18페이지 내용 : 34 K-Fashion Wearing a New Future The DNA of Korean Fashion 35 In December of the following year, Choi Kyung-ja opened the International Western Clothing Company right in the heart of the city’s Myeong-dong neighborhood. Next to it, she put up the Choi Kyung-ja Clothing Institute, providing the country’s first-ever fashion education. The company’s clientele included some of the biggest stars of the day, including actresses Choi Eun-hee and Kim Ji-mi, helping anoint Myeong-dong with the fashion neighborhood status it enjoys to this day. The November 1955 edition of the women’s magazine Yeowon came with a new column, titled “Fashion Mode,” in which fashion journalist Park Sang-gi provided photographs and commentary on women’s clothing. The streets of Seoul were f lled with pink patterns and checked parasols; for women’s fashion, it was the heyday of the country’s first electric perms and crimping. Women’s swimsuits appeared on the covers of magazines, some of them startlingly revealing. The huge success of the 1956 film Madame Freedom triggered a craze for the female lead’s outf tsa velvet dress, a f ared coat with gabardine hat, and practical jumper skirt and sack dress styles. Imported velvet from Hong Kong was all the rage—at one point, the government issued a decree banning its use. Women also went crazy for styles from Western f lmsthe Chinese dresses of Love Is a ManySplendored Thing, and the f ared dress, petticoats, and short cut sported by Audrey Hepburn in Roman Holiday. Hepburn’s mambo pants from Sabrina were also a huge hit. Clingy, with narrow legs rising about a hand’s span above the ankle, they rode the mambo wave of the mid- to late 1950s to become a cultural icon for a new era. Another stone in the foundation of the indigenous fashion market was laid in Seoul’s Namdaemun Market. Pyongyang merchants who had learned modern clothing production methods from Japanese and Westerners set up shop there after taking refuge in the South Korean capital during wartime. Growth proceeded apace—by 1955, about 60% of all Korean clothes were being produced at Dongdaemun’s Pyunghwa Market in Seoul. That year turned out to be a watershed in the history of Korean fashionit marked the first time the word “designer” entered the parlance. The following year saw the country’s first-ever fashion show, a collection by designer Nora No. In 1959, Korea produced its f rst contestant at the Sack dress left and jumper skirt right style triggered by the 1956 f lm MadameFreedom
19페이지 내용 : 36 K-Fashion Wearing a New Future The DNA of Korean Fashion 37 Miss Universe pageant in Long Beach, California. Her name was Oh Hyun-joo, and she appeared in a hanbok-style dress by No. Called the “Arirang dress,” it touched off a craze for mixing Western styles with Korea’s traditional clothing. This capped off a decade that brought the f rst glimmers of a fashion distribution system, the emergence of Korea’s own designers, and a modern fashion system where Hollywood styles could find their way to the Korean public. MiniskirtsThe Times They Are A-ChanginThe 1960s Fashion in the 1960s had two faces. On one hand, the government was encouraging simplicity and thrift in clothing as part of the Saemaul “New Community” campaign, popularizing a simplified national outfit called the “reconstruction uniform.” It also pushed the use of wool clothing for maximum practicality. At the same time, the Western influence of the Beatles and the so-called “Swinging Sixties” was giving rise to long hairstyles on men, and the emergence of the miniskirt was providing a new perspective—so to speak—on the female form. Launched in December 1968, Uisang Clothing was Korea’s f rst fashion magazine. For its cover model, it chose the sensationally popular singer Yoon Bok-hee. Images of Yoon disembarking from an airplane in high boots and a super-short mini went out on the airwaves, and the public went wild. Miniskirt fever brought momentous changes to clothing conventions, which had theretofore been focused more on keeping a woman’s body good and covered. Hemlines reached their peak in 1968, at 30 cm above the knee. Eventually, the mini would transform into a fashion classic, making periodic reappearances on a roughly ten-year cycle. As a whole, the decade saw Korean fashion taking on a great growth engine for its qualitative leaps and bounds. In 1961, the Korea Fashion Designers’ Association was formed, furnishing a forum to promote competition and exchanges between designers. The following year, the Association organized its first design competition. This was the same year that saw Korea’s f rst international fashion show—an annus mirabilis Arirang dress designed by Nora No Singer Yoon Bok-hee in aminiskirt