• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.235-248
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• 2008

This study is on the characteristics of gloves in the modern fashion and has the purpose to review the style and the feature of gloves coordinated with clothes variously. The study started firstly with reviewing the related literature for the information of the origin, the process of development and the sort of gloves and then verified the results with photographs in the fashion magazines and collections at home and abroad since 1990s. The first characteristic is utility. Lining and covered materials use the materials excellent for keeping warm as the original purpose of wearing gloves is to protect hands against cold weather. It is demonstrated in the fashion collections that coordinating sieves appeals more often in fall-winter season than in spring-summer season. The second is sense of fashion. Gloves are normally coordinated with same materials and colors of clothes. But, gloves could create infinite varieties, make sufficient images through stressing splendid colors on achromatic colored clothes, shaping unique styles, transforming with various materials and ornaments. The last is sense of deconstruction. Gloves are transformed as a sort of clothes beyond the original use. Gloves are coordinated transcending the conventional thoughts, which makes it possible that Stoves appear in summer season, not in winter. Coordinating gloves appears free and unique through atypical formation.

• The Research Journal of the Costume Culture
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• v.26 no.5
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• pp.764-776
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• 2018

The purpose of this study is to serve as a reference for creative fashion design by analyzing the types and aesthetic characteristics of trompe l'oeil in contemporary men's fashion. This research is an empirical study that utilizes both qualitative and quantitative methods to analyze fashion design cases and research articles such as academic papers and professional books. The study covers four major men's collections: Paris, Milan, New York, and London. The period being analyzed is from 2005 Spring/Summer, which is widely regarded as a turning point at which men's collections began rapidly, to 2019 Spring/Summer. The study analyzes 471 photos from domestic and international websites, with the following results. Types of trompe l'oeil in contemporary male fashion are classified into four types: (1) the deconstruction of clothing forms or creation methods, (2) optical illusions that create the effect of multiple layers of clothing on a single article of clothing and the reproduction of apparel details and clothing using 2D printing or embroideries, (3) realistic patterns on garments to create a camouflage effect, and (4) articles of clothing containing body images such as the chest, trunk, or internal human anatomy. These aesthetic characteristics in men's fashion design using types of trompe l'oeil are playful, deconstructive, and decorative features based on hyper-reality. This study aims to acknowledge trompe l'oeil as being widely used in contemporary men's fashion as a type of formative art, playing a crucial role in creative fashion design.

• Korean Institute of Interior Design Journal
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• no.37
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• pp.48-54
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• 2003

This study investigates great potential of architectural representation drawings for architects as well as designers to realize their design concept into visual forms. In 1988, an exhibition called "Deconstruction in Architecture" at Modern Art Museum, New York, was an important turning point in design representation. The study examines design drawings of architects of deconstructivism to analyze new attitudes toward building forms and programs in contemporary architecture. The study found in the drawings that initially, collages in many different types are often utilized to express simultaneous time and space. Secondly, section drawings become more important to explain ambiguous and complex floor system than before. Thirdly, cinematic montages are utilized to express indeterminate or loose programs. Fourthly, diagrams are utilized to visualize initial conditions and clues of design solution. The study concludes that design drawings are not only representation media admitting of changes and progress but also tools of design creation. creation.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.145-159
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• 2007

Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. As the 20th century art put premium on self-expression, the body itself became a powerful medium of expression in fashion. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the fragmentation of the body in fashion. In order to inquire the formative style and aesthetic values expressed in fragmentation of the body in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century, The results of the study are as follows. Fragmentation of the body in fashion means the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. The formative aspects of fragmentation are achieved through body casting, displacement, and deconstruction. The absence of physicality in fashion opposes the sartorial convention and symbolism that results in the discord between signifiant and $signifi{\tilde{e}}$ of clothing. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze fragmentation of the body in fashion, focusing on the relationship between the clothes and body.

• Archives of design research
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• v.13 no.3
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• pp.271-280
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• 2000

This is the deconstruction of functionism and means the complex phenomenon of disharmony such as the reputation of purity, search for history, irony and so on. The perceptional system of post modernist and deconstructionist philosopy, that allow us to have the critical angle of view such as the deconstruction of the existing foundation and the absence of the meaning of the reasoncentered thinking of the west, is shown to be grafted into design, fashion and so forth. These elements are taking root as the style of the end of the 20th century. The deconstructional fashion revolting against the existing regime has been reconstructed and created a innovative aesthetic sense by going so far as to address the way that doffing is formed, the way to handle materials and physiological and psychological elements. The deconstructional fashion depicted on new interpretation of the body proportion with planeness and specificity while ignoring three-dimensionality , structuristic rationality

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.91-100
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• 2010

In the rapid development of science, technology, information, cultural industry during the 21st century, hybridity is consistently shown in which different techniques, systems, and sorts in society, industry, culture, and art are combined. The purpose of this study is to analyze the formative characteristics of hybrid make-up that is shown in the field of make-up as a practical art reflecting society and culture of a specific period, to understand the tendencies of modern make-up, and to present data for predicting changes in the future. According to the results of this study, the hybrid characteristics of make-up indicate as follows. First, hybrid make-up at a timely aspect in which senses transcending times by mixed expression of traditional classicism and modernism coexist and mingled, Characteristics of hybrid make-up at a local aspect are shown in one make-up by expressing modern tendencies that break from homogeneity, uniformity, and concentration as interests in other cultures and borrowing them in modern images. Also in modern period, characteristics of hybrid make-up at a cultural aspect are shown by mixed expression of conflicting cultural factors such as modern beauty of cutting-edge technology, female & male, and elegance & activeness in one makeup. Within the multiplex, modern social system in this period of cutting-edge technology, "tendency of hybrid design" as a social, cultural phenomenon is shown to be a complex, new designing tendency due to mixture and deconstruction of various genres. Hybrid make-up, seeking diversification and open-mindedness, is predicted to be consistently developed owing to infinite materials of design, being expected to be stronger and newer in the future.

• Journal of the Korea Furniture Society
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• v.10 no.1
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• pp.73-82
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• 1999

For the two decades, the modern furniture design has pursued a variety of conceptions characterized by the Post-modernism, new international styles called Memphism, High-tech, the Post-Industrial design and Deconstruction. Along with these trends, the development of new materials and technology has not only made possible the emergence of innovative furnitures and other ultra-modern products, but also presented a wide range of sensitive designs. The fast development of digital technology will surely bring about globalization in all industrial fields in the next century. Amid this rapid changes, high-tech will merge with handcraft in the area of furniture design to offer economical and more innovative concepts. This will ultimately lead to the small scale production system of a wide variety of furnitures. In the coming century, we can pursue more individualized designs and concepts appealing to human nature.

• Fashion & Textile Research Journal
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• v.10 no.4
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• pp.436-444
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• 2008

Recycle fashion is suggested to the suitable alternative of the environmental problem and the exhaustion of natural resources. The purpose of this study is focused on trying to comprehend between design characteristics and aesthetic values of recycle fashion design and those from fashion brands, fashion designers, and the public. For such purpose, 1553 photos of recycle fashion design which appeared in web-site, newspaper, fashion magazines between 2002 and 2007 were analyzed. Method of analysis did content analysis. The results of the research can be summarized as follows. First, design characteristics of recycle fashion were expressed by Junk Recycle Look, Vintage Recycle Look, Contemporary Recycle Look, Artisanal Recycle Look. Second, the expression methods of recycle fashion were presented reuse, reform, and regeneration. Third, aesthetic values of recycle fashion can be explained by the promotion of environment, the variableness, and the deconstruction.

• Korean Institute of Interior Design Journal
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• v.17 no.2
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• pp.56-66
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• 2008

The purpose of this study is to analyze the multi-layered space utilized as strategy for deconstruction in the architecture of Hiromi Fujii. Although the design of Eisenman and Fujii was based on the philosophical theory of Jacques Derrida, there are many different aspects of architecture. At the same time, Hiromi Fujii could construct his concept of multi-layered space to colligate the academic knowledge of Jacques Derrida, Roman Jakobson and Colin Rowe. This kind of concept for multi-layered space is a critical element to be distinct from the characters between two architects, and it is implied such as an significant concept to analyze the architecture for Hiromi Fujii. This multi-layered space contains interesting and researchable value to understand and to analyze the western architecture theory from the viewpoint of Asian architect. Accordingly, the purpose of the thesis is to find the meaning to establish an theoretical foundation for being under discussion to the architecture of Fujii through the concept of multi-layered space.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.117-127
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• 2010

In this study, hyperspace is a result of imagination created by means of facts and fiction, represents a transfer to determination and indetermination, and means an extension to an open form. In other words, hyperspace is a high dimensional space expanded to imagination through the combination of the viewpoint on facts in this dimension and fiction. When the 2D plane surface or 3D symmetry is destroyed, or when the frame is twisted or entangled, the non-Euclidean geometry is created eventually. And when the twisting leads to transmutation and the destruction of the form reaches the extreme; this in turn became the twisting like Mbius band. Likewise, the non-Euclidean geometry is co-related to the asymmetry of the Higgs mechanism. When the 'destruction of symmetry' is considered, symmetric theory and asymmetric world can be connected. The asymmetry in turn can maintain balance by arranging the uneven weights at different distances from the shaft. Moreover, at this the concept of the upper, lower, left and right, which was included in the original form, may be crumbled down. The destruction of the symmetry is essential in order to present forecast that coincides with the phenomenon of the real world. Non-Euclidean geometry characteristic is expressed by asymmetry, twists, and deconstruction and its representative characteristic is ambiguity. The boundary between the front, back, upper, lower, inner and outer is unclear, and it is difficult and vague to pinpoint specific location. The design that does not clearly define or determine the direction of wearing costume is indeed the non-oriented design that can be worn without getting restricted by specific direction such as front and back. Non-Euclidean geometry characteristic of hyperspace have been applied to create new shapes through the modification of the substance from traditional clothing of the eastern world to modern fashion. The way of thinking in the 'hyperspace' that used to be expressed in the costumes of the east and the west in the past became the forum for unlimited creation.