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

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.1-15
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• 2014

Entering the twentieth century, corsets began to disappear with the tendency of concentrating on slim bodies and youth. As corsets proceeded to be discarded, they began to be internalized as a means of controlling the body; 'muscular corset' takes hold. However, the internalized corset increasingly appears to be externalized again in contemporary fashion. This study investigates how natural body is reconstructed as socio-cultural image drawing on the relationship between the signifier and signified of corset. As for the research methodology this study conducts literature survey to investigate the internalization of corset. This study proceeds to examine the subjects of fashion collections from 1980 to 2010 and samples the outfits which represent the externalization of corset through case analysis. Through the discussion of the study, the relationship of signifier and signified in the externalization of corset is argued as follows: first, by maintaining signifier and signified of the traditional corset as underwear, aggressive eroticism of corset has been observed, second, by perceiving corset as the agency of the body, fetishism of corset dissociates the function of sexual object from corset while distorting the relationship of signifier and signified, third, through embodying the notion of muscular corset literally, the ironical representation of corset as a torturing device of female body deconstructs the traditional relation of signifier and signified of corset.

• Journal of the Korean Society of Costume
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• v.50
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.95-108
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• 2006

The purpose of this study was to analyze the historical change of Paris Collection in relation to the social and cultural environment. Together with the various changes in society, creates fashion, the historical background of the Paris Collections is analyzed from the end of the 19th century until the present. The research method includes analysis entered on data from literature and magazines. From this study, the following conclusions can be reached. 1. Paris Collection is composed of various situations such as the economic aspect, the changing society, the change of the costumes, the change of consumer's consciousness, etc,. 2. The position and role of Paris Collection will be changed in the future. But, there is no alternative. Paris Collection is the best system which we need in our society. 3. Since the level of the planning of the apparel industry becoming raised rapidly, Paris collection tend to avoid the traditional aspect. 4. In order to make good product, good understanding of the historical background need. It must be considered to understand changes such as consumers lifestyles, social trend, etc.

• The Research Journal of the Costume Culture
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• v.22 no.5
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• pp.688-701
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• 2014

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.149-161
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• 2008

The purpose of this study is to consider the origin and kinds of tango and to analyze formative characteristics of tango dance costume. On the basis of the review of literature about tango, photos of tango dance and modern fashion collections designed by tango themes are analysed to examine design elements which are essentially considered in dance costume design. The result of this study are as follows: This study shows the different characteristics of tango dance costume depend on the kind of tango. In case of Argentina tango, sheath silhouette dress and black color are preferred, for Continental tango, fit and flare silhouette which gives convenient movement in dress and white color emphasize the elegant movement are preferred. America tango accentuates the body movement by fitted silhouette, metallic materials, and bead trimmings in dress. The result of the analysis of recent fashion collection shows that characteristics especially strong and sensual tango are mainly an inspiring motive and reinterpreted by designers in modern fashion.

• Journal of Fashion Business
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• v.13 no.2
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• pp.50-65
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• 2009

The main purpose of this study is to identify characteristics of shapes of John Galliano's Dior Collection as the chief executive designer of Christian Dior Maison during $1996{\sim}2007$ after he showed himself in Paris in 1990. This study was based on the analyses of John Galliano's design trends of his collections, the pictures of his works in Christian Dior's collection, real works, documents and fashion magazines, newspapers, mass media, internet sites and other visual materials. The study identified characteristics of shapes in Dior Collection until 07/08 F/W as the chief executive designer of Christian Dior Maison, and the design trends before his post-Paris period. Followings are the conclusions of the study. First, Galliano was open to any types of cultures as a liberalist, and also respectful to the tradition or principles. He led the fashion business with new trends by exploring both sides. Second, he succeeded in commercializing his avant-garde feature. Especially, His creativity changed the image of Christian Dior to younger and more casual one. Third, born in England and worked in French, he always took both English (Victorian Style) and French(Napoleon era, Femme Fatal style) sides, and showed excellent formulation that the times needed by combining topical Chinese, Japanese, Egyptian styles.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.47-64
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• 2010

This study was to define the factors of inspiration and expression methods of Viktor & Rolf known for distinctive works in order to find the ways of creative fashion designing. For the research method, the literature reviews were done by designer's books, collection reviews, and related articles. To find the ideas of design inspiration, interview data with Viktor & Rolf were used. The results of this study were as follows. Their conceptional attitude and the fashion shows like performance indicated that the designer's introspection became the origin of the concept and the ideas expanded the fields of expression. The expression of surrealistic fantasy was done by free imagination and daydreams, which was appeared as fantastical world beyond the everyday life. The expression of paradox and contrast overcame stereotype views with inversion, paradox, and ironical expression. The distortion of shape and the extreme exaggeration by overlap and repetition had a intention that magnity the miserable self-images on purpose, which had started from the debut and appeared ever after on collections and which sought the practicality, infinity exceeding the standard of ideal beauty. The harmony between classicism and avant-guard originated from the insights of tradition demonstrated the wits of designers showing the unique ideas with the base of classics.

• Journal of Fashion Business
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• v.27 no.6
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• pp.66-84
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• 2023

Handbags are a part of fashion and while their significance and value are increasing, research on this topic is lacking. This study defines handbags and categorizes the materials used for making handbags, sewing methods, expression techniques, and terminologies related to accessories. A total of 1,743 handbags that were released from the Spring 2020 to Fall 2023, Ready-to-Wear collections by 8 selected brands (Hermes, Dior, Fendi, Chanel, Louis Vuitton, Prada, Gucci, and Alexander McQueen), were analyzed. Out of these, 732 unique designs, excluding those with only color variations, were studied. The most common sewing methods were 'Cut, sewing, and edge painting', 'Cylinder arm sewing', 'Cut, edge painting, and sewing', and 'Inverted seam', in that order. Slim strap designs primarily used the 'Cut, sewing, and edge painting' method, whereas the body, especially with narrow and hard leather, was best suited for the 'Cylinder arm sewing machine'. For expression techniques, the most frequently used methods were 'Quilting', 'Metal Eyelet', 'Embossing', 'Printing', 'Punching', and 'Weaving', respectively. The characteristics of each brand's production methods, expression techniques, and accessories were as follows: First, the exposure of logos and monograms is prominent. Unlike clothing, handbags often prominently feature the brand's logo or monogram. Second, signature quilting is a prominent feature. Quilting effectively conveys the brand's signature style, providing cushioning, volume, and pattern effects. Third, sustainable development is a growing trend. Brands are increasingly applying eco-friendly and socially responsible designs.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.221-236
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• 2016

The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe $L{\oe}il$ expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, it targeted the women's wear collections of Paris, Milan, London, and New York, limiting its range from S/S 2010 to F/W 2015. The results are as follows: First, based on the preceding research, the types of Trompe $L{\oe}il$ expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body. Second, the aesthetic characteristics of Trompe $L{\oe}il$ based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe $L{\oe}il$ such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.