• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.326-338
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• 2007

This paper examines the works produced from 2000, the first year of the new millenium, to the late 2006 with a focus on those of Jean Paul Gaultier, a representative designer of deconstruction, in an effort to determine the aesthetic characters of deconstructional fashion. In this context, this paper deals with the theoretical study on the concepts and features of deconstruction as a part of analysis into its fashion using the works of Gaultier as a major source viewed to typically demonstrate the deconstructional characters of fashion. For this purpose, a survey was conducted to 155 works of Gaultier featured from 2001 to 2006 mostly in Vogue, the popular and influencing magazine of the USA(39 pieces in 2001, 30 in 2002, 29 in 2003, 23 in 2004, 12 in 2005 and 22 in 2006, respectively). In particular, 106 fashion pictures were put to analysis as they seemed to represent deconstruction intensively. The deconstructional characters of his works were examined in the categories of difference, inter-meaning, inter-textuality and decomposition on the basis of preceding studies, which resulted in the following outcomes: First, difference was found in 38 works out of 106 images, accounting for 36%, the biggest frequency; Second, inter-meaning accounted for 33% with 35 pieces, most frequently next to difference; Third, inter-textuality followed inter-meaning with 17 images or 15% in terms of frequency; Fourth, decomposition was revealed in 16 images in the same ratio of 15% as inter-textuality.

• Journal of Fashion Business
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• v.11 no.5
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• pp.110-123
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• 2007

This study aims at analyzing the characteristics and the mode of deconstructionism expressed in fashion design centering on review of literatures and precedent researches. Through the review of previous studies and various articles, three major features with regard to deconstructionism were found: indeterminacy of meaning, decentralization, and inter -textuality. In fashion, the feature of indeterminacy of meaning expressed by non formula way such as unfinished, layering, obi or straight line cutting and it was divided into unstructured and unorganized factors. The feature of decentralization expressed by disorganization of sex, race, culture and humanism such as trans-gender, third world costume, sub-culture, posthumanism. Last, the feature of inter-textuality expressed by employing the fashion texts more than two simultaneously such as mixture of unmatched or unusual various clothing items, fabrics, patterns and styles. Non formality features in fahsion which divided into unstructured and unconstructed factors. The decentering of meaning means that disorganized the existing concepts of sex, race, culture and humanism features in fashion which divided into cross-gender, subculture, and post-humanism. Lastly, the feature of inter-textuality means that employed the fashion text more than two which is classified into factors of mixing mode and mixed styles. Unstructured factors were expressed by destroying the design principles such as balance, harmony and unit in fashion. Unconstructed factors were expressed by ignoring the basic costume structures and components in fashion. Cross-gender was expressed by manish and duality style in fashion and 3rd world costume was expressed by folk costume style. Anti fashion was expressed by anti aesthetics in fashion such as kitch, punk, and hippie styles. Post-human was expressed by futurism and the 4th Sex style in fashion. Mixing mode were expressed by mixture of item, and unmatched materials and pattern in fashion. Mixture of style were expressed by mixture of pastiche expression of various styles.

• Journal of Fashion Business
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• v.12 no.2
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• pp.100-116
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• 2008

This study aims to analyze the characteristics of deconstruction-ism expressed in the fashion of Alexander McQueen. The method and contents of this study are as follows. The three large categories for analysis are indeterminacy, decentralization, and intertextuality. The indeterminacy of meaning is divided into unstructured and unorganized factors in fashion, while decentralization can be categorized into cross-gender, subculture, and post-humanism. Lastly, inter-textuality is classified into factors of mixing mode and mixed styles. Materials for analysis were chosen from a total of 616 designs from the website, www.firstview.com, which carries McQueen's collection from 2000 S/S through 2007 F/W. My analysis qualitatively evaluates the frequency of each category and the characteristics of design. The result of this study is as followed. First, the avant-garde facets of inter-textuality are most prominent. In particular, McQueen has introduced retro fashion and ethnic factors of the third world, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has enjoyed using two fabrics of different texture in order to inflict a shock and contrast, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of McQueen's fashion design. McQueen has employed unstructured expression techniques, which dismantle harmony and balance, the basic rule of design, and has presented unorganized images free from basic forms of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. Third, the aspects of decentralization were also shown in McQueen's design. His trans-gender clothing dissolves the traditional division of men and women and adopts a mixed gender expression. Furthermore, he has even tried to express a fourth gender by connecting the human with machine or animal or by connecting the material with the non-material.

• Archives of design research
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• v.13 no.3
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• pp.69-80
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• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20 century. Resurgence of interests in human body has been based on the skepticism on rapid digitalization and do-materialization currently undergoing in electronic media environments. Artists have been endeavoring more and more to find a synthesis which links the conceptual and the sensuous in their works as digitalization gets faster and faster. The Bodily-oriented art uses its visceral qualities, either literally or metaphorically, to engage our total being, not just our mental consciousness, in building a sensuous, evocative statement. Its transcendent ideas are inter- mixed with the fabric of the world. We are touched by this art not only because we understand it cognitively, but because we "feel"it. These characteristics of textile arts caused gradual increase of soft-sculpture works using textiles and implies possibilities of inter-grade of physical and mental world. Ann Hamilton, Magdalena Abakanowiz, Folly Apfelbaum and Pallid Dougherty are, for example, related to the fiber arts. It would be of worth to study the characteristics of contemporary faber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz′works in the context of human body and body-signs. Life and works might be classified into 5 stages; first, learning period since her birth in 1930, second, creation period of Abakan, third, remodelling period of Abakan, fourth, composition and dissolution period of Abakan and the last and fifth, new transformation period of Abakan. ′Abakan′through her whole life as an artist has been a plastic language and based ultimately on external human body but in various materials and forms.

• Fashion & Textile Research Journal
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• v.11 no.6
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• pp.934-941
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• 2009

The purpose of this study is to examine by which correlation the pluralistic phenomenon in text is functioned in comparison with hair style and fashion in collection. As a result, the pluralistic image in text, which was shown in modern fashion, was indicated to be pluralistic phenomenon by gender, T.P.O, coordination, and material. The pluralistic image in text for hair style can be known to have been indicated to be the pluralistic phenomenon in text for gender and to be the pluralistic phenomenon in text according to material and cultural category. As for a method of this study, it did put limitation on the part that is shown in the fashion collection from 2001 to 2007, analyzed hair-style features centering on photos, which were extracted from style.com, the online site of specializing in fashion, and carried out a literature research side by side with the theoretical background on intertextuality. The analysis in work according to the pluralistic phenomenon in text made it possible for looking at with a new sight differently from the recognition in the past, and opened the potentiality for being able to understand lots of strange representations, which have been impossible so far. The process of imitating and reconstructing each text according to compositional principle led to possibly knowing the necessity of an artist's ability that can implement the originative world.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Journal of Fashion Business
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• v.11 no.6
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• pp.87-100
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• 2007

This study aims at analyzing the characteristics of deconestructionism expressed in Issey Myake's fashion who is one of the most creative designers in the world. Method and contents of this study are as follows. Through the review of literatures, three major categories such as interminacy of meaning, decentring, and intertextuality and eight subcategories have been identified as major features of deconestructionism. These subcategories for content analysis were selected to examine the characteristics of deconstructionism expressed in Issey Myake's design in depth. Interminacy of meaning was divided into unstructured and unconstructed factors while decentring into qualities of cross-gender, subculture, anti-fashion, and post-humanism. Lastly, intertextuality was classified into factors of disordered mixing mode and mixed styles. Materials for analysis were chosen from total 349 designs on the website,www.firstview.com, which carries Issey Miyake's collection from 2002 S/S through 2006 F/W. 2 fashion major analysts including the researcher participated in 1st analysis and two another fashion major analysts participated in 2nd analysis. The final level of consistency between analysts was over 97% for all categories. The data analysis quantitatively evaluates the frequency of each category and qualitatively evaluates the characteristics of design. The result is as follows. First, the avant-garde facets of inter-textuality are most prominent. In particular, Miyake has introduced the various novelly textiles to fashion and employed the mixtured styles, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has used various fabrics in order to inflict shock and contrast but still create subtle harmony, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of Miyake's fashion design. Miyake has employed unconstructed expression techniques, which has projected unusual images free from basic forms of designs and also has used the unstructured styles which dismantle harmony and balance-the common rule of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. He has demonstrated a unique perspective on cloth construction and presented a love for artistic collaboration in the development of his collections A distinct manufactured aesthetic is exaggerated, even hyperbolic. Thirdly, the aspects of decentralization were also shown in Miyake's design, however, it has been visibly decreased after 2002 S/S.

• Journal of architectural history
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• v.23 no.1
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• pp.51-62
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• 2014

Architecture is a product of numerous influences, as shown in the apprenticeships of Kim, Jung-Up and Kim, Swoo-Geun with Le Corbusier's influences. Therefore, its identity is need to be re-defined based on such complex relationships. The rhetorical images of 'the Map of Misreading', as the core of the poetic identification proposed by Harold Bloom's 'the Theory of Influence', provide an efficient way of explaining the relations between architectural apprenticeships and identities. This research is to re-build a new methodology of architectural criticism based on it. The diachronic transformations of the architecture of Seung, Hyo-Sang also had very characteristic 'revisionary ratios' about his precursor Kim, Swoo-Geun. As an antithetic stance of his precursor's final phase, his early days works pursued continuously geometric abstraction and objective images of the architecture of Adolf Loos. However, his recent works are showing the obvious symptoms of regression to his origins. Finally, the architectural identity should be re-conceptualized as a complexity, based on inter-textuality from complex influences. This new architectural identity can be reflected into the modern obsessive identity.