This study explores the contemporary reinterpretation of traditional suit design through the lens of post-structuralist philosopher Jacques Derrida’s concept of decentralization. The objective is to systematically analyze the diverse expression methods of decentralized suits in contemporary fashion and identify their design characteristics, thus exploring various design possibilities for decentraliz suits. To achieve this, the study examines the deconstructivist fashion collections of notable designers such as Martin Margiela, Rei Kawakubo of Comme des Garçons, Alexander McQueen, and Thom Browne, analyzing 269 decentralized suits from their men’s collections from 2009 to the present. The methods of decentralization are categorized based on the structure (composition), details, and materials of the garments, are classified into deconstruction, discontinuity, and disorder. Specific expression methods include irregular wearing, layering, asymmetry, and distortion for deconstruction; omission, heterogeneous insertion, material transition, and separation for discontinuity; and tearing, graffiti, and unfinished elements for disorder. The identified design characteristics are as follows: gender-neutral and category-free, which dismantles the rigid formality and masculine image of suits to allow flexible and diverse gender expressions; integration of unconventional elements, which combines traditional suit design with non-traditional details like ruffles, strings, unfinished edges, and graffiti to create new designs; and sustainable design, which utilizes the deconstruction and recombination of existing suits to recycle discarded suits, making it suitable for upcycling.

The interlacing technique has a long history of use as a means of creative expression and persists in modern society to satisfy the individual pursuit of pastimes. This method has the developmental potential to create new trends in the future. Interlacing techniques (e.g., basketry, plaiting, braiding, and knotting) are closely related to plastic arts fields, architecture, art, and industrial design where the various interlacing practices are applied. This research uses case analysis to study the types of expression found in the formative art field wherein the interlacing technique is applied. Results reveal several expressions, including optical illusion visual type, relief surface type, porous perspective type, and object borrowing type, all of which appeared in fashion bags. The aesthetic formativeness, which appeared in the fashion bags that applied interlacing techniques, was then classified according to geometric formative beauty in a process based on rules and order. Nature-friendly formative beauty reflecting handicraft locality and omnidirectional formative beauty by disordered deconstruction and heterogeneous combination were determined. The use of interlacing techniques that show creative, unique combinations and variations is expected to inspire the development and application of bag design that suits individual and original modern fashion trends. One limitation of this thesis is that it only studied cases appearing in modern fashion bags.

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers’ Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India’s cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

Intermedia refers to the convergence of media. The advance of intermedia has not only facilitated the delivery of brand messages in contemporary fashion shows but also facilitated interactive communication. This study investigated the mediating roles played by various media in fashion and fashion shows, focusing on the phenomenon of intermedia in contemporary fashion shows. To investigate the impact of intermedia on contemporary fashion shows, we conducted a social network analysis—a promising approach for research into fashion trends. Analyzing 159 fashion-related articles published in the 2000s, we extracted intermedia-related words (n=253). The relationships between keywords made an analysis of between centrality, and cluster variables applied Clauset-Newman-Moore by using KrKwic and NodeXL programs. The results of the between centrality analysis indicated that the most important factors in contemporary fashion shows are “models” and “stages.” We found that the impacts of intermedia on contemporary fashion shows can be divided into four categories: “model performance,” “symbolic stage management,” “new media utilization,” and “convergence in arts.” Our analysis thus identified considerable synergy between the characteristics of intermedia and contemporary fashion shows. These results have found intermediarelated commonalities in intermedia and fashion show, and this might increase customer interest in fashion, a positive outcome for the fashion industry.

This study defines the concept of the fashion meme, which has recently emerged as a fashion trend, influential fashion keyword. After analyzing the concepts and characteristics of traditional memes from prior studies, examples of fashion memes were collected from online community and social network services, while a literature study and case study analysis were conducted in parallel drawing on related articles and journals. Modern fashion memes refer to fashion-related symbols and fashion images that are spread online by word-of-mouth, together with fashion styles and items that spread as a result of being worn. Fashion memes in cyberspace are mainly spread through social network or message services, and sometimes combine text, images, videos, hashtags, and emoticons. Fashion memes are a type of collective action of the people in response to social problems in the world, and often involve humorous antics, satire, shock, and eccentricity. Shared fashion memes reflect the expression of personality expression and fun, and at the same time are used as an expression of designer and brand creativity and are integral to marketing. Fashion memes are classified into four types, based on two central axes as follows: non-commercial/ commercial and anti-fashion/fashion-friendly. Unlike traditional memes, Internet-based fashion memes emphasize elements of transformation through creativity as well as imitation, which has become a persisting contemporary trend beyond temporary phenomena.

Intermedia is a term that refers to the convergence of different media. It has not only enabled the delivery of brand message but also developed interactive communication in a contemporary fashion show context. This study investigates the presentation methods of contemporary fashion shows affected by intermedia. We examined the research and theory related to intermedia and fashion shows by accessing articles since the 2000s concerning 252 shows by 30 designers that tended to demonstrate the use of intermedia. Our analysis highlighted four particular characteristics: “medium scalability” (the unity of art and fashion and the unity of life and fashion); “synesthetic flow” (the audience’s emotional immersion, represented by the actual performance and performances of the models); “participatory accessibility” (performance participation through action and instrumental support); and “immaterial symbolization” (an intuitive symbol that emphasizes both the direct outward appearance and the metaphorical symbolism so that the object is expressed in a figurative sense). From these results, we identified considerable synergy between the characteristics of intermedia and contemporary fashion shows. Therefore, it might be useful to conduct an experimental study on this area of research.

The purpose of this study is to analyze the eco-friendly design characteristics of contemporary children’s collections. Photos from FirstviewKorea were utilized for analysis; 29 brands were selected that included children’s clothing collections featuring eco-friendly characteristics from 2007 to 2018. The results are as follows. First, naturalness was the most frequent characteristic of environmentally friendly children’s collections. It was not conveyed in an eccentric way in any season, showed a relatively uniform distribution, and was seen in various ways, including printed on the fabric and expressed in appliqués and embroidery. Second, handcrafted features frequently changed according to seasonal trends. Various methods such as beading, embroidery, applique, sewing techniques, and handbags were used, which enhanced manual workability, discrimination from other designs. Third, traditionality is divided into the characteristics of ethnicity and revivalism. National traditions were expressed in the clothing and reflected the current generation while connecting to the past. Fourth, simplicity appeared in classic designs such as simple silhouettes, sparse decoration, natural colors, and comfortable dress length that is not tight on the body. Simplicity was not a frequent feature due to the characteristics of the children’s clothing collections. Fifth, playfulness functioned to enhance the children’s clothing’s wear frequency. Although it was the least frequent of all the characteristics, it seemed to increase the design fun and the clothing’s value by fusing with other characteristics such as handcraftedness and naturalness.

This study is aimed at applying the philosophical concept of “différance” to contemporary men’s fashion design, which could effectively show the shift in thinking. For the study method, the author examined the theoretical background of deconstruction and prepared the standard of analysis by organizing the concept of “différance,” which exists at the center of philosophy. This study selected the three most popular brands: Maison Margiela, Comme des Garcons, and Yohji Yamamoto. The results are as follows. First, there is expression of perpetual reservation emphasizing time. This includes texture, patchworks, hems with ladder, and exposure of seam that expresses the trace of time flow and delayed delivery of immediate meaning, and the expression creates delay between major and minor and leads to consistent role exchange. Second, the trace of blank that emphasizes the space gives a visual sense of weight on spares with the intentionally granted space, as well as the space that is the trace of trace and creates a sense of depth through the direction of empty space. Third, the space created in the process of wearing cloth is visualized, the structure of clothing is deconstructed, and the movement from the process recomposes the shape of space and expands the definition that enables expansion of time and space. Fourth, the undetermined relationship expresses the border of time and space visually and deconstructs time and space. The approaches are mostly constructive, demonstrating an avant-garde form of clothes-wearing to show the non-form or imbalance condition.

The purpose of this study is to serve as a reference for creative fashion design by analyzing the types and aesthetic characteristics of trompe l’oeil in contemporary men’s fashion. This research is an empirical study that utilizes both qualitative and quantitative methods to analyze fashion design cases and research articles such as academic papers and professional books. The study covers four major men’s collections: Paris, Milan, New York, and London. The period being analyzed is from 2005 Spring/Summer, which is widely regarded as a turning point at which men’s collections began rapidly, to 2019 Spring/Summer. The study analyzes 471 photos from domestic and international websites, with the following results. Types of trompe l’oeil in contemporary male fashion are classified into four types: (1) the deconstruction of clothing forms or creation methods, (2) optical illusions that create the effect of multiple layers of clothing on a single article of clothing and the reproduction of apparel details and clothing using 2D printing or embroideries, (3) realistic patterns on garments to create a camouflage effect, and (4) articles of clothing containing body images such as the chest, trunk, or internal human anatomy. These aesthetic characteristics in men’s fashion design using types of trompe l’oeil are playful, deconstructive, and decorative features based on hyper-reality. This study aims to acknowledge trompe l’oeil as being widely used in contemporary men’s fashion as a type of formative art, playing a crucial role in creative fashion design.

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world’s four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: “Différeance”, “Intertextuality”, “Intermeaning of Meaning”, “Dis․De Phenomenon”. The results of the study were as follows: first, “Différeance” refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, “Intertextuality” indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, “Intermeaning of Meaning” is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the “Dis․De Phenomenon”. In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey’s six display factors. Projection features and movements were categorized into “Direct movements,” “Indirect movements,” and “Relative movements.” Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users’ motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

Developments in the recent media era has made distortion possible in accordance with changes in the fashion industry as new clothing, technologies, and fusions have become available. Nevertheless, previous studies of specific types of clothing, and their classification for the purpose of research are lacking. Thus, this study examines the development of the Pomme de look and the form of modern variant that appears in fashion clothing and new technologies, and largely examines the clothing case to clean it up. The method employed is leading research that examines the transformation about the concept of the Pomme de look with regard to the fashion about the type of look in the 2000s and onwards. This is organized in accordance with the analytical and physical characteristics, and the esthetic aspects of the results are as follows. The conclusions reached as follows are based on this; first, the physical characteristic manner when based on previous looks, the two-dimensional deformation for making clothes, if there was a simple way, now has more dimensions. Clothes are made in a complex manner and variations emerge. Second, esthetic characteristics strive for beauty while also displaying the modified and more complex manners of clothing that are emerging. Third, the fusion clothing with machines effects to physical and psychological changes through the details about how the sensor is worn. The enemy, the appearance of distortion, and clothing are emerging. This is expected to grow further based on the rapid development of new technologies and the transformation of Pomme de look and design will appear in more varied ways to create a convergence.

Crowdsourcing models in which organizaions obtain needed product ideas and services from a crowd in a network-based society are rising as a global industry trend. The purpose of this study was to figure out the types and characteristics of crowdsourcing design shown in the domestic fashion brands, and to provide implications for design strategies using crowdsourcing. This study was based on qualitative research which was brand case studies on crowdsourcing design in the fashion industry from January 2006 to July 2017. Also, quantitative analysis using frequency and percentage was applied. The results were as follows: First, crowdsourcing design was used in almost all types of fashion brands, such as sports and outdoor wear, men’s wear, women’s wear, men’s and women’s casual wear, shoes, bags, school uniforms, jeans, accessories, etc. Crowdsourcing design in the fashion industry was classified into three types: crowdsourcing graphics and artwork; crowdsourcing customized designs; and crowdsourcing product designs. Of the three types, crowdsourcing graphics and artwork was used most. There were four methods to choose the best crowsourced design: review only by experts, voting by crowd and review by experts, crowdvoting, and crowdfunding. Second, the characteristics of crowdsourcing design were openness, participation, reward and acknowledgement, sharing and interaction, and individualized collective intelligence. Crowdsourcing design could be used as an open innovation strategy in the fashion industry, which could collect new and creative design ideas for product development, resulting in the satisfaction of consumers and benefitting the company.

This paper aims to analyze the characteristics of the contemporary Chinese fashion market and the competitiveness of Korean fashion brands in China. Fashion professionals experienced in both the Korean and Chinese fashion markets participated to investigate the Shanghai market and consumers. The results of in-depth interviews show that Shanghai is the most favorable city among Tier 1 cities for Korean fashion brands planning on entering into the Chinese market. Shanghai consumers are open to international brands and highly prefer newness in fashion. Contemporary menswear was selected as a potentially big market due to the increase of unique, young, upper-middle-class male consumers. The Korean fashion brands’ strength is that they are capable of satisfying Shanghai consumers with excellent product planning and sensory design capabilities. Their disadvantage is that their brand recognition is weaker than that of global and international brands, and their ability to localize to the Chinese market is weak. The opportunity comes is from the Korean Wave, which is a positive for Korea's products and has good geographical access. The threat is that the Shanghai market is fiercely competitive; having access to many worldwide brands, and the competitiveness of Chinese brands is on the rise. To enter the Shanghai market, creative design ability, trendy product development, skill, and appropriate PR methods such as using Korean culture contents would be required to satisfy the young, powerful consumers in Shanghai.

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women’s clothing collections perfectly covered up a woman’s body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women’s fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes’ colors and patterns, and the methods in which the decorative factors were utilized.

This study proposes that Malevich's 1913 performance “Victory Over the Sun” was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. “Victory Over the Sun” did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in “Victory Over the Sun”, and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on “Victory Over the Sun” from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on “Victory Over the Sun”. and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun- Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.