• International Journal of Costume and Fashion
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• 제6권2호
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• pp.28-42
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• 2006

In present modern society, media contributes more to the constructing of personal identities than any other medium. Music video, a postmodernism branch among a variety of media, offers a complex experience of sounds combined with visual images. In particular. fashion in music video helps conveying contexts effectively and functions as a medium of immediate communication by visual effect. Considering the socio-cultural effects of music video. gender identity represented in fashion in it can be of great importance. Therefore, this study is geared to the reconsidering of gender identity represented through costumes in music video by analyzing fashions in it. Gender identity in socio-cultural category is classified as masculinity, femininity, and the third sex. By examining fashions based on the classification. this study will help to create new design concepts and to understand gender identity in fashion. The results of this study are as follows: First. masculinity in music video fashion was categorized into stereotyped masculinity, sexual masculinity. and metro sexual masculinity. Second, femininity in music video fashion was categorized into stereotyped femininity. sexual femininity, and contra sexual femininity. Third, the third sex in music video fashion was categorized into transvestism, masculinization of female, and feminization of male. This phenomenon is presented into music videos through females in male attire and males in female attire. Through this research, gender identity represented in fashion of music video was demonstrated, and the importance of the relationship between representation of identity through fashion and socio-cultural environment was reconfirmed.

• 한국의류산업학회지
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• 제8권2호
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• pp.156-160
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• 2006

Poststructuralism gives us a clue to totally understand fashion design, which is in danger of difficulty and frivolous ambiguity caused by indiscreet creating and groundless interpretation of Postmodernism. In addition, it leads us to have a new viewpoint, which is freed from stereotyped past concepts and constraints, with regard to fashion design. The main purpose of this study is to examine the various theoretic systems and characteristic concepts of Poststructuralism, and supply a new cognizance frame to understand the processes of fashion design with free and varied notions of deconstruction and generation, in place of the former systematic and consistent interpretation of meaning. Concerning fashion design, present study employs a two-way research method: analysis of theories and analysis of contents. In analysis of theories, a cognizance frame is proposed that can categorize the concepts of cognizance are classified into Nonboundariness, Otherness, and Textualism, derived from various theories of Poststructuralism, as traits expressed in fashion design. In analysis of contents, 10 fashion designers are chosen who exhibit new works at every Pr$\hat{e}$t-$\acute{a}$-Porter collection. Including 20 works that those designers displayed at Pr$\hat{e}$t-$\acute{a}$-Porter from spring/summer 2001 through autumn/winter 2004-2005, a total of 200 works are analyzed.

• 한국생활과학회지
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• 제13권1호
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• pp.159-171
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• 2004

The purpose of this study was to compare the characteristic of Chanel style between modern and postmodern period. The documentary research method was used for this study. The modem period was limited from around 1920 through 1939 and the postmodern period from 1990 through present for this research. The results were summarized as follows: The characteristics of clothing style in modem period were 1) the preference of slim & straight body figure as ideal one and slim & straight clothing silhouette, 2) the high fashion image for the elite by simple & basic design, 3) the emphasis on the harmony by the unity, 4) the tendency of eliminating ornaments on clothing, 5) the discontinuation of traditional way of dress code & style, and 6) the modern style. The characteristics of clothing style in postmodern period were 1) the emphasis on erotic aspects of female body and sexy design, 2) the popularization of high fashion and certain social group's fashion, 3) the tendency of harmony by mix-match, 4) the preference of ornaments in clothing, 5) the preference of retro-fashion, and 6) the continuation of modem style.

• 복식
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• 제57권6호
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• pp.145-159
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• 2007

Freed from its traditional confinement to the human body, postmodernism in fashion exposes the defectiveness of body and abstracts from the body under. As the 20th century art put premium on self-expression, the body itself became a powerful medium of expression in fashion. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the fragmentation of the body in fashion. In order to inquire the formative style and aesthetic values expressed in fragmentation of the body in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century, The results of the study are as follows. Fragmentation of the body in fashion means the break away from the idealized and standardized body for mass productions. It tends to experiment with extreme exaggeration in form, refusing to subscribe to the traditional values that build on the balance and symmetry of the body. The formative aspects of fragmentation are achieved through body casting, displacement, and deconstruction. The absence of physicality in fashion opposes the sartorial convention and symbolism that results in the discord between signifiant and $signifi{\tilde{e}}$ of clothing. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze fragmentation of the body in fashion, focusing on the relationship between the clothes and body.

• 한국실내디자인학회논문집
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• 제22권1호
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• pp.154-163
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• 2013

This study is aimed to identify the expression and the sense of time in contemporary architectural space. And to classify the system and elements of Zeitlichkeit in the contemporary architectural design. The concept of time can be divided into two meaningful perceptions. Those are the concept of realistic time and the concept of subjective time. These tendencies of theories of architectural space has borrowed from innovations in the sciences, and the whole idea of space-time within art and architecture. Those notions developed through the researches of Bauhaus, Postmodernism, Landscape architecture, Digital Architecture and so forth. The result of this study is that the concepts of time are one of the most important strategies of architectural design and have the various languages which there was not in the past. At the point of the transformation in contemporary architecture, the The concepts of space-time are classified into those from the orders of form and space, from dynamic of the image in the dissolution of architectural form, from traces and steps of movement in dynamic form, and from the systems of commands in the digital softwares. As such, Zeitlichkeit in contemporary architecture means that the architecture moves from the construction of the sensual design elements into Art of life through events and contents which human can experience and recognize. These theories and researches reveal that contemporary architectural movements insert the meaningful stories into architectural space through programs and diagrams.

• 패션비즈니스
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• 제24권2호
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• pp.44-59
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• 2020

This investigated the romanticism of Alessandro Michele who leads new trends in fashion industry as a creative director for Gucci. In this study, 307 women's wears exhibited by Alessandro Michele for 3 years in Milan collections from 2015 F/W to 2017 F/W are categorized according to the aesthetic characteristics of romanticism. Additionally, the five aesthetic features of Gucci's fashion design are an addition since the appearance of abnormally large size under the influence of postmodernism. The results based on the study purpose are as follows. First, the decoration makes the garments stand out by using fancy materials, splendid multicolor combination, applique embroidery and three-dimensional objects. Second, exotic style is expressed from an occidental perspective using Chinese traditional fashion or textiles, and exotic accessories. Thirdly, sensuality is manifested using see-through materials to emphasize women's breasts, or the beautiful and sexual expression of women's body. Fourth, the new creations are designed by combining contrasting elements, such as disparate materials and, different genders. Furthermore, traditional cultures like baroque and rococo, and the 1970's vintage looks inspires the creation of retro-style. Finally, the appearance of extremely large shoulders, silhouettes, and details of the human body can be explained with expansive tendency. The aforementioned results further suggest that diverse characteristics are expressed via reflection of contemporary art and trends.

• 건축역사연구
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• 제13권4호
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• pp.75-88
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• 2004

The German Werkbund, which was founded in 1907, played an important role in the history of modern architecture. Its exhibition 1914 in Cologne is estimated as a meaningful event in the development of modern architecture. Especially two examples, among which were built at that time, are worthy of notice. The one is the 'Modelfactory' by Walter Gropius and the other 'Glashaus' by Bruno Taut. Generally in the Textbook on the history of modern architecture, the Taut's Glashaus is rarely mentioned or described as a early example of some expressionistic architecture, while the Modelfactory by Gropius is regarded as an essential workpiece in the early stage of modern movement. the time of searching alternative not only from rationalistic modernism but also postmodernism and today in the time of plurality, Taut's Glashaus could bring us more interesting and meaningful aspects in architectural design. Through investigating the background in the planning stage and analysing the composition of space, construction, circulation etc. it is to try to understand the building as really as what it was. Furthermore, historical meanings of the building in the modern architecture is reinterpreted in the following aspects; what should be reflected in architecture and how could 'Zeitgeist' be architecturally adopted?

• 복식
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• 제60권10호
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• 복식
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• 제61권8호
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• pp.100-113
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• 2011

The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

• 패션비즈니스
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• 제17권4호
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• pp.40-57
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• 2013

In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon's paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo's designs since 1980s. The figures in Bacon's paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo's designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo's works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.