저항적 하위문화로서의 히피와 그 전후 스타일에 관한 연구 = (A) thesis on the Hippie as a counteracting subculture and its styles in pre-and post-Hippie times

다국어 초록 (Multilingual Abstract)

In the realm of fashion, the dress which is chosen according to monetary standard has come to symbolize social strata instead of the dress which represents a particular social status in line with human civilization. This trend has merged in the context of post-modernism to add new value to wealth and poverty, spreading the existing conceptual, western-centered aesthetics. In addition, within the context of dialectic of contradictory social position, the poor wants to look rich and the rich wants to look poor. Along the way emerges the concept of "poor look" and this can be divided into two styles: an unostentatious poor style which pursues a poor state in a pure manner and an ostentatious poor style which tend to disguise under the image of poverty and filth.
In the 1960s, as the image of poverty spread centering around subculture, particularly among young adults, an unostentatious spending has become the norm. Such an unostentatious spending became the benchmark on which the Beats & Beatniks in the 1950s, the Hippies' Jeans in the 1960s, and the Punk and the Grunge in the 1970-80s.
The Beats & Beatniks became popular among the subclasses and soon became the mainstream of fashion. The preeminence of this trend can be found in terms of its ability to secure its position in fashion history. The Beats & Beatniks have been influencing the fashion industry up to now and their unostentatious style has transformed into an ostentatious style, making a fresh impact on adolescents.
The counterculture against the mainstream culture has asserted freedom of mankind and creativity against rules and regulations. The fads such as the Beats, the Hippies, and the Punks, which derived from such a counteracting subculture, trickled up to inspire the high fashion.
Such subcultural styles have since become commercialized and spread to the grassroots. Accordingly, this thesis evaluates that such a subcultural style made a significant contribution to the current fashion. These styles have made inroads into the minds of adolescents in the form of a partially-modified, counteracting subcultural style and that young adolescents are adopting, rather than rejecting, this style as a fresh shock.
Therefore, modern fashion expresses new art work by reconstructing and examining style, and these new works are completed by means of changing the past style. As an expression of such a new creation, the Hippie style implies a diverse range of idea conversions and sources, making this thesis all the more significant.
This thesis aims to examine (i) the similarity between the societal, cultural, and ideological concepts of the counteracting Hippie fashion and the counteracting subcultural style, (ii) the various forms of recent (2000∼2003) changes in high fashion and (iii) predict the trend of retro fashion, which can impact the high fashion of the future.
Starting 2000, fashion themes such as Hippie style ethnic look, nostalgic look, surfers look, and oriental look are attracting attention in the designer collection of Europe. This signifies that the free-spirited Hippie style of the 1960s and 1970s is re-created in retro fashion and expressed these days.
Thus, this thesis reconstructed ("Bricolage") and revised the Hippie dress style of the 1960s and 1970s, a romantic mode which has emerged as a popular fashion trend in the early 2000. This thesis analyzed how this particular dress style has changed lately in high fashion in light of the nostalgia of free spirit and psychological desire to escape the real world, which arose from the Hippie movement against the Vietnam War in the 1960s, a feeling of uneasiness arising from the September 11th terrorist attack, and the fear caused by the Iraq War in 2003.
Assuming that the Hippie style and the styles that follow it have much in common as the counteracting subculture, this thesis studied their background, ideologies, and expressional and form characteristics and found that the counteracting fashions from 1950 to 1980s indeed are similar.
This thesis finds that the counteracting fashion of this subculture is modified and converged into a myriad of styles based on a completely independent method which imports a broad array of ideas on style.
Therefore, the counteracting subcultural styles share similarities and unique expressional characteristics by exerting influences upon one another. Moreover, these Punks, Jeans, and the Beats transformed into the forms of Grunge and Vintage in 2000s and have garnered affection among young adults. These styles also created their own styles by re-constructing (Bricolage) in an ecological and disjointing manner and resulted in their commercialization to the grassroots. However, these commercialized subcultural styles became subtle in their intrinsic nature. Instead, they only gave rise to an incessant array of ideas to the hi-fashion design.
This thesis attained the sources of the trend of retro fashion and the future modes through exchanges of ideas and extrinsic mutual correlation and the counteracting subcultural styles case studies of high fashion in early 2000s. The data of this study is anticipated to play a key role in predicting and understanding a new kind of fashion in a new era. Moreover, the ideas gained from the past will continue to do so and are expected to mix with an increasingly more diverse spectrum of codes.
Therefore, these subcultural styles should not be regulated because of their unseemly and delinquent look. Instead, they should be considered stress reliever of young adults, i.e., a medium of expressing frustration and discouragement. Most importantly, these styles will continue to play a vital role in arousing people's curiosity and in providing inspirations of design in future high fashion.

목차 (Table of Contents)

• 목차 = ⅰ
• Ⅰ. 서론 = 1
• 1. 연구의 의의 및 목적 = 1
• 2. 연구의 방법 및 범위 = 5
• 3. 용어 정의 = 6
• Ⅱ. 이론적 배경 = 9
• 1. 하위문화의 일반적인 개념과 생성 = 9
• 2. 저항적 하위문화로서의 히피 출현의 배경과 사상 = 13
• Ⅲ. 저항문화로서의 히피스타일과 전후 스타일 = 24
• 1. 히피패션에 영향을 준 1950~1960년대 스타일의 특징 = 24
• 1) 비트 ＆ 비트닉(Beat ＆ Beatnik) 스타일 = 25
• 2) 포키, 서퍼, 활기찬 런던 스타일 = 38
• 2. 1960~1970년대 히피스타일의 특징 = 54
• 1) 진즈(Jeans) Style = 54
• 2) 에스닉, 노스탈지아, 싸이키델릭 스타일 = 61
• 3. 히피패션에게서 영향을 받은 1970~1980년대 스타일의 특징 = 83
• 1) 펑크(Punk) 스타일 = 83
• 2) 헤드뱅어, 뉴에이지 트래블러즈, 레이버, 그런지 스타일 = 91
• Ⅳ. 저항적 하위문화 스타일들이 최근(2000∼2003) 하이패션에 변화된 특성과 미친 영향 = 110
• 1. 2000~03년 히피스타일의 변화된 특성 = 110
• 2. 저항적 하위문화 스타일이 최근 하이패션에 미친 영향 = 119
• Ⅴ. 결론 = 128
• 참고문헌 = 132
• ABSTRACT = 139