Sublimity embedded in the works of internationally recognized Korean fashion designers - Interpretation of in-depth meaning applying Greimas semiotic square - 해외에서 활동하는 한국 패션디자이너의 작품에 나타난 숭고미 - 그레마스 기호사각형을 통한 기저의미 해석 -
pp.752-765
Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers’ designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers’ design characteristics through Greimas’ Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas’ and Floch’s semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas’ semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.
I. Introduction
Ⅱ. Literature Review
1. Semiotic square theory
2. Sublime and postmodernism
Ⅲ. Research Methods
IV. Conclusion and Discussion
1. Binomial structure of semiotic square and interpretation of depth meaing through the square
2. Cultural industry vs. postmodernism
V. Conclusion and Suggestion
References