• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.80-81
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• 2003

현대 패션의 다원적 상황 속에서 해체주의 패션은 패션에의 새로운 접근방식으로 그 중요성이 부각되었다. 패션에 있어 해체주의 정신을 분석하여 표현하기 시작한 것은 1960년대 이후부터였다. 해체주의가 어떤 개념으로 표현되었는가 하는 연구는 많이 이루어졌지만, 니트디자인에서 해체주의 이론을 적용한 연구는 많지 않았다. 따라서 본 연구는 패션에 나타난 해체주의의 외적, 내적 의미를 살펴보고, 특히 해체주의의 외적의미로서 빈곤적 표현기법을 이용하여 핸드니트 작품으로 형상화 시키고 해체주의 이론을 고찰해 보고자 한다. (중략)

• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.29-29
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• 2003

20세기 후반 예술의 전반적인 흐름이 미적 다원주의와 해체주의를 지향하게 되자 패션에서도 이러한 시대적 조류의 현상으로 잔인하고 혐오스러우며 끔찍한 추의 미가 표현되었다. 본 연구는 현대 패션에서 나타나고 있는 잔혹한 이미지에 초점을 맞추며 이와 같은 양상이 발생하게 되는 원인을 줄리아 크리스테바의 이론과 적용시켜 고찰하였다.

• Proceedings of the Costume Culture Conference
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• 2006.04a
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• pp.53-56
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• 2006

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.65-86
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• 2021

This study aims to develop a hanbok design method in response to recent changes in consumption trends that emphasize new aesthetic and cultural values, which contrast with the existing cultural order and repetitive normative styles in fashion designing. With this in mind, our study explores the main features of deconstruction fashion design as a theoretical guide for developing a methodology for deconstruction hanbok design, on the basis of which new, experimental and creative hanbok design works can be produced. To do this, we first investigate current trends in hanbok design and changing concepts of Korean fashion design through literature review of previous studies. Secondly, we explore deconstructionism and analyze its features to lay down the foundation for a post-modern approach in hanbok design. As the result of analysis, the main features of deconstruction fashion design are summarized as the following: 1) non-finishing, 2) decomposing and recomposing, 3) recycling, 4) transparent, 5) grunge, 6) flattening, and 7) exaggeration. Based on the identified core features of deconstruction fashion design, we develop a creative method of hanbok design in the context of modern Korean fashion design. Finally, we show five design outputs via a 3D digital fashion design process using the CLO3D software program.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.583-597
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• 2018

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world's four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: "$Diff{\acute{e}}reance$", "Intertextuality", "Intermeaning of Meaning", "Dis De Phenomenon". The results of the study were as follows: first, "$Diff{\acute{e}}reance$" refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, "Intertextuality" indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, "Intermeaning of Meaning" is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the "Dis De Phenomenon". In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

• 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 Korea Fashion and Costume Design Association
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• v.23 no.4
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• pp.39-56
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• 2021

The purpose of this study was to observe the expressive characteristics of Neo-Deconstruction design, examine the expressive characteristics of Neo-Deconstruction design in the collections of Jacquemus, and analyze their internal meanings. For research, observations were made based on the concepts and expressive characteristics of Deconstruction through prior research and literary review, and analysis was conducted focusing on the expressive characteristics of Neo-Deconstruction. The scope of analysis included a total of 605 photographs collected from a total of 17 season collections of Jacquemus from the 2013 S/S to the 2021 S/S season. The results are as follows. First, the Neo-Deconstruction of Jacquemus expresses the youth culture using bright images such as diverse colors and patterns with 'positive playfulness' and pass on positive messages with deconstructive and playful forms, such as exaggeration and reduction and recombination and reconstitution. Second, with tendencies of 'symbolic receptivity', Jacquemus gained inspiration from his own life, memories, and hometown, and attempted to express the street women of places such as southern France, Paris, and Monaco in a number of collections. Also, he proposed designs that can be worn easily by anyone, regardless of gender, and as plus size models began to become more common respect was given to the tastes and preferences of diverse individuals without distinctions based on body type or sexuality. Third, 'geometric simplicity' was generally expressed by pursuing simple and practical fashion with the addition of details, such as geometric forms including stripes or asymmetrical expressions centering around everyday material that is used in clothing. Fourth, with "open communication," Jacquemus constructed his identity by addressing the various needs of consumers based on social network services and continuously sharing his creative ideas with the public. He is gaining popularity in a unique way by responding quickly to the changing atmosphere of society.

• Proceedings of the Korea Society of Costume Conference
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• 2001.04a
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• pp.41-41
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• 2001

본 연구는 1990년대 밀리터리 패션에서 성적 이미 지의 표현양상을 살펴보고 각각의 미적 특성과 형성 요인을 분석하여 현대 여성의 다양한 미적 가치와 미의식을 이해하고자 한다. 1, 2차 세계대전을 계기로 자연스럽게 등장한 밀 리터리 패션은 20세기 초반에 여성의 사회참여와 지 위 향상으로 인해 실용성과 기능성을 추구하였고 중 반에 들어서면서 히피와 젊은 세대들에 의해 반전운 동의 일환으로 입혀져 안티패션의 의미를 내포하게 되었으며 후반에는 포스트모더 니즘으로 인해 다양성 을 추구하는 복고풍의 패션 트랜드로서 각종 컬혜션 에서 부각되었다. 그 결과 밀리터리 패션은 기존의 남성적 이미지뿐만 아니라 여성적 이미지도 표현하 게 되었다. 이러한 밀리터리 패션에 나타난 성적 이 미지는 권위적 이미지와 공격적 이미지의 남성적 이 미지와 보수적 이미지와 과시적 이미지, 관능적 이미 지의 여성적 이미지로 표현되어 나타났다. 남성적 이미지는 자유주의 페미니즘과 관련하여 남성 중심적 사고 방식에 도전하고자 하는 여성들의 자아의식이 한층 강하게 작용한 일종의 반 패션 현 상으로 권위적 이미지와 공격적 이미지로 특정지을 수 있다. 첫째, 권위적 이미지는 주로 고전적 군복과 제복의 이미지를 차용해 군복이 가지는 권위와 위엄을 표출 하였으며 남성 우월주의에 기초한 영웅주의를 가시 적으로 표현하였다. 이는 떳떳하게 자신의 위치를 세 우고자 하는 여성들의 욕구를 대변하였으며 영웅주 의와 가부장제도가 그 형성요인으로 작용하였다. 둘째, 공격적 이미지는 권위적 이미지에 대한 저 항과 기존의 성 정체성에 대한 저항으로써 전위적인 형태와 해체적인 표현으로 본래의 위엄있는 군복의 이미지를 무너뜨려 남성다웅의 표면적인 메시지를 약화시키고자 하였으며 반체제 정신, 성 정체성에 대 한 저항, 해체주의가 그 형성요인으로 작용하였다. 여성적 이미지는 급진주의 페미니즘과 관련하여 여성 본래의 성을 부각시키고 여성이 주체가 된 여 성중심적 사고로 여성의 감성적 심리를 패션을 통해 표현하고자 하였으며 보수적 이미지, 과시적 이미지, 관능적 이미지로 특징 지을 수 있다. 첫째, 보수적 이미지는 남성적 영역이라고 믿어왔 던 군복에 여성성을 강조하여 가늘고 유연한 실루엣 과 곡선적인 라인, 색채. 심플한 디테일만으로 밀리 터리 패션을 표현하여 남성중심의 이데올로기에서 벗어나 여성도 사회의 중심이 될 수 있음을 시사하 였으며 남성 권위의 추락이 그 형성요인으로 작용하 였다. 둘째, 과시적 이미지는 전통적 군복이 과거의 상 류층 엘리트들만의 아이템이었듯이 현대의 여성들은 신분과 매력의 과시를 표현하고자 금속 단추나 벨트 등 기타장식을 부각시킨 밀리터리 패션을 착용하였 으며 엘리트층에 대한 동경이 그 형성요인으로 작용하였다. 셋째, 관능적 이미지는 신체의 간접적인 노출과 직접적인 노출을 통해 여성의 신체에 의한 에로틱한 관능미를 부여하고자 하였으며 나르시시즘과 보이고 자 하는 욕구, 성적 유희가 그 형성요인으로 작용하였다. 그러므로 밀리터리 패션에 나타난 성적 이미지에 관한 연구는 패션을 통해 자아를 표현하고 미적으로 자기완성의 방편을 삼으려고 한 현대 여성들의 가치 관과 미의식을 이해하며 이를 충족시키고자 하는 패 션 트랜드와 디자인 개발에 도움이 될 것이다.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.806-823
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• 2023

The aim of this study was to analyze the design characteristics of Chinese fashion designer Feng Chen Wang and interpret their implicit meaning from a neo-deconstruction perspective. A review of domestic and foreign literature, outlined the develop- ment of deconstruction and neo-deconstruction, with neo-deconstruction's aesthetic features termed 'traditional fusion', 'positive playfulness', 'open communication', and 'multiple inclusiveness'. These features informed an analysis of Feng Chen Wang's fashion design. Four key findings emerged. First, 'traditional fusion' combines traditional Chinese colors, items, handicrafts, and patterns with modern design to break down boundaries between past and modern, tradition and fashion. Second, 'positive playfulness' promotes creativity and fun, using bright colors, exaggerated accessories, and playing withthe composition of traditional clothes to create a positive atmosphere. Third, 'open communication' emphasizes design that combines practicality and creati- vity in response to consumer needs, incorporating the thoughts arising from individual experiences and interest in social phenomena. Fourth, 'multiple inclusiveness' breaks down boundaries of sexuality, hierarchy, and body shape, embracing various ideas of beauty and respecting uniqueness through design that are seen as available to all. Using a neo-deconstruction perspective, Feng Chen Wang provides novel product planning ideas for Chinese fashion brands and reflects the values and meaning of modern design pursued by contemporary Chinese designers.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.8
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• pp.1155-1166
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• 2000

The purpose of this study is to investigate deconstructive trends of the street fashion in the 1990s spring/summer(S/S) Collections. This study was carried out by both the qualitative analysis and the quantitative analysis. In the qualitative analysis, the important street fashion was grouped and deconstruction was sampling of category. In the quantitative analysis, it took frequency, percentage and $\chi$$^2$-test. The results of the quantitative analysis are as follows: 1. \"N대-Hippie/Grunge\" has been most popular street fashion through the 1990s. The next is \"Sportive Casual\". 2. According to \"deconstructive inner meanings\", there are significant differences between the S/S street fashion in the 1990s. In \"N대-Mods/Jazz\" style, \"Sportive Casual style\" and \"Technos/Cyber-punk\" style, \"Intertextuality\" is high. In \"N대-Hippie/Grunge\" style, \"Exhibition of Otherness\" is high. 3. According to the \"deconstructive outer description\", there are also significant differences between the S/S street fashion in the 1990s. But, In \"Neo-Mods/Jazz\" style, \"Not Included\" is high, which means the \"N대-Mods/Jazz\" isnt related to the \"deconstructive outer description\". In \"N대-Hippie/Grunge\" style, \"Poverty.outworn\" is high. In \"Sportive Casual\", \"Exposure\" is high. In the \"Technos/Cyber-punk\", \"Destruction.Division\" is high.