• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.63-74
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• 2020

Modern clothes are part of formative arts and express experimentation and originality. This tendency is especially prominent in structural fashion. This study set out to analyze structural fashion in various aspects, examining and analyzing the expressive and formative characteristics of Deformation and contribute to the development of creative fashion design. The approach of peer debriefing was used with three fashion experts to identify structural clothes in the women's haute couture collections from a total of 24 seasons from S/S of 2008 to F/W of 2019. The clothes with Deformation characteristics were then identified to analyze expressive and formative characteristics. The expressive characteristics of Deformation in structural clothes were exaggeration, distortion, and recombination. Exaggeration was expressed with exaggerated sizes, forms, and excessive use. Distortion was expressed with distorted forms and functions and through optical illusions. Recombination was expressed with the recombination of forms and roles. The formative characteristics of Deformation were maximum, playfulness, and unfamiliarity. The study connected the expressive characteristics to the formative ones and examined them simultaneously, finding that "distortion" and "playfulness" represented the expressive and formative characteristics, respectively. The characteristics of Deformation are expressed in various ways in structural fashion. If they are considered, they will make valuable contributions to creative ideas.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.1-17
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• 2013

As style is the center of subcultural identity and the clothes and adornments are the most visible symbol of its membership, the style of Goth symbolizes the strong subcultural identity and acts as the practical basis to demonstrate commitment to the subculture. In the turn of the third millennium, fashion designers have drawn upon and extracted elements from many subcultures to use in their collections. High fashion designers have introduced the Goth style since its inception in the 1980s. The energy and authenticity of Goth has been considered to be desirable in high fashion. The aesthetic property of Goth subcultural style defeats the established notion of standardized fashion and stimulates new consciousness, which makes room for diversification and subdivision. This study attempts to forecast the trends of the 21st century via researching the diffusion of Goth style in high fashion. In order to investigate the aesthetics and styles of Gothic chic, along with literature research, this study investigates the fashion collections from the late 1990s to 2000s as well as the images of street fashion magazines.

• Fashion & Textile Research Journal
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• v.17 no.5
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• pp.718-730
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• 2015

This study investigated the correlation between the level of consistency in fashion show models' appearance and design concept through a statistical and qualitative analysis of the S/S Paris Collection 2014. The following conclusions have been drawn in this study. First, the percentage of models of color was very low in regards to the physical appearance of models; in addition, there was a higher percentage of Caucasian models for collections with a high level of consistency in models' physical appearance. Collections with a high percentage of models of color indicate more casual design concepts and the promotion of diversity in racial background is considered more effective for street fashion. Second, collections with a high level of consistency in models' physical appearance tend to control various elements that constitute a physical appearance through more detailed planning and stage direction. Third, there is a tendency to reinforce design concepts by creating a consistency in the overall physical appearance of models. This affirms that their physical appearance is determined by brand (i.e. designer) and is used to maximize a design concept delivery. The results of this study suggests that the physical appearance of models must be determined in line with the design concept versus detailed planning that must consider audience perspectives as well as adjust the show's length and the interval between each model appearing on the stage.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.97-113
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• 2014

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer's creative world, the formation of styles and the expression of a fashion designer's identity.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.11
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• pp.1750-1759
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• 2008

The purpose of this study was to comparatively analyze the color characteristics of the Japanese ethnic look advanced by Japanese and western designers in comparison with the actual traditional colors of Japan. The data determining the traditional colors of Japan was collected through a critical apparatus examination of 250 colors and the color data of what determines Japanese ethnic look was collected through an analysis of the clothing appearing in four fashion collections -Paris, Milan, London, and New York- from the 2004 S/S collections to the 2008 F/W collections. For the analysis of these colors, Photoshop was used with an RGB value measuring under 300dpi resolutions. The RGB values were then converted to H V/C values through Munsell Conversion 8.0.3, and they were analyzed using Munsell's 40 Hue and PCCS. The results of this study are as follows: Japanese designers are expressing their own aesthetic theory by designing fashions in traditionally Japanese hues. However, neutral colors and low-chroma tones appear more often than traditional colors. This study illustrates how these designers use color to reflect their inside ideals being oversensitive traditonal ideals. In contrast, western designers reflect more contemporary trends through the use of hues that more clearly reveal their preconception of the colors of the Orient rather than actual traditional Japanese colors. Moreover, these foreign designers tend to approach fashion design by the means of shape rather than color. Japanese designers systematically analyze and apply their own culture to contemporary fashion design. Their efforts serve as a good reference model for research on traditional culture and fashion design.

• Fashion & Textile Research Journal
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• v.17 no.1
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• pp.22-32
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• 2015

The purpose of this study is to investigate the aesthetic characteristics of check fashion of the 20th century and to analyze the formativeness for them shown in recent collections. The results of this study are as follows; 1) Before the First World War, check patterns were used for S silhouette dresses and hobble dresses. During the two wars, they were used for garçonne style dresses and military suits. Check patterns were used for mini style in the 1960s, uni-sex style in the 1970s, and power suits in the 1980s. Especially after the 1980s, check patterns have followed the fashion trend of each season and appeared in retro styles. Consequently, the aesthetic characteristics of check dresses of the 20th century are traditionality, ornamentation and eclecticism. 2) Traditionality of check fashion shown in recent collections was implied in the classic styles like suits with its grey glen check, avant-garde styles like boxy coat with its dark blue tartan check, and so forth. Ornamentation was shown in the modern styles like jackets decorated with block check colored white and black, casual styles like bomber jackets with hound tooth check colored white and black, and so forth. Eclecticism was reflected in the romantic styles like one-piece dresses with hound tooth check colored white and light blue, elegant styles like low-cut dress with its dark blue window pane check, ethnic styles like long cape with gingham check colored white and black, and so forth.

• Fashion & Textile Research Journal
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• v.4 no.4
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• pp.339-346
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• 2002

This study analyzed the works, introduced in the collections of Yohji Yamamoto in an aim to identify traditional aesthetic and design concepts. As the data to study the concept and expression of the designer, fashion photographs were gathered in a focus on collections since 1990's. The traditional aesthetic expressed in the works of Yohji Yamamoto were characterized by the external aesthetics and the internal aesthetics. The traditional aesthetic of external aesthetics were classified into the plasticity and the wearing, and those of internal aesthetics were divided into the moderation, expertness and aesthetic exclusion. The plasticity was extracted into line, form and color. The wearing was presented artist of purpose through the mutual text. The moderation was based on the moral goodness and the aesthetical beauty. The expertness represented the fitting method and mutual reaction of color. through the natural beauty. The aesthetic exclusion was expressed through simplicity, loftiness, and unbalance.

• Korean Journal of Human Ecology
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• v.15 no.5
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• pp.823-833
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• 2006

The globalization phenomenon of the 21st century has acted as the catalyst to accept diversity, and a new cultural code, ethnic, has emerged in the modem society by the pursuit of diversity throughout the whole society and culture. Unlike preceding studies focusing on ethnic concepts and design development, this study attempted comparative analyses on ethnic trends shown in the collections of two designers, Issey Miyake and Yohji Yamamoto, who have strong ethnic consciousness. It is considered the comparative analysis on the two designers' collections with ethic images will be a guide to indicate the fashion philosophy of the two designers in the category of Japan, and this will be useful as basic data for the establishment of the globalization identity which is needed in the future fashion industry. The study results are as follows. First, it was found that the ethnic code has been so widely accepted by the world designers in a very positive form to accept foreign cultures that the ethnic code is now showing an aspect of eclecticism. Second, designer Issey Miyake has been pursuing his own ethnic style based on his philosophy to liberate humans through continuous researches and efforts on clothes. Third, Yohji Yamamoto has been pursuing a Japanese ethnic style as a designer who has expressed the unique beauty of Japan from the characteristics of Japanese traditional clothes. Fourth, as a result of comparative analyses on collections, they both have pursued an ethnic style based on the unique national characteristics of Japan, but it was also found that their fashion philosophy has developed differently in the same category of ethnic trend.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• autumn
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• pp.83-85
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• 2004

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.31-40
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• 2014

The purpose of the study was to examine model postures at fashion shows with respect to expressing fashion images including elegance and neutral-gender images. Data were gathered from the fashion shows held 2000 S/S through 2009 F/W, when elegance and neutral-gender fashion images were obvious in fashion collections. Three designer brands representing elegance and neutral-gender fashion images were selected by the researcher and fashion specialists including graduate students majoring in fashion. The fashion collection photos representing each image were selected from style.com, a website which contains four world's biggest fashion collections. The results showed different hand positions as a model posture according to fashion images. In the neutral-gender image, 16 photos (47%) showed a hand position at pockets, in the elegance image, 24 photos (82.3%) showed a hand position laying down by the sides. Also, walking pose was shown to be different between two fashion images. In the neutral-gender fashion image, 16 photos (52.9%) revealed a pose of 'natural walk', while 29 photos (100%) showed a pose of 'walk in a straight line' in the elegance imaged fashion. In conclusion, the neutral-gender image photos showed the pocket-positioned hand and the 'natural walk' poses more than elegance image photos, and elegance image photos revealed the hand position laying down by the sides and the 'walk in a straight line' poses than the photos of the neutral-gender image.