• 복식
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• 제54권2호
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• pp.66-78
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• 2004

A leather clothes which was a representative item of an existed resistant image created a new esthetics. Cyber Resistance, being mixed with the highlighted cyber image in these days. Especially. the image of such new leather clothes appears apparently in SF movies. The purpose of this study is to examine this new esthetics through the leather clothes of the movie. $\ulcorner$Matrix$\urcorner$. currently becoming the subject of a conversation and affecting to a popular culture and the fashion and to help to the design idea of a unique leather clothes. The result of analyzing of the character in the movie is following. Trinity shows herself as a woman warrior by wearing tight black leather suit. Morpheus is described as a vague character with his old fashioned suit and leather trench coat. while Niobe carries an image of rebellious cyber warrior in her leather suit with unique texture. In addition. leather clothes on $\ulcorner$Matrix$\urcorner$ got the name of Matrix look and became a main theme in fashion collection. We can feel 'Cyber Resistance' esthetics in that leather clothes through the movie and fashion collection and summarize into three following features, First. it's grafted into the dichotomous value by progress and return as a retro futurism. Second. it moderately express a rebellious image of punk into a cyber image. Third. it makes cyber warrior's image that is neutralized mixing military and fetish properly.

• 한국의상디자인학회지
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• 제6권1호
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• pp.64-72
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• 2004

The purpose of this paper is to investigate the changing fashion image of the glossy materials including metal, leather, vinyl, latex, plastic etc. from 1960's to the present. Glossy materials used in the second half of the 20th century showed a restricted image combined with a specific social circumstance. They expressed a reflection of young and future-oriented space period of 1960s. Many designers like Paco Rabanne and Andre Courreges were concerned with the fashion of space age and expressed that image with leather and synthetic materials including silver leather, metal chain armor, and plastic appeared as the keynote of fashion. In 1970's, glossy material was the symbol of avant-garde and rebellious attitude by the punk fashion. They maximized glamourous look of 1980s, and cyber look with an expectation for a new millenium of 1990s. On the other side, glossy materials seem to be used as a source of various inspiration of fashion designer in the 21st century. Also, some of the past images, for example space look and glamourous look, are revived in the 21 st century by the form of modified design.

• 한국의류산업학회지
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• 제16권1호
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• pp.13-25
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• 2014

The purpose of this study is to investigate the concept and characteristics of 'grotesque,' examine the aesthetic characteristics of grotesque reflected in arts and dress, and modern fashion. The findings are as follows: 1) Grotesque indicates unnatural, unpleasant, and exaggerated that it upsets or shocks person. The characteristics of grotesque include terror, abnormality, unreality, amusement, disgust. 2) The grotesque art represented terror, abnormality, unreality, amusement, disgust by disordered form, nonnatural things, evil world, unorthodox methods, unrealistic image, strange dreamland. 3) The grotesque dress represented terror, abnormality, unreality, amusement, disgust by exaggerated silhouette, exaggerated adornment, excessive decoration, incroyables, using exaggerated silhouette, crinoline silhouette, bustle silhouette, surrealist style, extraordinary materials, glam rock style, unique silhouette, cyber look. 3) Terror was implied in the punk look suits of Junya Watanabe, and exaggerated outers of Viktor & Rolf. Abnormality was shown in the atypical suit of John Galliano, Junya Watanabe's dress decorated with the extreme ruff, Thom Browne's suit of abnormal proportion. Unreality was reflected in the architectural dress of Gareth Pugh, Mermaid dress of Giles, the surreal suit of Jean-Charles de Castelbajac. Amusement was represented in the amusing suit of Gareth Pugh, John Galliano's dress of sexual perversion. Disgust was reflected in the decadent dress of Thierry Mugler, Undercove's suit, and the ensemble of shocking details.

• 한국의류학회지
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• 제27권11호
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• pp.1229-1240
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• 2003

The purpose of this study was to review such results of the scientific and technological development as women's changed status, sexual identity and their views of physique in the cyber space based on cyber feminists' theories, and thereby, examine the concept of space during the medieval age, and then, the fundamental spiritual concept involving the fetishism of women's body as sexual objects in the materialistic space of the digital age in terms of the consciousness of trend or supra-sensual perceptions, and thereby, review the effect of the cyber terrorism and violence on the fashion in sub-cultural terms. Some researchers distinguish psychedelic styles from cyberdelic ones to assume such psychiatric visions as psychedelic fashion characterized by resistance and delinquency-cyber punk fashion, cyber hippie fashion, cyborg fashion- and then, define them all as cyber resistant culture fashion or as a sub-cultural style of the cyber culture. As a result, it was found that human bodies are being encoded with the networks, various cyber characters or avatars are emerging, while human bodies are being distorted or exaggerated with human beings and machines being imploded.

• 패션비즈니스
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• 제6권4호
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• pp.62-82
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• 2002

The purpose of this study was to investigate the Avant-garde's aesthetic values and expressoinal characteristic, and to find out(analysis) the design characteristic of Avant garde fashion since 1995. Expressoinal characteristics of Avant garde with the anti-aesthetic, radically pursuing newness, and open mind, are revealed dynamism, hostile innovation, and experimentalism. Futuristic images expressed in dynamism represent space style, body conscious style, cyborg style, kinetic style, and primitive style. And deconstructional images related to hostile innovation show punk style, grunge style, humor style, and abstractive style. Also surreal images related to experimentalism hold erotic style, depasemant style, deformation style, and collage style. The proper usage of newness offers the escape, the vividness, and the humour from the fatigue of the life and so, it is expected to offer the chance of transfering the active individuals and societies directly or indirectly By analyzing the instances for the images of avant-garde fashion since 1995, the contribution about the expectation of the design trends of the present and future is expected.

• 한국의류학회지
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• 제48권1호
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• pp.50-65
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• 2024

By analyzing the style of creator avatars in the world of Metaverse, which is emerging as a fourth-generation social media platform, this study aims to identify the meta-fashion tastes of Generation Z (Gen Z) creators (born in the late 2010s and early 2020s) and to analyze the extent to which current trends in the fashion market are influencing meta-fashion. The research method uses a case study to compare meta-fashion and current fashion trends. First, five Gen Z fashion creators on ZEPETO were selected to analyze the meta-fashion styles presented by this group. In the end, a total of 100 fashion styles were analyzed by combining 50 items each from the current meta-fashion and real fashion trends. The fashion styles were found to be hip-hop, easy-casual, punk, lovely feminine, and sexy, and the main fashion items were analyzed as jeans, hip-hop style pants, sneakers, tight crop tops, dresses, tattoos, chain accessories, and dyeing. Meta-fashion is the emergence of items similar in shape to those popular in the current fashion market, but are more exaggerated or show off the human body than actual fashion items.

• The International Journal of Costume Culture
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• 제7권1호
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• pp.1-16
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• 2004

Pop art, an artistic trend which was actively popular centering around popularization of America in the 1960's, appears as punk style in the 1970's and as one of diversified style in the 1980's, and have co-existed in the third culture and pluralistic combination since the 1990's. The image of pop art includes complexity, familiarity and popularity as well as extension of media, and so directly influences the fashion in the end of the 20th century. Especially, sportslook show up by the virtue of rising lower cultural area such as street fashion becoming influential and change in life style, which was recreated as clothes by developing characteristics of design including style, details and colors showed in active sports wear. This study is aimed to ana analyze the image of pop art showed again in the modern fashion in the end of the 20th century and graffiti-art which was well known to the general public after the 1980's. Through this analysis, I will study characteristics of pop art showed in sportslook which is the mainstream in modern fashion and graffiti of Keith Haring. Consequently, I suggested a functional, esthetic and future-oriented sports look design which comprises the image of the graffiti-art of Keith Haring by using Design CAD(photoshop & primavision) enabling to attempt variously and to derive quickly the output of design and textile.

• 한국의상디자인학회지
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• 제7권2호
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• pp.101-110
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• 2005

Vivienne Westwood could be placed in a unique position in the contemporary fashion design. She has never belonged in a core group of mainstream fashion designer but not been always in an outsider position. She got from mainstream fashion designer circles enormous appreciation, even established fashion industry was influenced by her fashion design. She began her fashion design with rebellious T-shirts like 'destroy' T-shirt, chicken-bone T-shirt, and nipple-zipper T-shirt, all of which revealed her disgust against establishment. All these T-shirts testify her total negation tendency in her youth. However, she did not continue to keep such a kind of total negation attitude against establishment In 1980s she changed her political attitude towards establishment, and this change also found a reflection in her fashion design. In her pirate-collection the dark image of her fashion in the 1970s changed into a totally different bright image with full of gold colour. Although this collection had radiated brightness, it contained still outsider character from mainstream fashion design. The following fashion design in 1980s and 1990s evolved further on the line of Pirate-collection, but they continued to contain certain outsider characteristics. Vivienne Westwood kept some kind of anti-establishment attitude, and this attitude more or little came to the surface of her design. She was always political and critical to the establishment. In 2005, in her 64, she designed a liberty T-shirt, which showed her political attitude and her engagement in social issues. Also it showed the change from the early total negation to the constructive critical affirmation. In this paper the relation between the fashion design of Vivienne Westwood and her political attitude and the influence of her political attitude to her fashion design is analyzed.

• 패션비즈니스
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• 제11권5호
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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.

• 한국의류학회지
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• 제16권3호
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• pp.233-242
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• 1992

This study primarily concentrates on the Fashion Style of the New Generation which has come into being in 1980 with reference to the contents of the newspaper and magazine in 1950's. . The New Generation has undergone the social and cultural change under the effect of mass communication, mass consumption brought by the economic development, sports boom promoted during the period of Asian Games and Seoul Olympic Games and the adoption of the policy for the autonomous school uniform. In the process of the social and cultural change, they have the common peculiarity such as sensitivity, anthoritarianism and polarity and they have taken an important part in the development of the 'Young Fashion' The characteristics of their fashion styles are divided into three periods as follows; 1. The rising period (1980-1982): The most important pecuriality of the first step can be sum up to the following point. The free fashion style replaced the formal one such as T-shirt or casual wear comes into as a everyday dress. Moreover, many people become interested in the New Fashion which is gradually diversified and high-qualified. As a natural consequence, the lively interest of the people has brought into the appearance and competition of the New Brand in fashion industry 2. The growing period (1983-1986): Mannish Look, so-called 'New Fashion' gained the summit of the fashion and change over conservatively. However, 'Mannish Look' have great effect on the Fashion Style until now on. Specially in Korea, 'Punk Style'and 'Androgynous Look' can be an example among many. 3. The diversifying period (1987-1989): The Fashion Style has developed variously even though the Reactionism takes the lead as the main current of the Korean Fashion. Moreover, it is noticeable that man comes into the stage as a new fashion group and the fashion market begins to dear in various lines of goods with moderate and low prices. These various aspects can be regarded as diversification in the Fashion Style as the needs in the times and society.