• The Research Journal of the Costume Culture
• /
• v.31 no.1
• /
• pp.91-106
• /
• 2023

This study examines how the concept of gender fluidity-viewing gender identity as a fluid and wide spectrum-is represented in modern knit fashion collections. The period spring/summer 2017-fall/winter 2021, when gender-related fashion keywords started attracting attention, was limited to the last five years, and the results of a case analysis focused on a total of 357 knit fashion photos are as follows. First, the androgynous compromise through the mixing of heterogeneous elements appears as a mix-and-match style due to the patchwork of heterogeneous materials and forms that borrow or share masculinity and femininity. Second, it was confirmed that the dismantling exaggeration caused by the destruction of the size and form of clothes was an avant-garde image that exaggerated the size or length of clothes or destroyed ideas and forms. Third, the exposed sensuality caused by the deformation of the fluid knitting technique was shown in the form of proudly expressing sexuality by exposing the body either using the cut-out technique or through the loose texture of the knit. Knit fashion can highlight decorative effects using handcrafted techniques and express a detailed or coarse sense of organization depending on the density. In addition, since it is possible to create a complex image by juxtaposing and mixing various knit structures, it was confirmed that it is a suitable material for expressing gender fluidity flowing between men and women in fashion.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.18 no.3
• /
• pp.183-196
• /
• 2016

The purpose of this research is to find out the characteristics of sexuality expressed in the contemporary modern fashion jacket, especially designer Thom Browne. Thom Browne is a very successful fashion brand that has focused on design of extraordinary theme. In the research methodology, the analysis was carried out over a total of 862 work pieces in the collection of S/S, F/W, RESORT, PRE-FALL from 2010 to 2016. The characteristics of the contemporary expressions of sexualities can be subdivided into four separate categories. First, The demolition is inflated retail, exaggerated shoulder silhouettes, such as short sleeve jacket is mainly used in the form of a women's match with each other and expressed by different materials applied to men. Female jackets are designed for the silhouette to highlight the strong masculine image to highlight additional detail on the chest or vice versa, to express women's jacket to distort the female. Secondly, Sensuality is designed the body of a male was represented by a design that gives a greater masculinity was expressed that the interpretation of the male gender in detail jacket sleeves and wrap the exposed areas of the important men of fashion. Women's jacket by using a see-through material, mainly sensory Castle outward to reveal the concealed body of the female form a natural curve shows the feminine sensuality. Lastly, Incongruity is inadequate representation by sex of clothing to match the jacket and skirt in women's wear it is also unsuitable for revealing gender as male by applying soot forms. The study attempts to find the meaning in that this presents the direction of the creative development of the modern fashion design based on the aesthetic characteristics of Thom Browne fashion appearing in the modern fashion.

• Journal of Fashion Business
• /
• v.11 no.1
• /
• pp.48-60
• /
• 2007

The purpose of this study is to examine the romantic costume style which has become a big trend before and after the 21th century. For this purpose, I examined the development plans and characteristics of women's costume in France in the Romantic period from the 1820s to the 1850s and analyzed the aesthetic characteristics of romantic costume style The aesthetic characteristics of romantic style in the 19th century were defined by the feminine and elegant beauty, exoticism, and sensuality. Since the 1990s, the characteristics are classified into Feminine & Elegant Style, Ethnic & Fusion Style, and Sensual Style. Feminine & Elegant Style is characterized by delicate, splendid lace and frill decorations that have become more ornamental and technical since the 1990s. They create greater romance and express gentler and more elegant femininity away from the artificial silhouette. Ethnic & Fusion Style use more diverse ethnic patterns, colors, accessories, and details since the 1990s and shows more varieties and creativity in convergence with modern fashion. Sensual Style exposes the physical curve of female body. In the 19th century, cuffs and collars were exaggerated and shoulders were exposed for sensuality. After the 1990s, however, see-through materials have been used to show the beauty of natural physical curves or corsets have been worn as the outerwear. Studying romantic costume style, which arose as a concept of postmodernism, the cultural ideology that exists as a breakthrough of our time, is signified by the understanding of the latest cultural phenomenon and fashion trends.

• Journal of the Korean Society of Costume
• /
• v.60 no.9
• /
• pp.162-175
• /
• 2010

An important change started in knitwear fashion in the 1980s. Advanced designers in Japan began to provide a new interpretation on knitwear, and seamless knitwear based on computerized machinery appeared. Knitwear fashion showed differences starting the 1980s due to this change. In this regard, the study aimed to analyze knitwear fashion after the 1980s where the contemporary knitwear experienced changes to define characteristics of modern knitwear fashion and examine its inherent formative nature. Designs for 30 years from 1980s up to date have been analyzed by 10 years in order to identify the characteristics of knitwear fashion over time. In particular, formative characteristics of modern knitwear fashion have been analyzed in more depth with a focus on the period from 2001 through 2010 by narrowing the whole period. Insufficient domestic literatures and visual materials led the study to mostly use foreign books and internet sites. Insights of 7 professionals who have engaged themselves in knitwear industry over 10 years have been incorporated into this study, which will enhance the reliability of the formative analysis. As a result, the data have been organized into three tools of analysis, including exposed bodies, transformed bodies and natural bodies from the perspectives of expression and silhouette of body, and the features of flexibility, industrial artistry, innovation and sensuality have been highlighted in terms of formativeness. In this regard, it has been confirmed that the formative nature found in the knitwear fashion exists in the scope of the formative nature in the embryonic period of the knitwear fashion. It means that the formative nature of knitwear fashion contains perpetuity that transcends an age.

• Journal of Global Scholars of Marketing Science
• /
• v.15 no.3
• /
• pp.49-65
• /
• 2005

In the modem times, consumers are exposed in a plethora of advertisements either consciously or unconsciously. Generally, companies try to make eye-catching advertisements by using highly attractive models (HAM). In the case of apparel, consumers mainly collect information on fashion trends from advertisements they see in magazine, newspaper, catalogue, and television programs which are created by marketers. Therefore, the advertisements which are supplied by marketers affect consumers apparel purchasing behavior. In this study, a structural equation model is developed to examine how consumers determine the match-up suitability between models in the advertisements and the apparel they promote. As a result, we find two dimensions, sensuality and cuteness, in model attractiveness. Empirical results show that each dimension of the attractiveness plays different role in enhancing model-apparel match-up in the advertisements. Several implications of this study are discussed.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.12
• /
• pp.1837-1847
• /
• 2008

The goal of this study is to express the image of chameleons-that change their colors by light, temperature and its mood-into the sexy styles of corresponding coquettish temperamental people in Wearable Art. The method used in this study was experimenting various production mediums, including creating the textured stretch fabric, in the process of expressing the conceptual characteristics of the chameleon in Wearable Art. The concept of the work was a concoction of 'tempting', 'splendid', 'brilliant', 'fascinating', etc. that highlighted the real disposition of the chameleon. The futuristic preference of the researcher was also implicated. "Comfortable" and "enjoyable" concepts via motions were improved with the its completeness. The point of the design and production is to express symbolically the chameleon in real life, analyzing its sleek body lines, conditional colors changing, outer skins and the cubic textures. The coquettish temperamental image, the conceptual image of the chameleon, was also expressed by implication into the whole work. The entire line of this work is body-conscious silhouette. It was symbolically selected to image the outline of the chameleon that has the slim and sleek body. The exposed back is intended to express symbolically the projected back bones of the chameleon. The hood of gentle triangle line expresses the smooth-lined head part. The irregular hemlines represent the elongated chameleon's tale. The chameleon with its colors of vivid tones is characterized the colors changing by its conditions. This point was importantly treated in the working process by trying the effects that the colors are seen slightly different according to the light and angles. The material was given the effect that its surface colors are seen different in lights and angles because of the wrinkles protruded lumpy-bumpy. The various stones of red and blue tones are very similar to the skin tones of the real chameleon, and their gradation makes the effect that the colors are visibly changed with each move. The textures of the chameleon were produced via the wrinkle effect of smoke-shape, which is the result of using the elastic threads on the basic mediums stitched with 50/50 chiffon and polyester along with velvet dot patterns. The stretching fabric by the impact of the elastic threads is as much suitable for making the body-conscious line. The stones are composed of acrylic cabochon and gemstone. They are symbolically expressed the lumpy and bumpy back skin of the chameleon and produced the effect of the colors visibly different. The primary technique used in this dress is the draping utilizing the biased grains. The front body piece is connected to the hood and joined to the back piece without any seam. For the irregular hemline flares, leaving the several rectangular pieces with bias grains, they were connected by interlocking. What defines the clothes is the person in action. Therefore, what decides the completeness of clothes might be its comfortable and enjoyable feeling by living and acting people. The chameleon dress could also reach its goal of comforting and pleasing Wearable Art in the process of studying the techniques and effects that visibly differentiate the colors. It is considered as a main point of the Wearable Art, which is a comfortable enjoyable clothing tempered with the artistic beauty.