• 복식문화연구
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• 제11권5호
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• pp.778-792
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• 2003

This study is to review, in the social and cultural context, the main causes for the sportism that prevails in modern fashion, and to analyze the typical expressions in the domestic fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time and abundant opportunities, new fashion materials resulting from new technologies, emerging youth culture and increasing preference for such culture, and the postmodernism. With this background, sportism, which has been appearing in the domestic fashion, falls into 5 categories as follows based on the type of its expression. “Urban Street Sportism” is affected by the new sports culture of urban young people, which is characterized such that body line is disregarded with over-sized garment in layered style without considering T.P.O. concept. “Romantic Sportism” applies colors, fabrics and details of romantic images to sporty items, or culminates the feminine and elegant sportism by using the sporty fabrics and details along with romantic items. “Vintage Sportism” is characterized by its well-refined, high quality expression of naturally worn for long time, which is affected by the postmodernism. “Urban Utility Sportism,” which is developed with such design factors as fabrics, styles, details and colors with emphasis on their utility and functionality, explicitly accommodates the changed modern life styles particularly in urban areas. Lastly, the military image, which was developed during the Iraq War along with simultaneous anti-war activities, and the peace messages, which deliver the mankind's hope for the world peace and social wellness, formulate the “Military Sportism”.

• 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.

• 자연과학논문집
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• 제8권2호
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• pp.237-255
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• 1996

패러디는 선행하는 친밀한 소재가 패러디스트에 의해 모방되면서 시작된다. 이 때 사용되는 기법은 모방, 유사, 변형, 과장, 아이러니, 파라독스등 다양하며 패러디스트의 의도와 능력에 따라 여러 가지 기법으로 풍자, 조롱, 경명, 의외성, 우스꽝스러움, 존경, 경외심 등과 또 이 모든것이 혼합된 어떤 효과를 주어 선행양식과 다른 비평적 거리가 있는 반복으로서 새롭게 창조 되는 것이다. 또한 패러디는 포스트모더니즘적 특징을 다분히 내포하고 있으므로 포스트모더니즘적 미의식이 팽배해진 화경에서 효과적인 표현양식으로 널리 사용되어지며 그 요구 또한 급증한다. 예술의 한 장르로서 복식에서도 패러디 기법은 역사적 입장으로서 과거를 비판적으로 재구성하여 새로운 복식을 창조하는 한 형식으로 널리 사용되고 있다.

• 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.

• 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.

• 복식
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• 제52권5호
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• pp.79-89
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• 2002

We can see various cultural elements appeared in modern fashion, of which Korean traditional cultural elements are being reinterpreted in many different ways. This study is to analyse on the basis of togetherness concept Korean traditional elements, which have been considered difficult to interpret by postmodernism and find the ways how to carry on our traditional culture practically in order to prepare the foundation for globalization of our tradition. Togetherness means 'with' or 'simultaneously', which also conveys the meaning of common cause and result, addition and annex, opposition and juxtaposition, or accumulation and integration. Characteristics of the togetherness appeared in Korean fashion are as follows. First of all, it shows the aspect of mixing and integration of different cultural fashion elements around the globe, which have been made possible in the course of globalization and development of information technology. The second characteristic is crossing and synchronization, which means that many different individual fashion elements in terms of time and space are being crossed over and integrated these days. Thirdly, continuation meaning 'without cease' and 'keep going' shows that togetherness is to create a whole new fashion trend by mixing postmodern revivalism and past clothing elements. Togetherness makes it possible for us to find reasons why tradition aspects are expressed so vividly in the modern clothing, gives us a standard to classify the reasons, establishes an identity and offers theoretical background for globalization of traditional clothing in the course of modernization of our tradition.

• 한국의류산업학회지
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• 제7권6호
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• pp.585-593
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• 2005

Diverse and complicated trends of fashion design which were initiated at the latter part of the 20th century have been evolving in the cultural framework of Postmodernism. At this point of time, Poststructuralism, with its aims to interpret and understand modern fashion design, is a new system of thinking that reveals the contradictory aspects of rationalistic Western philosophy and accepts uncertainty and disorder as they exist. 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, analysis of theories and analysis of contents. By probing and examining deconstruction theory, 'I'-other theory, textual theory, and nomadic thinking, the concepts of cognizance are classified into Nonboundariness, Otherness, and Textualism. The theoretic foundation for this analysis and classification is supplied by Derrida's deconstructional philosophy, Lacan's mental analysis, Bartes's textual theory, Deleuze's change and generation theory, together with other theories of Poststructuralism. In analysis of theories, a cognizance frame is proposed that can categorize the concepts, derived from various theories of Poststructuralism, as traits expressed in fashion design.

• 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.

• 복식
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• 제65권3호
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• pp.47-61
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• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• 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.