• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.327-338
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• 2002

The analysis and examination of this study are focussed on the external deconstruction trend expressed in the works of Jean Paul Gaultier. The external deconstruction is a way of expression faithful to the literal meaning of 'deconstruction' and is the applied case of exposure, destruction, poverty, and decomposition as they are. The method and scope of this study are from 1980's to present, and the followings are the results of this examination focussed on the various literature of philosophy, aesthetics and literary criticism, and the domestic and foreign fashion journals. The exposure phenomena through the deconstruction expressed repeatedly in the works of Gaultier deconstructed the fixed idea of 'the inner wear should be worn inside the outer wear' and at the same time denied the dichotomical interpretation of the exposure and suppression, the traditional beauty and decadent beauty, the chastity and unchastity, the asceticism and sexuality, and obscured the notion of the inner wear and outer wear. The destructive deconstruction expressed in the works of Jean Paul Gaultier introduced the elements such as hippy, punk, and kitsch, slashed before making dresses, crumpled unseemly like wastepaper, or made dresses with textures like paper scraps, and through destroying textures, yielded shock effects and tension. Poverty, through borrowing from the outwardly poor-looking elements of design, i.e. the patch work, decolor, dye, fading, fringing, incompletion, and handmadeness, liberated dresses and their ornaments from the outside. The traditional dresses were dresses having certain forms with formative beauty, but Gaultier disassembled dresses and raised questions about the logic of dresses themselves.

• Fashion & Textile Research Journal
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• v.9 no.4
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• pp.363-372
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• 2007

T-shirt has changed into advanced and stylish outwear by new paradigm, taste of consumer, awareness of recycling, spread of subculture, DIY culture, refusal of standardization and pursuit of high quality goods, etc. The purpose of this study was to analyze aesthetic characteristics of t-shirt designs that changed into diverse designs in world fashion college since 2000. The method of this study was to analyze documentaries, fashion magazines and internet fashion site. Aesthetic characteristics of t-shirt designs were expressed in deconstruction, mixture, integration and imitation. And each of external expressions and internal meanings was as follows: First, deconstruction was expressed in partial cutwork and three dimensional texture by sewing and construction drape. It means breaking the conventional structure and break-ing the boundary of t-shirt and another item and possibility of multi-vocal analysis. Second, mixture was expressed in collage of diverse ornaments, diverse fabrics and diverse patterns. It means exceeding the limit of material, elaboratenes and high quality of handwork, reflection of self-identity, brand image, fashion trend, consumer's psychology and mind of experimentation and couture. Third, integration was expressed in extension of length, width, use and style. It means unification of functions, deconstruction of items and extension of meanings and images. Forth, imitation was expressed in stain of dye, irregular and ripped sign, cut out, rough warp, drawing and washing, etc. It means subculture, rarity value, monopolization, diversity, familiarity, yearning and uniqueness.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.78-94
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• 2008

Contemporary fashion is experiencing a rise in design that combines heterogeneous things, or goes beyond the roles, boundaries, and meanings of existing things. This can be described as a 'heterogeneous fusion' that is different in character from the mixed use of heterogeneous materials, borrowed designs, and exaggeration of the silhouette that have been practices in fashion design, or the non-structure, deconstruction, and recombination that have existed since the age when post-structuralism was a central philosophy. This 'fusion' causes a 'confusion' of the generally accepted mental principle of 'one sense reacting to one stimulus', and breaks the boundary between the various senses, causing confusion in the senses of the individual, and leading him or her to experience unfamiliar feelings. In this process, all information received from external sources is not perceived as it is seen, but rather is perceived through a fusion of the individual's motivations, the environment in which it is perceived, the resulting change in emotion, and the individual's past memories. The combination of these heterogeneous elements visually accepted, or such a non-territorial combination acts as a 'fusion of senses' in the individual's perception, which causes confusion in the homeostasis of perception, and a change in emotion, and serves as a factor that causes the information to be stored in the memory for a long time. In parallel with deconstruction or non-structure, the 'heterogeneous fusion' found in modern fashion is taking root as a representative creative trend, and is represented in various forms such as the mixed use of subjects and materials, non-territorial borrowing, fusion with animal forms, fusion with non-physical geometry, and fusion with heterogeneous hair decoration.