• Journal of the Korean Society of Costume
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• v.63 no.2
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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.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.70-83
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• 2007

Contemporary fashion design has been made a new attempt to extend restricted expressions through fusion with other genres in art. The recognition of fashion has recently been changed not only product but as a piece of work in specific value, concept and meaning created by fashion designer. It is observed that the contemporary fashion design has a notion to persue formative intentions and manners of Conceptual Art in Post-modern era. This study is to define this region of fashion design represented in cultural phenomena as 'Conceptual Fashion', also analyze the formative feature of this from a point of view in Conceptual art. The results which are analyzed according to outward techniques and forms, meanings and elements immanent in aesthetic contemplation of conceptual fashion lead to four distinctive things in such as anti-form, intervention and appropriation, metaphor and detour, process and series. The intrinsic values in conceptual fashion through aesthetic contemplation are indicated the four significant values in the following: the pluralistic interpretation, the parody and amusement, the pursuit of essence and truth and the participation and interaction. Conceptual fashion design is appeared complex not doing separate through classified formative features previously. And It has been evolved as a indeterminate concept which is able to variable elucidation by a non-player, as a instrument for communication on fashion culture which is aggrandized. The purpose of this study is to present of theoretical foundation about Conceptual fashion design and also to make proper understanding about interrelationship between contemporary fashion and art.

• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.540-551
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• 2019

This study analyzes a new fashion phenomenon for critical fashion. Critical fashion is a message-centered fashion that delivers consciousness and sociocultural issues for contemporary society. The research method for this study combined literature reviews and case studies along with a research scope, that reviewed aspects of critical fashion through works, presentations, and images of collections, various media, and joint projects from the 2000s to the present day. This study indicates that critical fashion exhibits a conceptual pattern that metaphorically expresses the message of designers' perspectives on society and the fashion system. Critical fashion designers' socially critical messages began to emerge in avant-garde fashion influenced by avant-garde art movement that then developed into a conceptual fashion heavily influenced by conceptual art movement before it evolves into concepts of critical fashion. Critical fashion has been influenced by community-oriented critical art, which signifies that the characteristic of criticism of an art system is expressed through the language of fashion. In conclusion, critical fashion resists the idea of the integration of a cultural industry whose homogeneity is continuously collapsing the differences for the purpose of consumption and challenges to the established fashion system.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.133-147
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• 2015

The aim of this study is to review the creative fashion installation of Henrik Vibskov, Danish designer. Its intention is to contribute useful information for more innovative fashion presentation. As a research method, document and case study were performed and his collections from 2004 F/W to 2016 S/S were analyzed. In fashion installation, the designer puts objects in meaningful spaces in order to convey a certain message, to make an integrated artwork, and to interact with spectator. It has been used in fashion exhibitions, as well as in the set design of fashion performance and fashion show. The results were as follows. Henrik Vibskov's fashion installation has three features, which are 1)conceptual theme approach that communicates a twisted and metaphoric message, with a poetic and interesting show title, 2) surrealistic scenography that plays with fragmentation of the human body, clustering of plastic and symbolic objects, innovative color transformations, and visual trickery between figures and the background, and 3) setting for multisensory performance that makes spectators interact by making artistic objects and surroundings, which stimulates the five senses. Henrik Vibskov's fashion installation can exist as an independent artwork, and not just as a supporting piece for a fashion show. It has both artistic and fashionable values, and can be an effective fashion presentation communicating his conceptual fashion themes.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.181-192
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• 2002

The purpose of this study is to clarify the expression of conceptual image by which the modern graphic artists use for creating new visual images and the characteristics in expression of the major fashion images in fashion illustration. In the present study, major findings on the basis of the analysis of expression of visual images in fashion illustration since 1980s are as follow: The conceptual image expression in the visual arts is based on the eight techniques. They are dual image, operation of image, copying·reproduction of image, deconstruction of image, pictorial image, symbolization of image, mystification of image, and making humorous image. Since 1980s, the major fashion images in fashion illustration are mainly classified as classic image, humor image, fantastic image, natural image, avant-garde image, simple image, casual image and feminine image. The characteristics in expression of these images in fashion illustration are; 1) fortification of dual image in classic image, 2) activation in humor image 3) grotesque fantastic image, 4) the modernization of natural image, etc. In addition that, the image of avant-garde is expressed by Postermodernism, Deconstructionism, Techno etc. since 1980s. Also, simple image of the modern composition, casual image of daily life, and feminine image which is emphasized with eroticism are also included in these characteristic in expression of images since 1980s.

• Journal of the Korea Convergence Society
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• v.11 no.1
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• pp.109-117
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• 2020

This study aims to analyze typographic expressions used in recent fashion trends from the perspective of conceptual art and thus identify a variety of meanings. Towards this end, theoretical considerations were made vis-à-vis the main concepts of research, such as typography and conceptual art, and the ready-made, documentation, intervention and language, which are the expressive features of conceptual art, were applied to fashion typography as analytical frameworks. The results are as follows. The ready-made appears in a way that borrows or transforms the visual identity of other brands, and documentation is utilized in a way that lays tautological or contradictory texts together. Intervention arises, while leading to more complex layers of meaning when borrowing the visual identity of the brand, which is conceptually irrelevant. The language is expressed as statements about contemporary social issues, such as environmental protection, ethical consumption and gender problems. Based on the findings of this study, it can be confirmed that in fashion design, typography serves as an effective marketing tool and a medium of social statements. Moreover, it can expand into the possibility of generating new meanings as a novel way of visual expression.

• Fashion, Industry and Education
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• v.16 no.2
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• pp.40-51
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• 2018

Sustainability is an important topic within a variety of design areas, including fashion. The 'fast fashion' behavior of consumers is one of the big challenges that sustainable living faces. For the fashion industry, sustainability can be seen as a regulating ethos for higher quality and longer-lasting products, which I argue as embodying an intersection between sustainability and luxury. This study establishes a conceptual model for 'sustainable luxury' that can be implemented as a guide in the fashion design industry and education field. This paper will focus particularly on craft-based fashion within the industry. Through conceptual analysis and case studies, I analyze sustainable luxury through the scope of Soper's (2007) 'alternative hedonism', linking hedonic and selfidentity values as a foundation for the acceptance of and continued drive toward more sustainable luxury products. Unlike other studies which only emphasize the ecological and environmental aspects of sustainability, viz. green/eco design, this study explores sustainability as balanced with its four dimensions: environmental, economic, social, and cultural. Case studies will exemplify this redefined notion of sustainable luxury.

• Journal of Fashion Business
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• v.22 no.5
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• pp.64-82
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• 2018

As sustainability of fashion brands is becoming more important in the prolonged depression, the fashion market is also seeking ways to create new value through convergence with various fields. In the fashion market, convergence marketing is engaged with diverse technologies combined with advanced technologies and strategies. This study established the conceptual characteristics of convergence and divergence from a market perspective. Convergence can be summarized as Borderless, Compounding, Diversification, Recombination and Affiliation. The conceptual characteristics of the divergence can be summarized as de-fusion, individualization, differentiation, specialization, and segmentation. The characteristics of convergence revealed through the case of fashion market include the expandability of the new category, the expandability of the consumer, the brand experience, and the expandability of time and space. Divergence is the differentiation of brand value, target customer, and product nature. Through this study, we could understand the differentiation of the fashion market and the direction of the marketing strategy by looking at the characteristic of the convergence marketing - oriented research that has the contrary conceptual characteristics from the extended viewpoint. Based on this, it is possible to see the changes and patterns of brand marketing strategies and techniques in recent fashion market. In the future, it is expected that the systematic study of the marketing strategy of the domestic fashion brand based on the convergence and change characteristics of the fashion market proposed in this study will continue.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.114-124
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• 2007

Contemporary fashion design has been represented as intermedia transcended value and spatiotemporal notion and also had a tendency to concentrate on serial process that materials are transfigured through time rather than existence. These forms related to interaction with time, space and performance as well as compositive genres, hybrid culture, compound gender define as 'serial expression' in this study. The serial expression ran be characterized that system, process, series, enumeration of sequences, depiction of performance, repetition of action in fashion collections and exhibitions of designers. The concept and circumstances made by author as a creator of fashion broaden perceptions of audiences and arouse spectators to participate in the situation as needing immediate attention. The forms of fashion and Conceptual Art in serial expression are analogous and even identical situations represent in fashion collection. Therefore analysis serial forms of art derives formative features: Narrative process, Imitation and Appropriation, Virtual reality and High technology, Hybridism and Convergence. This study suggest a framework to analyze conceptual fashion that give salience to megatrend in contemporary fashion culture on artistic point of view.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.55-67
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• 2011

The purpose of this study is exploring the expressional characteristics of organic fashion design different from the past by analyzing the expressional characteristics of organic fashion design dependent on the digital paradigm and simultaneously suggesting the theoretical data required to understand the changing trend of organic design in relation to the paradigm of the age. The results of the research is as follows; The expressional characteristics of organic fashion design according to the digital age appeared to have same aspects. Pluralism respecting multi-culture, hybrid of multi-meaning image, circulation that can consistently circulated, non-hierarchical post-structure, de-boundary through dissolution of genres, digital nomad considering mobility, human centered through significant sensitivity, de-materialization of assimilation between reality and non-reality, conceptualization given the concept of designer, technology combining with digital technology. This study found that organic fashion design in the digital age has the same conceptual context as periodical paradigm freely circulating consistently by organically combining each individual. This can be understood as the trend of design implied in conceptual context that organic fashion design requires periodical paradigm.