• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• Fashion & Textile Research Journal
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• v.16 no.1
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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.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.150-159
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• 2007

The remark by Andy Clark that the cleverer our world is, the more difficult we perceive our world and ourselves, is very significant to us living in digital world. As the huge power of Technology are dominating the world, the people are drifting with their body fragmented in diverse kinds of chaos, being are faced with the situation that they should reorganize themselves about personal life and ways of thinking in a new technological environment. This paper approach some characteristics of contemporary society through 'Cyborg' which is the product of limitless human desire and technology. The characteristics in modern times, such as boundary disjoint, hybridity, transformation, fusion, communication with image, digital sensitivity, womanness correspond to those of the Cyborg. This paper also investigates the history of modern Cyborg through animation, one of the remarkable medium in digital age and analyze the cyber punk animation, and by Oshii Mamoru, which provoked the extension of the concept of Cyborg. This paper will give a moment to diagnose what this age is like and to present a reference line of our contemporaries exposed to the surplus images and technology.