• 문화기술의 융합
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• 제10권4호
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• pp.95-103
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• 2024

본 연구는 21세기 일본에서 가장 영향력 있는 패션 디자이너 중 한 명인 요지 야마모토의 작품을 고찰하였다. 이 연구는 파리 패션 위크(2019 F/W-2024S/S)에 전시된 요지 야마모토 여성 기성복 컬렉션에 초점을 맞췄다. 연구 방법에는 사례 분석 및 이미지 요약이 포함됩니다. 이 연구는 Yohji Yamamoto 브랜드의 발전과 디자인 스타일을 분석했습니다.VOGUE에서 2019 F/W-2024S/S 총 399장의 트랙 이미지를 다운로드하고 실루엣, 색, 소재 및 프로젝트 네 가지 측면에서 분석했다. 연구 결과에 따르면 이러한 미학 사상은 야마모토 요지의 독특한 미학의 핵심 요소로 브랜드 스타일의 형성에 중요한 역할을 한다.

• 복식문화연구
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• 제18권5호
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• pp.789-808
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• 2010

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel's clothing that is usually used by neutral colors and on Yohji Yamamoto's clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.

• 한국의류산업학회지
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• 제4권4호
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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.

• 한국생활과학회지
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• 제15권5호
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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.

• 패션비즈니스
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• 제4권1호
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.

• 복식문화연구
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• 제27권3호
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• pp.222-238
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• 2019

This study is aimed at applying the philosophical concept of "$diff{\acute{e}}rance$" to contemporary men's fashion design, which could effectively show the shift in thinking. For the study method, the author examined the theoretical background of deconstruction and prepared the standard of analysis by organizing the concept of "$diff{\acute{e}}rance$," which exists at the center of philosophy. This study selected the three most popular brands: Maison Margiela, Comme des Garcons, and Yohji Yamamoto. The results are as follows. First, there is expression of perpetual reservation emphasizing time. This includes texture, patchworks, hems with ladder, and exposure of seam that expresses the trace of time flow and delayed delivery of immediate meaning, and the expression creates delay between major and minor and leads to consistent role exchange. Second, the trace of blank that emphasizes the space gives a visual sense of weight on spares with the intentionally granted space, as well as the space that is the trace of trace and creates a sense of depth through the direction of empty space. Third, the space created in the process of wearing cloth is visualized, the structure of clothing is deconstructed, and the movement from the process recomposes the shape of space and expands the definition that enables expansion of time and space. Fourth, the undetermined relationship expresses the border of time and space visually and deconstructs time and space. The approaches are mostly constructive, demonstrating an avant-garde form of clothes-wearing to show the non-form or imbalance condition.