• Journal of Fashion Business
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• v.23 no.6
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• pp.1-15
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• 2019

Appropriation is of considerable significance in a cultural trend of thought, as one of the means of realizing the post-modernism period. With the increasing use of appropriation techniques in modern fashion, it is necessary to study the external performance and internal aesthetic value of appropriation in fashion. In the book of cultural appropriation, American scholar James o young divides into three categories of appropriation in culture, namely: object appropriation, content appropriation, and subject appropriation. Based on James O Young's three types of appropriation techniques summarized in the theory of the cultural appropriation, the purpose of this study is through the appropriation of the poncho of traditional Mexican clothing in modern fashion as an example; analyzing the external appropriation characteristics and internal aesthetic significance of different appropriation type. The results are as follows. First, designers take the Originality in modern fashion by expressing Mexican Poncho's form, color, pattern, and material as it is through object appropriation technique. Second, through the Mexican folk poncho's style, designers used these to show the similarity produced by content appropriation in modern fashion. Third, designers used the poncho's design concept or poncho's culture, blending the theme of the collection, adding different color, pattern or materials such as fur, lace, and wool, and presenting a new image different from folk costumes through creative subject appropriation technique.

• Journal of Fashion Business
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• v.28 no.3
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• pp.69-89
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• 2024

In the era of globalization, cultural appropriation, stemming from the interaction and clash of diverse cultures, remains inadequately defined, leading to controversy in many designs. This study aims to provide a theoretical basis for understanding cultural appropriation by comparing similar concepts and examining specific cases. It proposes methods for the rational use of traditional cultures in apparel to minimize controversy. Firstly, the study investigates the concept of cultural appropriation by exploring differences among related terms. Secondly, it examines instances of cultural appropriation in fashion through form, color, pattern, and material, drawing from papers and Google searches over the past decade. Thirdly, it categorizes representative cases by domestic and foreign fashion brands, analyzing the underlying reasons. The goal is to establish a theoretical foundation for developing culturally sensitive clothing products. Based on the findings, several measures are proposed: understanding and respecting cultural backgrounds through in-depth research on the history and significance of elements; collaborating with cultural groups and consulting experts for feedback; explaining the source of design inspiration to help consumers understand the cultural elements' meanings; avoiding the reinforcement of stereotypes and respecting cultural diversity and complexity; respecting intellectual property and ensuring moral and legal appropriateness; and learning from case studies of other designers' and brands' successes and failures.

• Fashion & Textile Research Journal
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• v.24 no.5
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• pp.530-544
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• 2022

Based on a follow-up study on critical fashion's strategies for object appropriation, this study aims to understand the appropriation of art as a social or cultural phenomenon influencing modern fashion, as well as to analyze and comprehend how to specifically approach the appropriation of critical fashion's letters through the appropriated interpretation. To explain the theoretical background of critical fashion's appropriated interpretation, it examined the related literature and data. Moreover, a fashion book-based literature review and a case study were conducted using sources, such as exhibition books, exhibited works, news, fashion magazines, and fashion sites, to examine letter appropriation strategies. In the critical fashion, the appropriation of subversive letters subverts meanings by providing experiences different from those based on real images of letters, which are displaceable. The appropriation of such subversive letters to challenge the value of modernism aims to subvert social value by bringing and relocating existing objects while focusing on their external forms. The appropriation of referential letters focuses on delineating the distance between the subjects who quote something and the quoted something and reprograms the existing letter objects with an introspective and reflective attitude. In other words, critical fashion designers can effectively express their messages through the appropriation of letters, such as graffiti and typography, which are manifestations of challenge or resistance. Appropriating letters as a creative action pursues unmarginalized humans who possess their existence.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.68-80
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• 2013

This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.24-43
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• 2015

This study constitutes an inquiry into the decline of Government Office(官衙) facilities carried out intensively during modern era, focusing on provincial government offices of Jeollabuk-do. There have been several studies of changes in provincial government offices till now, but there have been few studies of government offices of the counties and prefectures(郡縣) during the period of the Japanese Resident-General of Korea and after the National Liberation, temporally and there have still been lacking studies on Jeollabuk-do, spatially. Thus, this study attempts to empirically prove the reasons and the time of the decline of provincial government offices in Jeollabuk-do and the characteristics in the process of decline focusing on modern era. As a result of the study, four factors: demolition, abolition, appropriation and disaster had the most decisive impacts on the decline of government office facilities. Demolition refers to the destruction of government office facilities, and abolition, to the decline and the discontinuation of the operation of the facilities. Appropriation refers to conversion to facilities to meet public functions, and disaster, damage from a typhoon or fire. These factors had already been started from the 1900s, and by the 1930s, most of the government office facilities came to lose their original looks and functions. In the meantime, there was an essential purpose in demolition, the most direct factor in the destruction of the government office facilities in terms of function: that is new construction of public facilities necessary for administration and rule. The existing government office facilities were appropriated, sometimes, but behind that, many cases of demolition of the government office facilities for the new construction of public facilities are found. The appropriation of the government office facilities is divided into educational, administrative, financial and security facilities, and generally, Gaeksa(客舍) and Dongheon(東軒) were used respectively as educational and administrative facilities while their attached facilities were used as financial and public order and security facilities in general. Especially, some government office facilities were utilized as distinctive facilities such as housing or hospital. In the process of appropriation, a lot of modification occurred inside and outside the government office facilities, due to which, the government office facilities gradually declined losing their traditional styles.

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.679-690
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• 2009

The purpose of this study is to comprehend western style in fashion and to contemplate the hybrid tendency reflected on western style, thereby to analyze the aesthetic characteristics of the hybrid tendency of western style. For such purposes, this study first examines western style historically, in order to analyze hybrid tendency reflected on western style, and conduct a case study by analyzing photographic materials of pr t- -porter collection since 1980s. The result of this study is as follows: the hybrid tendency reflected on western style are modification and fusion of regional culture, adaptation and composition of subcultures, and appropriation of sexual minority culture. (1) Modification and fusion of regional culture is expressed in ethnic items and patterns of embroidery, mixing Mexican and Spanish, American Indian and American cultural references. (2) Adaptation and composition of subcultures emphasize traditional or vintage western style by mixing characteristics of western and other subcultures. (3) Appropriation of sexual minority culture is expressed in rhinestone chaps and fetish corset, glitter rodeo suit, reminiscent of drag or queer cultural references. The result of this study will provide basis which can be utilized in the development and educational background of fashion design.

• Cross-Cultural Studies
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• v.45
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• pp.245-268
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• 2016

Tokyo! is a 2008 French / Japanese / South Korean / German anthology film containing "Interior Design" by Michel Gondry, "Merde" by Leos Carax, and "Shaking Tokyo" by Joon-ho Bong, all of which were filmed in Tokyo. This cinematic triptych of three Tokyo-set stories is concerned with how the experience of self-alienation is related to urban life, that is, how to survive in a city as a self. The problem of life is the struggle for self-preservation. In Tokyo! the three film directors have shown that urban life is both self-deconstructing and self-preserving. In this paper, our purpose is to examine different modes of urban life by using two concepts reformulated by the French philosopher Jacques Derrida: the urban ipseity and auto-immunity. According to Derrida, ipseity is a system subjected to a circular structure. Such a system cannot avoid the general logic of auto-immunity; i.e., the structure of ipseity functions as both self-deconstructing and self-preserving. The three episodes contained in Tokyo! testify, each in its own way, to the function of that logic. In bringing to light the three modes of self: appropriation, dis-appropriation, and in-appropriation, we claim that the modality of urban life is confronted with the autoimmune reaction.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.217-235
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• 2011

On recognizing the significance of Walter Benjamin's "The Task of a Translator" in recent discourses of postcolonial cultural translation, this essay examines the creative postcolonialist appropriations of Benjamin's theory of translation and their political implications. In an effort to dismantle the imperialist political hierarchy between the West and the non-West, modernity and its "primitive" others, which has been the operative premise of the traditional translation studies and anthropology, newly emergent discourses of cultural translation actively adopts Benjamin's notion of translation that does not prioritize the original text's claim on authenticity. Benjamin theorizes each text-translation as well as the original-as an incomplete representation of the pure language. Eschewing formalistic views propounded by deconstructionist critics like Paul de Man, who tend to regard Benjamin's notion of the untranslatable purely in terms of the failure inherent in the language system per se, such postcolonialist critics as Tejaswini Niranjana, Rey Chow, and Homi Bhabha, each in his/her unique way, recuperate the significatory potential of historicity embedded in Benjamin's text. Their further appropriation of the concept of the "untranslatable" depends on a radically political turn that, instead of focusing on the failure of translation, salvages historical as well as cultural potentiality that lies between disparate cultural entities, signifying differences, or disjunctures, that do not easily render themselves to existing systems of representation. It may therefore be concluded that postcolonial discourses on cultural translation of Niranhana, Chow, and Bhabha, inspired by Benjamin, each translate the latter's theory into highly politicized understandings of translation, and this leads to an extensive rethinking of the act of translation itself to include all forms of cultural exchange and communicative activities between cultures. The disjunctures between these discourses and Benjamin's text, in that sense, enable them to form a sort of theoretical constellation, which aspires to an impossible yet necessary utopian ideal of critical thinking.

• SUVANNABHUMI
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• v.16 no.1
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• pp.15-38
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• 2024

In this paper, I will pursue initial ideas I formulated in 2012 about the permeation of Korean influences in Philippine popular culture, particularly in the production of serialized TV drama/soap operas or the "teleserye" [tele for television + "serye" or series; thus, TV drama series]. I called the phenomenon the "Korean Turn" as I observed the emulation of Korean televisual drama (nowadays called K-Drama) modes and practices by local production through various means of cultural appropriation. This time, I will expand my exploration to other aspects of Philippine entertainment and other cultural practices. I will also update my observations on the continuing "Korean turn" in the teleserye. I will argue, on the one hand, about the success and soft power of hallyu or the "Korean wave" in the Philippines; and on the other, about Philippine culture's enduring ingenuity in its reception and repurposing of hallyu. Ideas to be yielded here will form part of a potential framework in understanding the dynamics of the interface between Korean and Philippine cultures, in the context of globalization. I assert that popular culture remains to be an undervalued field of inquiry, as far as these contexts are concerned.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.993-997
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• 2009

Designs in the modernism era were produced for the purpose of standardization of items and devices centered on efficiency and functions, and the will of design consumers in the industrial era, when consumption exceeded production, was limited to the objects of consumption. But, after the post-modernism era, design consumers have started to entail acts of exclusive possession such as participation in the design idolization, partipation, tuning, control and parody as design consumers in the digital environment do not passively accept what is given to them anymore, and aggressively intervene in the process of design production and management. It is expected that designs will change from the system in which only professionals can produce and manage its production to that of cooperating with consumers to produce designs, and various forms of consumers' exclusive possession will change all sort of design environments including production methods surrounding design products and distribution. Therefore, this study seeks to induce efficient design production by understanding changes of consumers' cultural environment resisting standardization and structuralization with smoothy perception between producers and consumers through classification of consumers' appropriation into de-construction, re-signification and self-identification.