• 복식
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• 제59권1호
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• pp.77-93
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• 2009

The purpose of this study is to analyze on the fashion collection of Hussein Chalayan who has changed the concept of fashion design in the 21st century and has pioneered in the new vision of fashion. This study will give a new perspective and perception of fashion as a conceptual and ideological art. The conclusions of this study are as follows. First, Hussein Chalayan's multicultural ideas and interdisciplinary approaches which based in national speciality are the unique elements in his works. Second, Hussein Chalayan intends to present his works as an expression of conception. He has expressed the clothes which speaks the form of nature, symbolizes the combination of culture, visualizes time and space and investigates the existence of human being. Third, Hussein Chalayan has asked an endless question about existence of the human being. Furthermore, He has put a question about the relationship between time, space, history, nature and the human being. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works of art makes him as the designer who represents the 21st century. Forth, Hussein Chalayan pursues the communication between the human being and the world. His works is made for human being and makes the human life as valuable thing. Because the clothes is completed when the human wears it, it can not exist without the relationship of human being. Fifth, Hussein Chalayan makes a various attempt to combine with different artistic field. Fashion has developed to new direction with diverse trial and combination beyond fashion field and this has to be a direction in the 21st century fashion. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• 한국의류학회지
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• 제33권7호
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• pp.1128-1139
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• 2009

This study is on the works of Hussein Chalayan that is an expression of his idea and abstract concepts such as culture, history, time, space, nature, and humanity. The perspective of E. H. Gombrich is studied to understand the works of Chalayan who is the one of representative fashion designers in the present age. The 'schema and correction' process of E. H. Gombrich provides a suitable interpretation frame that considers the variety of works of art and the deconstruction of genre in the after 20th century. Hussein Chalayan attempts to combine clothes with other territories to show the spirit as materiality. He expresses the clothes that speaks the form of nature, symbolizes the combination of culture, visualizes time and space, and investigates the existence of human beings. Hussein Chalayan poses an endless question about the existence of human beings. He has put a question about the relationship of the human being and time, space, history, and nature. His trial to visualize the metaphysical conception of 'ego' and 'self' through his works makes him the representative designer of the 21st century.

• 한국의류학회지
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• 제34권12호
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• pp.1957-1967
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• 2010

This study analyses the qualities of digital architecture applying digital technologies by examining the qualities applied to the fashion designs of Husssein Chalayan. The aim of this study is to forecast in what ways the digital influence over fashion will evolve. This study was based on literature and case studies to examine the characteristics of digital architecture, and a case analysis of fashion design was conducted on the collections of Hussein Chalayan that draw heavily from technology. As a result, it was possible to classify the characteristics of digital architecture into five groups - immateriality, interactivity, nonlinearity, liquidity, and hypersurface; in addition, all of these characteristics were found in the works of Hussein Chalayan. The digital paradigm will continue to influence modern architecture and fashion in functional and/ or expressive terms that will continue to strengthen through the further advancement of digital technology.

• 복식
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• 제50권4호
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• pp.5-20
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• 2000

Through his geometric design, the Cyprus born fashion designer Hussein Chalayan raises intriguing questions about the very fact of wearing clothes. By purposefully displacing the function of each part of the clothing, such as neck line, hem line, seam, sleeve, etc., Chalayan transforms the meaning of the body that wears clothes. of the human subject as a sovereign possessor of the clothing and the visibility related to fashion. This transformation is achieved by distorting the spaces of his clothing in an unorthodox way. This thesis argues that the significance of such a practice can not be properly understood without relation to the current debate on deconstructionism under way in humanities. Instead of immediately negating the modern frame of Ideas and practices, deconstructionism asks what the assumptions for the modern regime of truth is. In this process, things that lead human beings to sovereign master of knowledge and truth such as reason, subject, body and vision are questioned. In the same context, Chalayan's design not only forces us to rethink the very function of dividing inside and outside by the clothing but also the meaning of boundary operating in numerous sites of modern life. As the human subject is not something pre-given but constructed according to the cultural representation, to which the clothing belongs, fashion can be evaluated to be an active ingredient of constructing the subject. Therefore, Hussein Chalayan's design is at the cross road between the modern and the postmodern regime of fashion.

• 한국의상디자인학회지
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• 제10권3호
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• 복식
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• 제52권5호
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• pp.91-107
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• 2002

The purpose of this study was to investigate the experimental design by using deconstructive design and mobile design depicted on Hussein Chalayan' works. Hussein Chalayan, the Turkish-Cypriot who is based in London, says' Challenging is the best word for me'. And so word, 'radical' that has difficult connotations was chosen for this study It implies two menainigs for the word. The first thing is "extreme" - something that is drastic. And 'Applied to clothes', it can probably mean "experimental". He has iconoclastic ideas and his ramp shows are always high on concept, experimentation of art and utility. His approach to fashion derives from philosophical and intellectual theories of deconstruction and mobility, which he expresses through his designs. Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color. Cuts. tears, asymmetries, matching different materials are among the most evident features of the deconstructive design. And Chalayan performed the mobile design of transforming furniture into clothes. Chair covers became dresses. a coffee table became a skirt which were designed by Chalayan, with geometric and architectural references. Chalayan says he was inspired by the idea of refugees fleeing. Besides Chalayan uses clothing as an art to reinterpret and reform the human body in a continuous tour de force of body/identity conceptualism and dressmaking. He reflect the body's function in the cultural context of architecture, science, or nature - and then attempt to translate his findings into clothing.dings into clothing.

• 복식
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• 제59권2호
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• pp.111-127
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• 2009

The purpose of this study is to understand the importance of exterior influential factors and kunstwollen(artistic will) of fashion designer. In order to investigate the differences which based on periodic backgrounds, social influences, cultural actualities and kunstwollen, Vivienne Westwood, Issey Miyake and Hussein Chalayan who have different social and cultural contexts are selected. Also through this research, people would understand the clothes has the values as the art works which have philosophy of creator and recognize the importance of fashion as an intermediation for comprehension of history, society and culture. Vivienne Westwood presents her honor to British history and culture in the way of her unique interpretation. Also she expresses the authority and the pride of woman who lives in the present age. Issey Miyake accomplishes the harmony of human body and soul. He attains the most perfect beauty through incomplete beauty of cloth. Hussein Chalayan produces his fashion works as a form of concept which is keep asking question about existence of human being. Fashion is the work of art which Is based on the relationship between clothes, human body and spirit. The fashion designer makes human life has value through his or her creations and tries to communicate with the world.

• 한국의상디자인학회지
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• 제9권3호
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• pp.221-230
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• 2007

This research was focused on the changes of layered techniques in Hussein Chalayan's collections. For this purpose, the layered techniques in 134 works from Chalayan's collections, 97S/S to 06S/S, which were obtained from fashion magazines and fashion internet site, were analyzed and classified into 15 groups. Layered techniques in his works apparently expressed his philosophy about deconstruction. Multilayered feeling was given through using various techniques such as one layer clothing which was showed like multi-layered clothing. Others were multi-layer clothing which felt like one layer, breaking the stereotyped line of clothing into atypical construction and using various materials or constructive lines which made the optical feeling like one layer or multi-layer clothing, and so on. These layered techniques in Chalayan's collections were differentiated into several categories, such as techniques which were revealed in every collections, techniques which were differentiated from one another collections, techniques which were continuously showed through three collections for connection with each collection, techniques which were used only for Spring/Summer season, and techniques which were uniquely showed in early collection or recent collections.

• 복식
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• 제63권2호
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• pp.55-67
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• 2013

The root of cultural and artistic diversity of modern society goes hand in hand with the appearance of new art concepts that started during the social and cultural turmoil. These concepts crossed the boundaries of traditional and universal aesthetic concepts and value criteria. Since there is a close relationship between the fashion industry and the cultural flow of its times, the purpose of this study is to investigate the influences and applications of conceptual art, which became one of the big frameworks of contemporary art on fashion. The study thus sets out to develop and analyze the collections of Hussein Chalayan and Martin Margiela, who were fashion designers that pursued conceptual and ideal values, from the perspective of conceptual art. The goal was to examine the conceptual thoughts they sought after, and to understand their expressive determinations that they pursued conceptually as well as the superficial formativeness of their works. The characteristics according to the expressive methods and conceptual intentions of conceptual art that specified concepts and ideas were as follows: readymade symbolized objects, expanded intervention, data form from process of changing and implementation, and language as visual metaphors. Then those characteristics of conceptual art were used in this study to analyze the collections of Chalayan and Margiela. As a result, both designers applied and mixed many characteristics of the expressive methods of conceptual art. In modern society, art and fashion share a cultural identity and it can be said that it is an accurate reflection of the time. They are not separate genres. Just like the unique flow of modern society that creates new concepts through mixture and infusion of different disciplines, fashion is included in the domain of art. In addition, understanding and studying other disciplines can make a huge contribution to the growth and development of fashion.

• 패션비즈니스
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• 제4권4호
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• pp.71-82
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• 2000

The purpose of this thesis is how to find the way of activating Korean fashion industry, by reviewing the accomplishments of British young designers, Hussein Chalayan, who are contributors to the present peak activities of British fashion. Some results come over this depressive state of Korean fashion might be proposed. Firstly, Korean government should try to direct the Korean fashion associated group to make the unified and effective results in an organized way. Secondly, Korean fashion industries and university-level fashion school should have more intimate relationship and be closely communicated with each other. Also the fashion school should watch their curriculum. and change it gradually to the up-todate one. Thirdly, the Korean new generation designers should do effort to have the highest tailoring technique and artistic good sense. Finally, the designer should have broad range of knowledge for their design. In conclusion, the government, university-level fashion schools, fashion industries and fashion designers should be positively changed and cooperated to do the best and activate Korean fashion.