This study analyzes the expressive characteristics of fashion design through sensory experiences, focusing on the Metropolitan Museum of Art’s exhibition Sleeping beauties: Reawakening fashion. It aims to explore the creative and innovative potential of fashion design that utilizes sensory experiences while proposing new directions for future fashion exhibitions and the design field. The research scope includes 220 garments and accessories featured in the exhibition. Based on theoretical considerations and case studies, this research classifies and examines fashion design characteristics from the perspectives of olfactory, tactile, visual, auditory, and multi-sensory experiences. The findings indicate that olfactory experiences enhance emotional engagement by integrating fragrance with storytelling, while tactile ones increase immersion through fabric texture and structural elements. Visual experiences strengthen aesthetic appeal and narrative through various digital technologies and lighting effects, while auditory ones convey the emotional messages of fashion design using sound and music. Additionally, multi-sensory experiences combine multiple sensory elements to provide viewers with an immersive, multidimensional experience. This study confirms that sensory experiences expand the creative possibilities of fashion design and suggests new exhibition strategies that integrate sustainability and digital technology. Beyond simple stimuli, sensory experiences foster emotional connections and contribute to enhancing fashion design’s artistic and cultural value. Therefore, this research highlights the importance of integrating sensory experiences with creative approaches and technological convergence to amplify the social and artistic impact of fashion design.

The purpose of this study is to analyze the expressive elements and techniques of graffiti appearing in the Moschino collection by Jeremy Scott. A theoretical examination of graffiti art and Moschino’s creative designer Jeremy Scott was conducted using previous studies and publications. Accordingly, keywords about the expressive elements and techniques of graffiti and Moschino were identified, as follows: expressive elements of ‘message (slogan)’, ‘symbolized letters or forms’, ‘logo and brand symbol’, ‘graffiti (scribbles)’, ‘child-like elements’, ‘daily element’s and expressive techniques of ‘using primary colors (color contrast)’, ‘deformation’, ‘distortion’, ‘exaggeration’, ‘illusion (trompe l'oeil)’, ‘collage (repetition)’, ‘simplification (flattening)’, and ‘borrowing heterogeneous objects’. These keywords were then used to analyze Moschino’s collection, comprising seven years of Moschino’s collection photographs officially recorded in the fashion magazine Vogue, ranging from the 2014 F/W to 2020 F/W collections. A total of 761 photos were initially collected, from which 561 were selected by the researcher. Expressive characteristics of graffiti in Moschino’s collection were analyzed, and identified in the following categories: ‘child-like playfulness’, ‘commercial satire’, ‘using daily elements’, and ‘borrowing non-representative techniques’. Accordingly, it was confirmed that expressive characteristics of graffiti were found in the Moschino collection by Jeremy Scott. This study anticipates the possibility of various interpretations from which fashion that communicates closely with contemporary art can be understood.

이 논문은 시간성과 공간성을 중심으로 예술이 가지고 있는 구조적 특성과 구성 기법을 통해 음악과 미술의 상호성을 살펴보았다. 이를 바탕으로 질적 연구 방법 중 하나인 창작자의 인터뷰를 통해 음악과 미술이 가지고 있는 관계성과 상호성을 입증하였다. 음악과 미술이 가지고 있는 표현 요소와 기법의 유사성을 현대 작가들을 통해 알아보았다. 또한 작품이 가지고 있는 구조적 특성은 목적성을 가지고 전개하는 내러티브적 구조와 전체와 부분요소의 조화를 이루는 맥락적 구조, 본질적 요소의 표현을 통해 구성 기법적 특징으로 나누어 살펴보았다. 매체의 발달로 인해 음악의 시간성과 미술의 공간성이 동시에 시공간적 감각을 준다는 특징이 있다. 본 연구는 시간과 공간, 시각과 청각이라는 공감각 작용의 의의를 밝히고자 하였으며, 앞으로 표현의 발전 가능성을 제시 하였다. 음과 색의 관계가 개인의 추상적인 표현성을 중심으로 이루어졌다면 시공간적 특성이 나타난 구조적 관계를 통해 본질적인 상호관계를 파악했다는 점에서 유의미하다. 본 연구는 매체의 발달로 인해 음악의 시간성과 미술의 공간성이 동시에 감각적 경험을 제시하는 것을 바탕으로 하였다. 이질적 예술 형태의 상호적 구조 방식은 표현의 다양성을 제시할 수 있으며, 관객에게 작품에 대한 다각도적 시각과 해석을 제시할 수 있다는 결과를 도출하였으며, 이 가능성과 중요성은 융합적 가치가 중시되는 현대사회에 필요한 연구가 될 수 있다는 제언을 하였다.

The purpose of this study is to reestablish the innovative and experimental designs of Rei Kawakubo by considering and analyzing the flow on the avant-garde nature of her design collection from 1981 to 2017. Design trends such as the art trend, silhouette, color, and expressive technique showcased in Rei Kawakubo’s collection from 1981 spring/summer to 2017 spring/summer were examined through precedent studies, books, internet materials, and the avant-garde expressive nature of her designs appearing in modern fashion. Additionally, this study considers the definition of avant- garde and analyzes the expressive nature of Rei Kawakubo’s 137 works from the Comme des Garcons collection, exhibited in New York’s Metropolitan Museum of Art. As a result of this examination, the avant-garde expressive nature seen in modern fashion was classified into the following themes: historicity, de-structure, exaggeration, intermixture, and surrealism. As a result of reclassifying these characteristics according to historical flow, the historicty, intermixture, and de-structure appeared in the 1980s, while intermixture, exaggeration, and de-structure appeared in the 1990s. More recently, historicity, intermixture, and de-structure appeared in the 2000s, and intermixture, de-structure, exaggeration, and surrealism appeared in the 2010s. The present study is significant in providing theoretical material for the more innovative and various design development in diverse domains while helping to define and understand the avant-garde expression through Rei Kawakubo’s collection.

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.