This study aims to analyze the expressive characteristics and aesthetic meanings of the uncanny in digital fashion, exploring its potential as a significant aesthetic device within contemporary fashion discourse. Drawing on theoretical frameworks by Freud, Heidegger, and Lacan, the study examines how digital fashion imagery disrupts conventional aesthetic norms through uncanny visual expressions that evoke psychological tension and perceptual ambiguity. A combined methodology of comprehensive literature review and systematic empirical case analysis was employed. A total of 96 digital fashion examples were collected from platforms including Google, YouTube, Showstudio and Instagram between January 2020 and March 2025. Selection criteria specifically targeted images exhibiting morphological variability, sensory instability, and ontological uncertainty, which are the three core expressive characteristics identified through both theoretical insights and empirical analysis. The results confirmed the consistent presence of these expressive characteristics in digital fashion works and further illuminated their aesthetic implications: digital fashion reconfigures the sensory framework, blurs ontological boundaries, and expands aesthetic experience by challenging viewers’ perceptual and cognitive expectations. In conclusion, this study deepens understanding of digital fashion aesthetics by systematically examining the uncanny within digital contexts and highlights the potential of digital fashion to expand aesthetic boundaries and possibilities for expressions based on sensory experiences.

Despite its historical association with oppression, fear, and marginalized femininity, modern reinterpretations of the figure of the witch position it as a symbolic entity combining historical context and literary imagination. This study analyzes contemporary fashion designs that incorporate witch imagery, focusing on the designs' representational methods and aesthetic characteristics. It includes a literature review examining evolving perceptions of witches across different eras as well as visual and formal analyses of post-2010 fashion collections, using image and text materials from Showstudio.com and other online sources. In various realms of visual culture–including art, film and drama, advertising, product design, and halloween costumes–the image of the witch is no longer confined to traditional iconography. Instead, it is continuously reimagined, taking on expanded and multifaceted meanings that attest to its unique and evolving nature. This study identifies two primary expressive types: direct iconographic appropriation, employing traditional motifs such as pointed hats, black cloaks, and pentacles; and metaphorical suggestion, using dark tones, deconstructed silhouettes, and layered styling to imply the witch's essence. The analyses also highlight three aesthetic characteristics: empowered sensuality, expressed through sheer fabrics and dramatic makeup; supernatural mysticism, combining natural and occult symbols; and uncanny playfulness, which subverts traditional motifs through fantasy and humor. Ultimately, the witch in contemporary fashion serves as both a stylistic code and a visual signifier of cultural narrative and identity. This reimagining has contributed to the development of new aesthetic systems in fashion and broadened the visual culture and design innovation discourse.

The pataphysics implemented by digital technology differs from the form of objects in the real world and is used throughout the cultural industry. This study aims to analyze the expression method of pataphysics as applied to modern fashion and derive its impact on the fashion industry. The research analyzes fashion images, shows, films, displays, and e-commerce, since 2016, when pataphysics began to be used in the fashion domain. Pataphysics, created by Alfred Zaire, appeared as an overlapping phenomenon that reflects physical phenomena in the virtual world. The expression method of pataphysics applied to modern fashion was divided into an augmented reality method based on immersion and interaction, a virtual platform-oriented metaverse, and a virtual model expressing a processed self. The influence of pataphysics applied to modern fashion is as follows. In the field of design, pataphysics affects the development of contemplative designs for innovation and creativity. Second, digital technology can expand the role of fashion at the intersection of art and fashion that takes a novel perspective through pataphysics. Third, e-commerce positively affects efficient production and consumption through virtual and economic models. In conclusion, this study’s findings are expected to play a positive role in promoting creativity and innovation by introducing new perspectives and ideas into modern fashion through pataphysics.

The fashion industry analyzes the value of its essence with ecological design and is expressed as an innovative sculpture using digital technology. Accordingly, this study explores ecological images and digital technologies, categorizes types and derives their meanings through analysis of ecological images shown in modern digital fashion. A literature survey was conducted on ecological images and digital technology as a theoretical background. To analyze the expression type and internal meanings of ecological images, designs with ecological formability were selected and analyzed from related journals, books, and internet sites. The finding are as follows: The expression type was first identified as organic curved garment silhouettes of a non-material liquid with digital retouching. Second, ecological fashion design includes structural shape that applies the silhouette of an organism and patterning of the ecosystem. Third, ecosystems consist of interactions between components of an ecosystem that appear in the interactive type. Accordingly, the internal meanings of ecological images in modern digital fashion are: first, digital fashion can encircle the inherent concepts of nature as organic collections of individuals; second, digital ecological images emphasize a sense of community with coexistence and harmony, playing a complementary role; and finally, the images express perceptual features by providing people with transcendent experiences. This study is significant as it analyzes new formative features based on ecological systems in the digital fashion environment, establishes an aesthetic system through internal meanings, and enhances awareness of human-natural relationships.

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and threedimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer’s imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.