• Journal of the Korean Home Economics Association
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• v.37 no.11
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• pp.97-113
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• 1999

The purpose of this is to analyze the perception of sex image by feministic fashion based on the theory of feminism, which has been developed since the 1960’s. Feministic fashion is divided 8 style and analyzed. For this study, surveying photo of feministic fashion and making out questionnaires. The data was collected from 391 university student(184 male, 207 female) living in Taegu and Kyoungpok and is analyzed by factor analysis, t-test. The result are as follows: 1. The Tendency of perceiving Feministic Fashion’s Sexual Image Male had more positive view on the sexual image of see-through and Body-conscious styles than female. And male showed more negative view on the sexual image of lingerie, punk, madonna or disorganized style. There was no significant difference between male and female in their opinion on the sex appeal of fashion that exposed some physical part. Concerning the sexual image of unisex mode, both male and female had an idea that it had nothing to do with sex appeal. Regarding the preference for sex-expressive fashion, they favored see-through and Body-conscious styles most. 2. In relation to clothing behavior toward sex-expressive fashion, both male and female generally revealed a negative view on fashion that exposed physical part and provoked an impression of keen sex appeal. 3. Sexual perception degree about the body, in physical exposure, that physical part from which they felt sex appeal most was the breast. What they most wanted to emphasize was the breast, too. As a physical part that caused their rejection symptom and made them feel hatred both and female pointed out the hips.

• Journal of Fashion Business
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• v.11 no.5
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• pp.110-123
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• 2007

This study aims at analyzing the characteristics and the mode of deconstructionism expressed in fashion design centering on review of literatures and precedent researches. Through the review of previous studies and various articles, three major features with regard to deconstructionism were found: indeterminacy of meaning, decentralization, and inter -textuality. In fashion, the feature of indeterminacy of meaning expressed by non formula way such as unfinished, layering, obi or straight line cutting and it was divided into unstructured and unorganized factors. The feature of decentralization expressed by disorganization of sex, race, culture and humanism such as trans-gender, third world costume, sub-culture, posthumanism. Last, the feature of inter-textuality expressed by employing the fashion texts more than two simultaneously such as mixture of unmatched or unusual various clothing items, fabrics, patterns and styles. Non formality features in fahsion which divided into unstructured and unconstructed factors. The decentering of meaning means that disorganized the existing concepts of sex, race, culture and humanism features in fashion which divided into cross-gender, subculture, and post-humanism. Lastly, the feature of inter-textuality means that employed the fashion text more than two which is classified into factors of mixing mode and mixed styles. Unstructured factors were expressed by destroying the design principles such as balance, harmony and unit in fashion. Unconstructed factors were expressed by ignoring the basic costume structures and components in fashion. Cross-gender was expressed by manish and duality style in fashion and 3rd world costume was expressed by folk costume style. Anti fashion was expressed by anti aesthetics in fashion such as kitch, punk, and hippie styles. Post-human was expressed by futurism and the 4th Sex style in fashion. Mixing mode were expressed by mixture of item, and unmatched materials and pattern in fashion. Mixture of style were expressed by mixture of pastiche expression of various styles.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.1
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• pp.50-65
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• 2024

By analyzing the style of creator avatars in the world of Metaverse, which is emerging as a fourth-generation social media platform, this study aims to identify the meta-fashion tastes of Generation Z (Gen Z) creators (born in the late 2010s and early 2020s) and to analyze the extent to which current trends in the fashion market are influencing meta-fashion. The research method uses a case study to compare meta-fashion and current fashion trends. First, five Gen Z fashion creators on ZEPETO were selected to analyze the meta-fashion styles presented by this group. In the end, a total of 100 fashion styles were analyzed by combining 50 items each from the current meta-fashion and real fashion trends. The fashion styles were found to be hip-hop, easy-casual, punk, lovely feminine, and sexy, and the main fashion items were analyzed as jeans, hip-hop style pants, sneakers, tight crop tops, dresses, tattoos, chain accessories, and dyeing. Meta-fashion is the emergence of items similar in shape to those popular in the current fashion market, but are more exaggerated or show off the human body than actual fashion items.

• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.