• International Journal of Costume and Fashion
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• 제9권1호
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• pp.59-69
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• 2009

The exhibition would have benefited from a more sustained examination of the contemporary meanings and historic meanings behind fashion ideas and architecture as a communication vehicles, which reflect public preferences as an art or design. Both are based on structure, shape, and th ornament basic necessities. Skin+Bones pools contemporary exemplars and cultural capital - providing resources, creating the opportunity for new hybrids, and advancements for fashionistas who are much more interested in fashion. The overall aim of this research is to understand both fashion and architecture by analyzing exhibition and interpreting the meaning of objects that have been shown and studying the problems and obstacles to be overcome in presenting a significant meaning of fashion and architecture.

• 한국의류학회지
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• 제42권5호
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• pp.823-838
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• 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.

• 한국의류학회지
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• 제44권2호
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• pp.273-294
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• 2020

Considering the complex relationship between fashion curating and the critical approach of fashion exhibition reviews, this study explores the current state of fashion criticism in museology, focusing on fashion designer exhibition reviews of Fashion Theory. The author selected eighteen exhibition reviews of individual fashion designers' works from 1997 on to the current 2020 issues of Fashion Theory, which provides an interdisciplinary forum to analyze fashion as a cultural construction. The author performed a systematic review that qualitatively summarizes and/or synthesizes the findings of the studies on the topic with the process of a systematic review, such as key question formulation, analytic framework building, evidence mapping, critical appraisal, and evidence synthesis. The results of this study are as follows. First, the exhibition reviews included almost all stages of the inclusive fashion criticism model, based on an artifact study. Second, they reflected various critical discourses that offered current interpretations of historical and contemporary fashion. Third, they showed that fashion criticism in the museum context is the result of an interdisciplinary collaboration of various fashion agents. Finally, they offered a bridge for crossing the boundaries of various scholarly fields, as they combine multidisciplinary scholarship with object-based methods.

• 복식
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• 제55권7호
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• pp.156-170
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• 2005

As contemporary art tends to diverge from its fixed genres and intends to appeal to the public, fashion comes to contribute to the contemporary art area, by playing an important part in the creation of artistic value of art work. Nowadays, it is not unusual to see fashion work shown in an art exhibition parallel with art work, since some artists adopt costumes as the medium of their work in order to explore various means of expression. The occurrence of philosophical, sociological theories concerning human body parallelled with the prevalence of the post-structuralist ideas and occurrence of various styles of artistic expressions of body encouraged active research and attracted social attention to body. With such background, fashion art was formed by a means of the integration of body and fashion in order to create extreme artistic expression. 1 intend to investigate a variety of trends in fashion art from the viewpoint of body space. This study developed criteria for fashion image in contemporary art. Those criteria are based on the dichotomy that divides body into inner aspects and outer aspects. According to the criteria, Firstly, the extension type of body shape includes enlargement and reduction as its sub-types. Secondly, the opening-closure type includes opening type and closure type as its sub-types. Thirdly, the intensity type categorizes clothes into uniqueness and hybridity. Dynamism type classifies fashion art into fixation and moving. The various expressions of clothes type are interpreted as a means by which we can criticize many phenomena of modern society, such as loss of humanity, isolation of individuals, loss of identity, commercialism, and materialism. In the latter period of modern society, the integration of the double-faced nature of body and spirit was attempted and popular fashion was introduced into art in order to express desire, death, gender, identity, and sexual pleasure.

• 한국의상디자인학회지
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• 제23권1호
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• pp.1-18
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• 2021

The purpose of this study is to analyze and understand the approach of critical fashion by comprehending the appropriation of art as a sociocultural phenomenon that influences contemporary fashion. This study inquired into the relevant literature to explain the theoretical background behind critical fashion, and conducted a case study using exhibition catalogues, exhibition works, articles, fashion magazines, and fashion-related websites in order to examine cases of appropriation strategies. As a subversion of meaning by using an existing transposable object image to deliver an experience unlike the actual image, subversive appropriation in critical fashion takes existing things as they are and rearranges them with the purpose of subverting social values while having its subversive style of appropriation. Referring to a style that focuses on labelling the distance between the subject, that refers and that which is referred to, referential appropriation has been reprogramming existing things with an internal and introspective attitudes. In other words, from an exploitative style of appropriation aimed at expanding the meaning with found in objects by avant-garde fashion designers, to a subversive style of appropriation aimed at subverting meanings with transposable objects by conceptual fashion designers, there has been a change toward the referential style of appropriation aimed at expanding artistic forms with created objects critical fashion designers.

• 복식문화연구
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• 제23권2호
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• pp.254-269
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• 2015

The digital technology that has brought about the information revolution acts as the causes of multi-faceted socio-cultural phenomena. The spread of the digital environment and the popularity of the digital devices accelerate the phenomenon or the fusion of culture and technology, and such a phenomenon is no exception in the fashion design. Namely, the combination of fashion design and digital-based technology draws more and more attention; Not only the technology is simply applied to the fashion design, but also it is used as an emotional tool to enhance consumers' satisfaction, while some designs and marketing cases stimulating consumers' emotion are highlighted importantly. This study was aimed at surveying and analyzing the contemporary fashion using the digital technology and thereupon, assessing the characteristics of the emotional representations of technology as well as their aesthetic values. To this end, the theory of 'science of emotion and sensibility' was applied to divide the characteristics of emotional technological expressions in the contemporary fashion into immateriality, non-boundary, multi-media and interaction, while the aesthetic values of the emotional technology immanent in the contemporary fashion were categorized into communication & participation, conceptual configuration, physical expansion and variable movement. This study analyzed uses of technology for human emotion and sensibility shown in not only collections but also communication media and exhibition spaces and thereby, suggested the direction for our fashion industry to fulfill consumers' changing needs and advance further.

• 한국의류산업학회지
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• 제19권3호
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• pp.259-266
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• 2017

In a contemporary fashion along with the advance of high technology, development of a new material is being increasingly emphasized and the need of creative convergence using a computer is being expanded. As a global designer who appeared through association between Japan and the West, Issey Miyake has been continually pursuing a new challenge and a solution using high technology, leading the globalization of Japanese fashion. This research aims at examining design characteristics of Issey Miyake collection's A-POC showing a new paradigm, that is, an innovative clothing manufacture system to input information on materials, colors and shapes into a textile machine based on the computer program and manufacture a cylindrical fabric for completion of seamless clothing without sewing or cutting. A-POC is evolving continually through the development of new materials including recycled fibers and organics together with diversification of processing technology. Besides, it shows design characteristics including an integrated manufacturing method, autonomy for customers' selection, practicality for comfortable wearing by the majority, environment friendly idea to reduce waste of fabrics and materials and a new presentation through convergence of exhibition concepts of modern art. This research on Issey Miyake's A-POC characteristics is expected to present a role of fashion designers in a new design idea and paradigm of contemporary clothing using high technology.

• 복식
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• 제62권5호
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• pp.156-170
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• 2012

These days, fashion museums that were established during the 60~70s in advanced countries are spiritedly planning opportune exhibitions as well as opening collections and accumulated research materials to the public. They are also publishing innovative visual references and offering various educational programs. They play a crucial role in speeding up the development of creativity of fashion designers by accumulating archives through analytic researches. Since Korea has applied western fashion for over a century, now is the time to make a fundamental long-term plan for establishing the identity of Korean fashion by gathering and classifying the history of a century. Thus, the aim of this study is to reach a conclusion to construct fashion museum in Korea to discover as well as develop fashion talents and eventually enhancing national competitiveness. First, the theoretical study on the history and the functions of fashion museum were analysed. 'The collection & exhibition' in the common thread is one function of the fashion museum. Another function is 'the research', which includes accumulations, classification and record of materials in a particular point of view. It also includes publishing catalogues with temporary exhibitions and open management to the scholars and the designers. 'The communication', which is enacted through various educational programs and events for inflow of new visitors, is the other function of fashion museum. The current state of fashion museums in advanced countries and Korea were also analysed. Korean public museums only owned traditional collections while public fashion museums in other advanced countries usually owned collection of the past and the present together. The only contemporary fashion museum in Korea is run private which leads to many problems. Finally, The study went further to suggest the advanced model of fashion museum in Korea based on the research.

• 한국의류산업학회지
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• 제17권2호
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• pp.147-156
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• 2015

Lately, unique hats, which worn by iconic figures in fashion industry, like Anna Piaggi and Isabella Blow to express the originality and self-awareness, received attention from the mass media along with their styles. The purpose of this research is to investigate, analyze, and media-specific characteristics of objet hats which are used to show various items, shape up targets, and express the concept of attires. In order to fulfill this, this study focuses on objet hat designers who have been influential from the 1980's to recent years. As for the research methodologies, this study conducts investigating examples from fashion related books, research papers, and websites along with literary research. Study of objet hat is based on cases and works of designer in objet hat in contemporary fashion expression shape. As a result, objet hat, First, the experimental work to maximize the effectiveness as a fashion objet containing the concept of designer in the runway shows. Second, as pieces displayed on art galleries and museums, objet hats are recognized as artistically defined world of conceptual designers' imaginations. Third, objet hats function as ways of celebrities' expression, who affects the public as fashion leaders. Lastly, objet hat designers's activities operate the story and notion contained in the work through a variety of genres. Objet hats, an independent fashion genre, which symbolize creativity and freedom, influenced the fashion industry with astonishing materials, forms, and decorations.

• 복식문화연구
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• 제14권1호
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• pp.108-127
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• 2006

The purpose of this study is to examine the principles of clothing design and the way of design approach in Lamanova. She caused a revolution in the art of dress and created the foundation for costume design theory. She Addressed Art in everyday life to self-taught dressmakers. The distinguishing feature of the design is simplicity and functionality. In an article "The Russian Style", Lamanova raised the question of the new Soviet costume and traditional costume. In "On Contemporary Costume" she classified the new forms of clothes into everyday and holiday attire, showed the principles of costume, and analyzed in detail the necessity of constructing a costume to suit the individual figure. In "On the Rationality of Costume", she found a basis theory for clothing design which is for whom, from what, and for what purpose. Lamanova's theory was made public in full in 1928 and was presented at the exhibition of Handmade Textiles and Embroidery in Women's Contemporary Costume. The main contents are the costume's purpose, it's material, the figure of its wearer, and its form. She argued that the new costume could be in line with the new life and her theory could be the creed of clothing designers. The principles of Lamanova's theory can still be applied today, not only in Russian traditional and contemporary costume, but in contemporary world fashion.