• Journal of Fashion Business
• /
• v.6 no.4
• /
• pp.62-82
• /
• 2002

The purpose of this study was to investigate the Avant-garde's aesthetic values and expressoinal characteristic, and to find out(analysis) the design characteristic of Avant garde fashion since 1995. Expressoinal characteristics of Avant garde with the anti-aesthetic, radically pursuing newness, and open mind, are revealed dynamism, hostile innovation, and experimentalism. Futuristic images expressed in dynamism represent space style, body conscious style, cyborg style, kinetic style, and primitive style. And deconstructional images related to hostile innovation show punk style, grunge style, humor style, and abstractive style. Also surreal images related to experimentalism hold erotic style, depasemant style, deformation style, and collage style. The proper usage of newness offers the escape, the vividness, and the humour from the fatigue of the life and so, it is expected to offer the chance of transfering the active individuals and societies directly or indirectly By analyzing the instances for the images of avant-garde fashion since 1995, the contribution about the expectation of the design trends of the present and future is expected.

• The Research Journal of the Costume Culture
• /
• v.15 no.2 s.67
• /
• pp.326-338
• /
• 2007

This paper examines the works produced from 2000, the first year of the new millenium, to the late 2006 with a focus on those of Jean Paul Gaultier, a representative designer of deconstruction, in an effort to determine the aesthetic characters of deconstructional fashion. In this context, this paper deals with the theoretical study on the concepts and features of deconstruction as a part of analysis into its fashion using the works of Gaultier as a major source viewed to typically demonstrate the deconstructional characters of fashion. For this purpose, a survey was conducted to 155 works of Gaultier featured from 2001 to 2006 mostly in Vogue, the popular and influencing magazine of the USA(39 pieces in 2001, 30 in 2002, 29 in 2003, 23 in 2004, 12 in 2005 and 22 in 2006, respectively). In particular, 106 fashion pictures were put to analysis as they seemed to represent deconstruction intensively. The deconstructional characters of his works were examined in the categories of difference, inter-meaning, inter-textuality and decomposition on the basis of preceding studies, which resulted in the following outcomes: First, difference was found in 38 works out of 106 images, accounting for 36%, the biggest frequency; Second, inter-meaning accounted for 33% with 35 pieces, most frequently next to difference; Third, inter-textuality followed inter-meaning with 17 images or 15% in terms of frequency; Fourth, decomposition was revealed in 16 images in the same ratio of 15% as inter-textuality.