• Fashion & Textile Research Journal
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• 제18권5호
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• pp.577-587
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• 2016

This study aims to identify the design of men's wear that has the characteristics of expressing maximalism in men's wear collection and contribute to the field of men's wear fashion which expects new, original, and experimental fashion styles to be created. When it comes to research contents, this study first identifies the concept and characteristics of expression of maximalism in such fields as literature and art and based on this, makes a case study of men's wear fashion designs shown in men's wear collection and then understands the type of characteristics of expressing maximalism and the characteristics related to its expressive method in men's wear design. The study findings are as follows: First, expansion referred to the extreme avant-garde that changed the concept of fashion design by expanding clothes or accessories or exaggerating silhouettes. Second, fanciness continued to appear as a tool to use the luxurious decorations that applied fancy handicraft techniques and express the world of original design. Third, fusion represented the expression of various charms from one work without making any classifications between the tradition and the present and between the east and the west. Fourth, fantasy indicated the expression of surrealistic images by expressing the unbounded imagination through creative ideas.

• The Research Journal of the Costume Culture
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• 제30권3호
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• pp.331-347
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• 2022

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics-including religious cultures and totem worship-and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the "seven-star" sheepskin cape, one of the Naxi people's important ethnic costumes as demonstrated by the women's clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled "By the Light of the Moon and the Stars," which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people's seven-star sheepskin cape is a symbol of women's clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people's traditional culture.

• Journal of the Korean Society of Clothing and Textiles
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• 제41권1호
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• pp.98-115
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• 2017

This study categorizes the formative aspects of dress and their implications according to the extent of revealing or concealing corporeality based on body perceptions. By considering the notion of dress as bodily practice to be a theoretical and methodological framework, this study combines a literature survey and case analysis to analyze and classify the forms of women's dress since the 1920s when contemporary fashion took hold. As examined in this study, the typology of dress was categorized as body-consciousness, deformation, transformation, and formlessness. Body-consciousness that is achieved through tailoring, bias cutting, and stretchy fabric displays corporeality focusing on the structure and function of the body as an internalized corset. Deformations in dress are categorized into two different subcategories. One is the expansion or reduction of bodily features based on the vertical or horizontal grids of the body, which visualizes the anachronistic restraint of the body through an innerwear as outerwear strategy. The other is exaggerations of the bodily features irrelevant to the grid, which break from the limitations and constraints of the body as well as traditional notions of the body. Transformations of the body refer to as follows. First, the deconstruction and restructuring of the body that deconstruct the stereotypes in garment construction. Second, the abstraction of the body that emphasizes the geometrical and architectural shapes. Third, transformable designs which pursue the expansion and multiplicity of function. Formlessness in dress denies the perception of three-dimensionality of the body through the planarization of the body.

• The Research Journal of the Costume Culture
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• 제21권5호
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• pp.613-628
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• 2013

This study aims to identify characteristics of neo-naturalism coming from periodical changes in the 21th society, culture based on naturalism and analyze the expressional and design characteristics of neo-naturalism on 2000s. For a research method, this study researched development of naturalism in fashion, and searched digital naturalism and ecology which are design paradigm effecting on neo-naturalism through literature research and preliminary study. Analyzing preliminary study on architecture, interior, fashion about digital naturalism and ecology design, concept of neo-naturalism identified and four expressional characteristics of neo-naturalism was classified, actual examples of neo-naturalism in 21th fashion were extracted and drew design characteristics. The results are as followings. Firstly, naturalism described nature as it is and developed according to the values and needs of the times. Naturalism in fashion showed natrual human body's curve, nature pattern and used natural materical focused on ideal beauty of nature. Secondly, neo-naturalism renews with the foundation of digital culture and ecology design paradigm, and focuses on the flexible possibility to express nature with digital, new media and formative art, and made the artificial nature uniting human-nature-environment as organic whole by ecology design paradigm. Thirdly, design of neo-naturalism divided four characteristics, nature's organic form, combination with the technology, ethical harmony with nature, global local design. The first characteristics of the nature's organic form are expressing silhouette of the nature's organic volume abstractly, the second ones of the combination with the technology are reinterpreting primitive nature contemporary with artificial sensibility of high technology, the third ones of the ethical harmony with nature are showing simple design and high-touch, and the forth ones of global local design are expressing cultural hybrid preserving vernacular design.

• Journal of the Korean Society of Costume
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• 제64권7호
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Fashion & Textile Research Journal
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• 제5권4호
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• The Research Journal of the Costume Culture
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• 제30권1호
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• pp.1-15
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• 2022

This study aims to investigate the socio-cultural background of Poulaines, which influenced fashion and contemporary shoe design. Analyzing the characteristics of the Poulaines provided basic data for different shoes. The study method utilized previous studies to explore the concept and characteristics of Poulaines. In the empirical analysis, shoe design data mainly came from collections that illustrate formative elements of contemporary shoe design from the 2010 S/S season to the 2020 S/S season. A total of 709 photo materials were collected and analyzed. The results showed that the morphological characteristics of Poulaines were exaggerated to symbolize classes of the past and sexual expression. The expanding structure was divided into the fore nose, heel, and top-line and featured a design that expressed the formative beauty of Poulaines. Additionally, the decorative desire to represent wealth and class using various materials introduced new designs into contemporary shoe designs while showing extreme decorativeness through over-trimming and color contrast. Furthermore, the heterogeneous characteristics that come from the change and harmony of the shoes' body and heel that deviated from the existing shoe shapes were classified into the dissolution of shapes and mixing and matching. Thus, they broke the monotonous silhouette of shoes and gave variety delicately.

• Journal of the Korean Society of Costume
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• 제58권8호
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• pp.74-90
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• 2008

Since the late of 20th Century, philosophy, art, and aesthetics have attention to the movement of object that persue the dynamics and qualitative change, not existing fixed and quantitative object. Qualitative continuity, including discontinuity of specific spot and surface that occurs sudden change, is distinct characteristics considered in contemporary logo civilization, which combines and disperses according as various purpose among the different elements and objects. Therefore, I studied about the characteristics of qualitative continuity that creates the change and the differentiation continuously through the "formative characteristics of the continuity expressed in contemporary fashion" of my preceding paper. This paper is the following study of above mentioned paper, and Investigates about aesthetic consciousness leading to the various change. This is intends to consider the trans-aesthetic consciousness that accepts dynamic movement and change the different object and reforms new relationship continuously. This studies' conclusion is as follows; 1) sublimity-Infinity, de-constructive, excessive 2) jouissance - functional, structural 3) paradox-perceptual, spatial. A study about the trans-aesthetic consciousness would help to offer philosophical basis, and make a change building aesthetic foundation in explaining various relationship like as phenomenon of the retro, neo, post, fusion expressed since the late of 20th Century.

• Journal of the Korea Fashion and Costume Design Association
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• 제1권1호
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• pp.91-107
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• 1999

The primary purpose of this study is to inquire into the characteristic of exposure presented in fashion, identify the correct concept of exposure from an aesthetic perspective, and grasp the contemporary meaning of exposure presented in fashion. As a result of study, the following findings were obtained: First, the surrealist style of fashion exhibited representations such as the relocation of the partial details, the harmonization of the natural and the artificial, the emphasis or expansion of each part of the body, and the like. It used highlighted the genital region with ornamentations or used the technique of paradoxically exposing the part of the body always covered. And it exbibited the paradoxical relationship of exposure and concealment by exposing the concealed part of the human body. Second, the post-modern style showed the complicated phenomenon that the values of several meanings such as the historic, the folk, and the like appeared in its fashion. It shares in spatiotemporal eclecticism, pluralistic characteristics and the like found in the post-modern culture. Third, the deconstructive style gets rid of the distinction between the external space and the private space by translating underwears into outer garments. It destroys clothing by tearing or perforating clothing whereby it represents the poor image. Coupled with women‘s psychology of exposure and the new generation’s way of thinking indifferent to others‘ eyes, this fashion of deconstruction occupies the great current of fashion. Deconstructive fashion gets away with the rule of ‘having to wear clothing to suit TPO(Time, Place and Occasion), the traditional norm of wearing clothing.

• Journal of the Korean Society of Clothing and Textiles
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• 제48권3호
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• pp.397-416
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• 2024

This study investigated gender characteristics in contemporary virtual fashion design, focusing on avatars and genderless fashion in recent collections from Auroboros, Republiqe, Placebo Digital Fashion House, RTFKT, and Tribute. Employing content analysis within a theoretical framework of gender-related research, the study coded virtual avatars in terms of biological sex, appearance, and sociological perspectives. The results showed a preference for female-type avatars, through which androgynous aesthetics were embraced and traditional gender norms were challenged. Male-type avatars reflected experimentation with blending masculine elements, emphasizing inclusivity. Human-like avatars indicated a preference for designs that promoted inclusivity and, in the process, challenged binary classifications. The examined brands strategically capitalized on compromise, sensuality, and playfulness, thereby breaking away from traditional values to opt for more diverse styles. Genderless features combined elements from traditional men's and women's clothing, espousing sensuality and playful exaggeration. These findings signify a dynamic shift away from conventional gender standards to foster inclusivity and experimentation. They can serve as a reference for promoting creative strategies and design innovation, challenging the traditional gender perspective in the fashion industry. Implementing these strategies can lead to a more inclusive representation of fashion styles, encouraging critical thinking about gender norms.