• Journal of the Korean Society of Costume
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• v.33
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• pp.5-25
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• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.1-16
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• 2006

The purpose of this study is to analyze the meanings of national images represented in Vivienne Westwood' collections through investigating her works in an aspect of national identity. The results were as follows: British fashion is generally known for having two national identities, Monarchy and Anarchy. Monarchy is the traditional British look and Anarchy is the free-spirited look which is related with the postwar phenomenon of rebellious youth culture. As a punk, Westwood participated in creating Anarchic identity of British fashion. But from the 80s, Westwood's attitude toward the national images has been changed. As a high fashion designer who became to represent British fashion in global market, Westwood started to research British dress tradition, especially through comparing with French fashion. She was particularly fascinated with the traditional fabrics like tartans, tweeds and innovative tailoring skills, which were related with the heritage of Englishness in dress. But she didn't follow the conventional ways and tried to reinvent the historical tradition in modern ways. By combining Monarchic tradition with tempting female sexuality, Westwood transgressed the existing ordinary Britishness of British fashion which was composed of aristocratic and royal identities, and created some innovative British fashion images. With these works, Westwood contributed to consolidate Englishness in dress on the one hand, but on the other hand, served to reconfigure Britishness of British fashion. Consequently, Westwood showed that what is believed as the essential national fashion identity can be challenged and reconfigured in modern fashion field.

• Journal of Fashion Business
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• v.16 no.2
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• pp.163-179
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• 2012

Among diverse cultural types which can be shown in movie, 'Subculture' is young culture that resist to major culture. It shows its belief and identity via its own style. Their 'Subcultural Style' became popular with mass media and has been affected to major cultures. Therefore, in this research, with times background as postmodernism in end of 20th century and mainly with movie which is about sexual minorities, I analyzed categories of costumes in the movie. Hedwig's rock costume shows combined fashion with hippie, punk, glam, kitsch, goth styles from the impact of postmodernism in mid 20th century. Tommy, showed his relief and defiant intention against old generations with grunge casual and graffiti styles. After he realized Hedwig's identity and showed defiant goth rock style as a famous rocker. The band, "Angry Inch", showed dissatisfaction and cynical attitude against the American society through subculture styles. Through this research, the fact that movie costume used a tool to show human's identity and value. Also, I can see that movie costume shows times and cultural phenomenon in the end of 20th century and through this, it was confirmed that this contributes to crease new fashion style through them.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.127-138
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• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• Journal of the Korean Home Economics Association
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• v.44 no.12
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• pp.117-126
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• 2006

A movie's fashion style delivers the overall atmosphere of the scene including the characters's class, personality, spiritual world and inner thinking and even their conflicts in the story. The movie 'American Psycho' directed by Mary Harron and based on from Bret Easton Ellis's original novel ridicules the American yuppie culture of the 1980's through the behavior of the hero Patrick Bateman. The life style of the yuppie sees itself as the high-class embodiment of a particular culture, but the various subcultures such as Glam and Punk show that it is merely a two-faced culture suffering from hypocrisy and mammonism. An analysis of the costumes found in the movie indicated an exhibition of the 1980's Haute Couture fashion, which was mainly occupied by the mainstream social class and of the social phenomenon of post-modernism. The anti-fashion presented in the movie as the resistance culture formed by the subculture was in extreme contrast with the expression of self-actualization.

• 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.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.63-78
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• 2004

The purpose of this study examines the characteristics of the Techno-Cyber fashion in modern fashion, and especially, how the make-up in the Techno-Cyber fashion is expressed artistically, and finally how much the make-up has its aesthetic value and significance. This study has its meaning in studying the relationship between the Techno-Cyber fashion and the make-up. Further more, the study has its significance in that it is possible to consider the interaction of the make-up by the fashion trend. The way of the study is to analyze its features that are shown in the documents of the inside and outside of the country. the study precedent, the technical journal, and the fashion picture. And also the study refers to the related contents in the searching for internet. The aesthetic characteristics of the expressed make-up is shown with the various aesthetic styles, as follows : First, the future-oriented characteristics is shown as the expression of the metallic make-up that emphasizes the glitter and glossy texture, and of the transparent make-up that emphasizes the simplicity of the body. Second, the surrealistic characteristics is expressed to the collage make-up that expresses the unexpected character with the introduction of the special materials and the position changing and the graphic make-up that destroys the standardized form. Third, the anti-cultural characteristics is expressed to the Cyber-Punk make-up that expresses the destructive and challenging image. Finally, the compromise characteristics is shown in the Ethno make-up combined the concept of the ethnic with the high technology and the Androgynous make-up which destroys the bounds of the sex.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.37-51
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• 2014

The purpose of this study is to devise a wide range of expression and direction in fashion by analyzing the wardrobe of David Bowie, a musician who represents Glam Rock, for "glam" characteristics. Research was done using dictionaries of musical terms, dictionaries of attire terms, internet, papers and books published in Korea and abroad and other materials. The results of this study showed four characteristics, and it can be summarized as follows. First, resistance refers to the deviation from the norms set by a mainstream society. The resistance in Glam Rock was expressed in depreciative and anti-social characteristics, and Punk elements were expressed by using studs and metallic materials. Second, androgyny in David Bowie's costume expresses the innate nature of gender by freely integrating or tight silhouette costumes. Third, the fantasy in Bowie's costumes is a concept as opposed to what is real and is expressed by using avant-garde and playful expressions. Distorted, exaggerated and avant- garde expressions express decorative and bizarre fantasy by using the images of an astronaut. Fourth, the folklore in David Bowie's costumes uses the patterns and images of different cultures, and is expressed as through integration of exotic components, including the usage of costumes with Oriental colors and shapes. Furthermore it represents geometric shapes and curves, using the images of Kimono.

• Fashion & Textile Research Journal
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• v.1 no.3
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• pp.218-230
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• 1999

The purpose of this study is -under the post-modem situation- to emphasize the role of women which has various several logic on feminism, to look forward to division of men's consciousness of women, and to reflect a trend to accept the role of sex which is occurring in the system of sex, that is, 'The Third Gender and Homosexuality'. The category of biological and sociocultural on feminism discussed, meantime expressed the sexual logic under post-modern situation, and probed the sexual logic on feminism which was expressed in modem dress and its ornaments by redefining some characters as follows; Imitation-it was to attain masculinity by imitating the body of the opposite sex. Interaction such situations like...... masculinity in women, feminity in men was demonstrated as transvestism of cross-dressing and the symbolic meaning of homosexuality was demonstrated in the shoes of sociocultural on Feminism. Dispersion appeared as a moderation charm and a resistance against the men-ruling culture. Destruction-expressed the fetishism of punk of porny image and maternal affectional image of biological trend as playful satire. Therefore, It is conceived that Feminism would be created true human-phase come true in the men's world as long as the realization of women themselves make the phase of women higher; and further not only propose new image of women but the system of gender.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.