• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1261-1274
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• 1997

Contemporary costume by the 'Deconstruction' from the outside has shown disclosure, destruction, poverty and analysis. The conclusion of this thesis as follows, 1. The Deconstruction of disclosure by infra disclosed the underwear and inner structure outside, which has deconstructed a fixed idea i.e.'underwear must be in outwear', modesty versus immodesty and disclosure versus concealment. 2. The Deconstruction of destruction originated in punk look has rejected traditional manners and utility, at the same time, it has shown the ambivalence i.e. completeness versus incompleteness, making versus destructing by slashes, rips, fringes. 3. The Deconstruction of poverty has appeared as French avangarde mode, little black dress by Chanel, second hand style by hippy, blue jean, granny look, especially Rei Kawakubo's poor look influenced by Zen Aesthetics and post punk. It has looked like old and worn out dress by doing patchwork, dye, decolor, rip, fray, which has shown the decentring by concealing the body than disclosing, rejecting snobbery. 4. The Deconstruction of analysis, seemingly partial and patched is a violation only of our expectation of clothing's unbroken entity though it has looked like a fragment. The completeness and coherence of it is made more evident by its breach, void, and bond like a poetic language. As the result, disclosed, destructed, poor, and analytical costumes has expressed as an escape from the appearance which traditional aesthetic concept had pursued.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.1-10
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• 2015

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.1-12
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• 2004

This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows The fashion show place expanded its area when It moved its center because of not only the use of ordinary and public friendly place but also adjacent places post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions, gesture and pose. etc of a model In addition. its performance element combines other genre freely to be one time and viewers' participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future Images. At sound tracks and sound effects, the show's overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones. who are isolated from recreation values and the society, establish friendly relations with the society

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.80-100
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• 2011

The purpose of this research is to classify that fashion and art in the twentieth century broadened the creative field by individually applying each other's ideas or through collaboration. This paper analyses the work of individual artists and fashion designers who created work on the boundaries of fashion and art. These samples are selected to extract features related to specific periods as it is proposed that contemporary creation has been developed from a combination of fashion and art, sharing their distinct concerns. Accordingly, this research will focus on the collaboration between fashion and art in the twentieth century from the aspect of 'fashion into art'/'art into fashion' in order to analyse the historical flow, and thereby examine the relationship between fashion and art. The cross-fertilization between fashion and art was initiated as an imitation of form in the early twentieth century, and led to a 'new cross-disciplinary form' which exists on the boundary of fashion and art. This paper considers the relationship between fashion and art from the perspective of sharing intrinsic concepts and the creation of a new creative sphere. It analyses the characteristics of the works of fashion designers and artists whose works lie on the boundary between fashion and art.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.115-131
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• 2013

Dries Van Noten, one of the Antwerp Six, focused on recreating traditional attire from each region to complex contemporary attire and has shown designs that interpreted ethnic image in contemporary perspective from his very first collection. He has positioned himself as a designer with creative expression of ethnic image through broad use of various patterns. This paper analyze the use of pattern in Dries Van Noten's designs by season and item, and reflects on the characteristics of pattern use and influence on fashion image. Total of 887 clothing items were collected from Noten's collections on the Internet. Through analysis of frequency and percentage and cross tab of expression techniques, types, patterns of each motif, and classifications of print combinations, it was shown that Noten has applied six aesthetic rules in the use of pattern design. Pattern played the most significant role in his design. It was possible to achieve the balance of ethnic image and modern image with the mix of flower and abstract motives. Overall pattern was mostly used for practical purpose: border patterns and spaced patterns played a vital role in rendering uniqueness. Noten exhibited unity and variation in combining prints. He expressed the beauty of Oriental style by inserting solid color blocks in between patterns and decorations along trim lines.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.249-262
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• 2008

The purpose of this study is to contemplate evening dress in contemporary fashion, thereby to analyze aesthetic characteristics of evening dress. For such purposes, this thesis first provides the historical survey of evening dresses, and to conduct a case study of survey of fashion photographs covering $pr{\hat{e}}t-{\acute{a}}t$-porter design products from 2000 to 2007 presented by Valentine. Based upon the historical survey, there are five representative styles in evening dress. Flapper chic looks could be characterized by frequent usage of sleeveless straight silhouette with long or mini hemlines, expressing sensuality, luxury, and ethnicity. Satin Siren looks were characterized by bias-cut, slim, long silhouette, expressing sensuality and luxury. Feminine Ideal looks were characterized by hourglass silhouette and decolltage with feminine details such as bow, pleats and frills, expressing historicism, luxury and sensuality. Freedom and fantasy looks were characterized by ethnic details or modern silhouette with transparent, printed materials, expressing ethnicity, sensuality, and luxury. Finally, postmodern glamourous looks were characterized by body-conscious silhouette with transparent, shiny, or stretch materials, expressing sensuality, experimentalism and luxury.

• The Research Journal of the Costume Culture
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• v.29 no.5
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• pp.651-664
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• 2021

The purpose of this study is to first examine the relationship between appearance-enhancing beauty practices and feminism, and secondly, to analyze public images of contemporary women using this paradigm. Through the lens of this relationship, we present a literature review and empirical research focusing on the evolution of public image trends among girl groups, with special attention to the Refund Sisters, a South Korean supergroup currently drawing mainstream attention as female icons. The scope of analysis includes girl groups dating from the 1990's to the year 2020 and photos of the Refund Sisters. Our results indicate that firstly, free sexual expression is evident based on active use of sexuality; images contain bold demonstrations of females desire, expressions previously considered taboo. Secondly, we note deviations from more standardized female images, unique adornment of outward appearance, and rejection of normative female images through freer forms of self-presentation. Lastly, there is greater cultural and racial diversity, rejection of modern race and gender binaries, and increased representation of queer identities. However, the relationship between appearance-enhancing beauty practices and feminism is sometimes considered paradoxical, with some arguing that beautifying one's outward appearance is a compulsory strategy and that it should be rejected in order to resist aesthetic pressure.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.43-56
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• 2019

The purpose of this study is to analyze the phenomenon of 'play' in contemporary fashion creation from an interactive point of view and to analyze cases in the contemporary fashion design creation process. The research method was a combined literature review and a case study. As a result of the research, we have derived the creations of interactive fashion design from the viewpoint can be categorized as 'play as creativity', 'mimesis', and 'deviance'. First, creativity can be seen in DIY products, customized products, and clothing that reflects the consumer's way of wearing. By actively intervening in the products and expressing their creativity in the product, it can be considered as a DIY creation. Second, mimesis in the creation of a fashion design that occurs when consumers imitate the designs of the famous fashion designers. Often similarity and difference are generated, while sometimes objects are newly constructed. Third, deviance means that an item is reborn with a completely different intention from the original shape and function by the intervention of the 'hacker' consumer. For example, the logo and the design of a luxury brand are transformed to satirize its legitimacy. In this paper, we analyzed the cases of fashion design creation as an interactive play and investigated their characteristics and tendencies.

• The Research Journal of the Costume Culture
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• v.29 no.6
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• pp.763-778
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• 2021

The study aims to analyze the mixed characteristics of knit fashion design as demonstrated in Sacai's collection, which promotes hybrid and mesh-up fusion and proposes various knit design ideas. Standards for categorizing mixed phenomena of Sacai's knit design were established through a review of literature and data analysis. The study's data collection period was from 2012 to 2021, and a total of 174 items were analyzed. The following are the results. First is the fusion of traditional knit and contemporary styles expressed through de-constructive design; traditional knit styles are combined with contemporary styles through color, material, and knitting structure mixtures, such as mixing Northern European Aran, Fair Isle, Nordic, and Ropy knit. Second, the Sakai knit design combines male and female styles by mixing materials and details. A deconstructed knit cardigan was matched with androcentric pin-striped shirts worn over layered shirring skirts embellished with chiffon and lace. Third, everyday street fashion style is blended with a formal, elegant fashion style. For example, the front view has a typical everyday appearance, whereas the back view contains florid and decorated details. The style is expressed as a 360-degrees appellation, with one thing in the front and another in the back. Sacai's distinctive expressional characteristics include a mixed and de-constructive style characterized by unexpected design.

• The Research Journal of the Costume Culture
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• v.32 no.3
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• pp.438-451
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• 2024

The interlacing technique has a long history of use as a means of creative expression and persists in modern society to satisfy the individual pursuit of pastimes. This method has the developmental potential to create new trends in the future. Interlacing techniques (e.g., basketry, plaiting, braiding, and knotting) are closely related to plastic arts fields, architecture, art, and industrial design where the various interlacing practices are applied. This research uses case analysis to study the types of expression found in the formative art field wherein the interlacing technique is applied. Results reveal several expressions, including optical illusion visual type, relief surface type, porous perspective type, and object borrowing type, all of which appeared in fashion bags. The aesthetic formativeness, which appeared in the fashion bags that applied interlacing techniques, was then classified according to geometric formative beauty in a process based on rules and order. Nature-friendly formative beauty reflecting handicraft locality and omnidirectional formative beauty by disordered deconstruction and heterogeneous combination were determined. The use of interlacing techniques that show creative, unique combinations and variations is expected to inspire the development and application of bag design that suits individual and original modern fashion trends. One limitation of this thesis is that it only studied cases appearing in modern fashion bags.