• The Journal of Natural Sciences
• /
• v.15 no.1
• /
• pp.149-158
• /
• 2005

These Study for meaning of Skirt Exhibition of Prada who has originality about minimalism, anti design. Her special characteristics of modern design world is very trendy. The latest trend which is deconstruction, nonos tribe, techno-functional of Prada style showed her exhibition. It was very meaningful about Prada fashion and modern design and culture. The various fused fashion items and genres are normally observed in the skirt exhibition. Besides interpretation of light and movement, novelty of modern design would be guided to the exit of modern culture and art, which haver to answer to th e continuous questions.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.5
• /
• pp.823-838
• /
• 2018

The article surveys the technique and characteristics of contemporary fashion exhibitions in terms of fashion museography and fashion curation. The article reviewed both a literature study on the history of fashion exhibition focused on the display technique as well as a case study of domestic and international contemporary fashion exhibitions. The results of the article is as follows. Fashion brand exhibitions are about building competitive business advantage by planning differentiated contents. It gives viewers a brand fantasy and increases brand loyalty. This type mainly displays the latest collections on the commercial purpose as well as uses diverse mediums and high technology to make a spectacular space that provides an immersive experience to the viewer. Second, the museum fashion exhibition focuses on the roles of fashion in terms of social, cultural and artistic aspects that also focus on public education. The presentation technique emphasizes careful collection conservation rather than celebrate fashion business. The article is to encourage a further scholar discourse of fashion curatorial practice and theory.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.21 no.3
• /
• pp.81-91
• /
• 2019

Fashion exhibitions in museums are an important media to deliver ideas of fashion. Although it still arouses controversy, museums have become an ideal platform for fashion exhibitions since some fashion exhibitions have garnered successful results in mega museums. This can be considered as a cultural phenomenon and a new paradigm since fashion exhibitions in museums are closely related to new museums and fashion museology. Thus, this study examines the definition of 'fashion exhibitions in museums' based on new museums and fashion museology, and then lays the groundwork for its typology through an analysis of preceding research about fashion exhibitions from the 1970s to the present day. In consequence, fashion exhibitions in museums are categorized into five types; retrospective exhibition, survey exhibition, fashion photography and film exhibition, and consider both virtual exhibitions and fashion brand exhibitions.

• Fashion Information and Technology
• /
• v.10
• /
• pp.79-86
• /
• 2013

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.4
• /
• pp.571-583
• /
• 2018

'Dress of the Year' by the UK Fashion Museum in Bath suggested an ideal role for a fashion museum and created fashion history along with the development of fashion journalism. A case study and literature research identified the characteristics of this scheme in terms of roles and functions for a fashion museum and defined them as: suggestion of collection cases, data construction for fashion research, and contribution to fashion critique. First, it suggested a good case of collection process. The 'Dress of the Year' creates a museum identity with a collection selected by designated journalist reviewer every year in order to maintain and strengthen a virtuous cycle. Second, it contributed to the accumulation of data for fashion research. The vast amount of data accumulated for more than 50 years became a fashion history that shows the change of fashion trends with a value of public confidence. It presented the possibilities of fashion research in various perspectives. Third, it contributed to the development of fashion criticism. The development of fashion journalism was conducted on the initiative of 'Dress of the Year' as well as contributed to the birth and growth of fashion journalists.

• The Research Journal of the Costume Culture
• /
• v.19 no.6
• /
• pp.1302-1319
• /
• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.36 no.9
• /
• pp.966-978
• /
• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.

• The Research Journal of the Costume Culture
• /
• v.27 no.4
• /
• pp.310-322
• /
• 2019

Since the late 2000s, fashion exhibitions have expanded to encompass a variety of concepts and sizes, and the need for research on exhibition planning, installation, and direction, including curating, is emerging. In this context, basic research is deemed necessary to encourage more experimental and in-depth research into the planning and orientation of domestic fashion exhibitions. Accordingly, by analyzing the exhibitions of Judith Clark, a pioneering fashion curator, and fashion exhibition planner, the aim of this study is to examine the characteristics and directing points of her curation. This study proceeds as follows: first, the concept and type of fashion exhibition and curation are investigated. Second, the exhibition cases curated or produced and installed by Judith Clark are examined and analyzed. Finally, based on this analysis, the characteristics and directing points of her curation are identified. In exhibitions, Clark's directing style features use of a variety of objects, the diversification of the flow-path through space division, and collaborations with various fields or experts. Clark's curation points, based on such characteristics, are as follows: reproduction-oriented curation to capture the age of the time based on historical research; storytelling-based curation; and transboundary curation with multiple methods and open processes. This study is expected to serve as a foundation and precedent that will lead to further research on fashion exhibitions and implementation.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.5
• /
• pp.936-953
• /
• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• Journal of Digital Convergence
• /
• v.20 no.5
• /
• pp.721-731
• /
• 2022

The purpose of this study is to examine and categorize the cases of luxury fashion brands and art collaboration and find out their effects. The research method examined the theoretical background of luxury fashion brand and art collaboration and proceeded with content analysis through major cases. The research results were classified into the following two types through case analysis. The first is art collaboration for product design, and the second type is art collaboration for exhibition works. Content analysis according to type was organized from the perspective of brands and artists, respectively, and the resulting collaboration effect was finally derived. The main effects are the integration of design and art, diversification of social and cultural backgrounds, and innovative vision of expression. This study is meaningful in examining the expanded design methods and effects of luxury fashion brands through grafting artworks and presenting basic data for future fashion art collaboration design research.