research. According to the selection criteria of new fashion designers, 6 new fashion designers of 5 fashion brands were selected and their total 458 points works were analyzed. The analysis results are as follows. First, most of the time trade-offs were 'past and present' trade-offs that express Chinese traditional culture and the image of the past with modern design. The trade-offs between 'present and future' is expressed by mixing print patterns, colors and light with fractal art. Second, spatial trade-offs was expressed in the way of expressing Chinese themes in the composition of western clothing, expressing the Western themes in oriental colors, and inspired by Japanese culture expressed by deconstructionism, Third, the gender mix mainly used dark embroidery on women's clothing, while the men's wear showed a delicate feminine charm with a surreal pattern on thin and transparent gauze fabric.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.789-808
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• 2010

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel's clothing that is usually used by neutral colors and on Yohji Yamamoto's clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.117-133
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• 2016

Fashion reflects various cultures, including the spirit and the lifestyle of the period. South Korea has experienced rapid social changes, including the Korean War, industrial development, and the inflow of Western influence. Modern Korean fashion has developed along with these changes. Acceptance of suits and the reformism of the Hanbok are the two notable changes in Korean fashion. Gyungja Choi, and her fashion show, is known for combining modern fashion and traditional beauty by entwining traditional Korean fashion design elements into modern fashion. This research investigated Gyungja Choi as a fashion designer, a fashion education executive who cultivated fashion designers through the education business, and a fashion publisher who published the first professional costume magazine. This research classified the Korean-style design elements in Gyungja Choi's fashion show by analyzing the clothes exhibited in her fashion shows. In conclusion, Choi's design utilized Korean-style fashion design elements, such as line, colors, patterns, and materials. Which can be said to be the introduction period that expressed Korean style image in fashion considering the period.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.2
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• pp.19-40
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• 2000

It is supposed that the future fashion could be made by the scientist instead of fashion designer. Because it is so intellectual and avantguard. In addition to this the practical value and a certain identity is needed in this future fashion. Especially, the intention of no acceptance of categorization could be explained through the fashion clud of young people and the extremeness in the street. Paul Hedmus has insited that Tokyo club is closely related the fashion styles depended on the western historical street fashions. Fashion is mixeded contrasted, modified, resembled, reversed and finally it includes the new neaning. Instead of distinguishable logo there are lots of messages in the fashion. There are a few thousand of young people who wear silver max metal shoes. And they craze the neon picture and advertisement implies meaning the drug. It could be applied to the people of 90's. The difference between sex from the stone age is induced basically from the fashion and the part of discussion of sex. In this study we research the images of future fashion showed in SF Movie, Star Wars, Episode, The 5th Elements, Nirvana. Those were geometric and natural, technological expansion of space, corset fashion acessoruy image and geometric expression and these characteristics implied in modern fashion trend and future fashion images. Because it is supposed to the future image of current fashion. The millenium fashion is more realistic, practical, and natural instinct realization of ideal. but it is not the unrealistic, the vague of the regendary image.