• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.790-803
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• 2005

This study purposes to examine the background of the sexual concept and femininity, masculinity and gender role in the fields of social psychology and cultural anthropology and investigate the traditional gender role and the fashion's changes according to its role and the examples of the masculinity and femininity expressed in the contemporary fashion and finally analyze the gender identity expressed in fashion. The image changes which appeared in the modern fashion can be considered to be Masculine Look, Garconne Look, Feminine Look, Unisex Look, Androgynous Look and Genderless Look. The Garconne Look caused lots of changes to masculinity in the 1920's along with the changes of femininity. With the effect of feminism, many females wore clothing which had been thought as male's clothing by the appearance of Masculine Look. The major formation reason of Unisex Look can be regarded as the attitude change of the society toward to females and a meaning which doesn't want the differences of the distinction of gender to appear any longer as a characteristic external factor is implied. Androgynous Look which appeared in the 1980's means the integration of femininity and masculinity which is the same meaning with 'androgyny' in itself, Not denying its gender characteristics individually, the Androgynous Look means that women aim at the masculine image in men's clothing or men do at the feminine image in women's clothing. Genderless Look can be considered to a look with a notion to wear clothing freely even in fashion transcending the border of masculinity and femininity differentiated socially and culturally.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.499-512
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• 2022

The purpose of this study was to first look at genderless concepts that are different from Unix, and by grasping the trend of genderless clothes in modern fashion and examining their characteristics, we looked at genderless trends and characteristics in modern fashion. To this end, this study conducted a theoretical review and collection case analysis through domestic and foreign literature and fashion websites. Based on this, the characteristics of genderless clothes expressed in the collection were derived by analyzing designs with strong genderless tendencies in modern collections. As a result of the study, genderless fashion in modern collections could be derived from three visible results: innovation, rebellion, and future-oriented. In addition, modern genderless fashion contains various needs for mental gender and physiological gender, not simply physiological gender, and this is seen by interacting with the current social phenomenon in which gender distinction becomes ambiguous. Understanding and studying the genderless phenomenon, which has become a cultural phenomenon and popularity, hopes that many follow-up studies related to genderless clothes will be conducted in the future.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.96-117
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• 1997

The purpose of this study is focused on revealing teenager characteristics and mass culture in the end of the 20th century, and researching the general traits of teenager costume in the latter half of the \`90s and the typical style based on the analysis of the teenager culture. The result of this study are following as; The general traits of teenager costume are classified with sports-orientation, brand-orientation, and foreign street fashion-orientation. Typical styles are classified with sportive look, hiphop look, and funny look. Sportive look became the core of the street fashion developed with the street sports in the city, and presented the practical use with the fashionability mixing sportswear such as hightech snickers, sports character wear and items. Hiphop look, the genderless fashion, expresses teenager\`s free life style and the diversiied sensibility and deconstructs the border of gender, racism. Funny look accepts the burden of the millenium as a humor and presents katharsis by creating unexpected style. The contemporary costume of teenager deconstructs the fixed idea about mix and match, good taste and bad taste, gender, coordination suited with T.P.O and intends ‘open costume’ for 21st century.

• Korean Journal of Human Ecology
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• v.7 no.2
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• pp.49-61
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• 1998

The purpose of this study was to understand the new generation's culture and to analyze if the characteristics of their lifestyle is significant for the study of new generation's fashion. The new generation's characteristics of lifestyle can be described as a strong pride of their own self and the life which expresses that pride. To analyze this characteristics connecting it with fashion, it is as follows: -It is the egocentric sensitivity culture. In their fashion, there appears a tendency that sense and individuality are counted much rather than fashion. -Diverse fashion information is gained through the mass media and communication. The sense for fashion is liable to change according to the circumstances and, simulated world is made. -The sense of denial is not shown much to the western lifestyle and way of thinking owning to the international open culture. Their consciousness and favorite of fashion are beyond the border. The new generation showed the unprecedent way of expression, denying the established form, and this is defined as Borderless fashion. The Borderless fashion leads a whole trend of new generation's fashion in the late part of ninties. Two typical trends appear as Genderless look for the individualic group and Romanticism look laying stress on womanliness.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1003-1013
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• 2009

This study offers data that can be used to direct the styles of black dresses by looking into the characteristics of coordination in black fashion, which is continuously appearing at modem. fashion collections with a unique aesthetic value and image. This study examined the characteristic of fashion coordination of black color: First, to look at the fashion image of black color, second, to look at the characteristic of black color coordination appearing in black fashion, and third, to look at the method of coordination appearing in black color. This study collected and selected 560 black pictures that showed the fashion collections from 2005 S/S until 2007 F/W. As for data analysis, the researcher made a content analysis by classifying the pictures by item, material, accessory, and a coordination method. The research results are as follows: First, the fashion image of black color was expressed as sexy feminine, modern chic, modern future, genderless, and avant-garde images. Second, the fashion coordination of black color has the characteristics of sexiness and dignity by the use of body exposure, concealment, and a subdued line that expresses a modern, minimal atmosphere. The mix & match of materials expressed the monotony of one color as refined beauty and the use of accessories appeared to bring the image into relief. Third, as for the coordination method, pants on skirts, pants on dresses, piece coordination of code matching, plus- one coordination through vivid colors and accessories, and cross-over coordination relying on shape, material, and sense were prominent.

• Journal of the Korean Society of Costume
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• v.40
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.133-146
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• 2011

The purpose of this study is to analyze the fusion phenomenon that appears in contemporary women's denim fashion in order to find a way to come up with a creative denim design. The methodology of this study is to research documents related to fusion phenomena and consider precedent studies to establish a criteria for analyzing fusion phenomena. The results are as follows: First, fusion phenomena in modern women's denim can be categorized into fusion of time, fusion of space, fusion of gender, fusion of culture, and fusion of genre. Fusion of time appears as fusion with the past and fusion with the future. Fusion of space appears as fusion with Asia and fusion with other regions. Fusion of gender appears as unisex, androgynous, and genderless. Fusion of culture appears as fusion with subcultures such as grunge, kidult, lingerie, hippy look, hip hop fashion, etc. Finally, fusion of genre appears as fusion of materials, fusion of style, and fusion of circumstances. Second, when analyzing the frequency of appearance for fusion phenomena, fusion of culture appeared with a frequency of 29.7%, followed by fusion of genre with 19.1%, fusion of time with 10.5%, fusion of gender with 9.9%, and fusion of space with 8.5%. When analyzing the most frequently appearing fusion phenomena by year, fusion of culture appeared the most from the year 2000 to 2004, fusion of space and time in 2005, fusion of genre from 2006 to 2007, fusion of culture again in 2008 and 2009, and once more fusion of genre appeared the most in 2010.

• 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.