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.

This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen’s men’s fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand’s official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.

ㅊThis study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology—relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect— can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

This study aimed to explore sustainable fashion design plans and directions by analyzing Marine Serre’s collection. Previous research was reviewed to derive classifications of the aesthetic characteristics of sustainable fashion design. This classification was then used to analyze the characteristics of the Marine Serre collection. Design analysis was conducted on Marine Serre’s 2018 FW to 2023 SS collections. Marine Serre’s sustainability characteristics are functionality, surprise, handicraft, and inclusion. The results are as follows. First, functionality is the highest among the four characteristics and includes the functionality of movement, the functionality of form, and futurism. This characteristic was observed in the use of all-in-one body suits, pockets, and workwear, showing the will and values of designers who value daily activity. Second, surprise includes the scarcity of materials and the unexpectedness of composition. The value of the clothing is enhanced by the use of scarce materials not typically used in clothing. In addition, Marine Serre is highly regarded for expanding clothing into life by incorporating material upcycling into the theme of the collection. Third, handcrafted features include exaggerated decorations, logo, retro designs, and natural properties, and intentional utilization is differentiated. Marine Serre’s signature pattern suggests a suitable expression for the fabric to use the crescent moon for the season. Fourth, the collection expresses themes of inclusivity and cultural diversity. The results indicate that Marine Serre wants to contribute to a better future characterized by global coexistence.

This study was aimed at examining the characteristics of women’s blue denim on the basis of design elements to provide fundamental data for fashion majors and fashion designers. Seven design elements were selected from previous studies to compare them with the following characteristics of blue denim: color (washing, dyeing), ornamentation (trimming, detailing, painting, and printing), and form modification, tearing, and ripping). Data from 1,520 photographs of the 2019 S/S to the 2023–24 F/W collections were collected through overlapping checks. The data were then subjected to frequency analysis using the Statistical Package for the Social Sciences (version 26). The results are as follows: The most frequent design method used in producing the denim items in our sample was washing, followed by modification, tearing, and ripping and detailing. The greatest change in denim design occurred in 2023, and more design element changes were observed in the F/W season than in the S/S season. Washing was used four times or more frequently than dyeing, while detailing was employed approximately 2 times more often than trimming. With respect to form, the most common approach was modification, followed by tearing and ripping.

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr’s image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

This study analyzes traditional women’s Hu costumes of the Tang dynasty, and deploys a creative fashion design to converge contemporary and traditional styles. In this costume, women wear a robe with striped or plain patterns in the lower part of the pants, and it appears frequently in red and yellow colors. Depending on the sleeve, it is either a round collar or a turn down collar robe. In the Hu hat, the huntuomao and juanyanxumao were leather and mili and weimao were used to prevent the sand from flowing. This study uses the CLO 3D program with the “moment” theme based on the Hu costume for women to deploy 4 pairs of fashion design and to produce works for 2 pairs. The 3D virtual clothing program demonstrates important effects in design deployment and pattern arrangement through its efficiency and convenience of clothing production. The CLO 3D program was closely combined with the 2D design and the 3D affect, and it heightened the efficiency in saving the processing time and energy of the sample clothes. Through facilitating the 3D digital fashion design, the production may reduce time needed and contribute to an effective economy, and it may compare digital fashion design to actual products as well as illustrate the potential of digital fashion design.

This study aims to use Art brut works—the artwork of the socially underprivileged and alienated—to influence social roles in fashion design, employing a formative expression method to promote social acceptance of diversity in the industry. The research method involved investigating Art brut’s concept and evolution in domestic and foreign literature and previous studies. The formative characteristics of the movement were derived by analyzing the works of Art brut artist Johann Hauser. One hundred and twenty images of Johann’s work were collected through online sources like the Gugging Museum’s website, Christian Berst Gallery’s website were developed as fashion design using the CLO 3D program. The formative characteristics of Johann’s works appeared to be transparent overlapping, divisional decorativeness emphasized simplicity, and vibrant chromaticity. Based on this analysis, the results of the 3D digital fashion designs were as follows. First, the characteristics of the atypical objects and figures in Johann’s works were applied to the design silhouette, revealing a uniquely beautiful form. Second, Johann used a method in which numerous line shapes overlap and fill the area. The point of connecting the work is expressed as a graphic pattern by decorating the lines of the hem and hem of the garment with piping or attaching overlapping straps on top of pants and dresses. Third, the combination of overlapping colors used in Johann’s work is a color block design of fashion, which utilizes the formative fun.

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi’s Nuo masks can be divided into those based on their origin and history, the user’s social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks’ splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood’s original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

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.

The purpose of this study is to investigate the design methods and characteristics of papercraft fashion from 2001 to 2015. The study has been conducted through theoretical research and case study. Overall, types of papercraft expressions are classified into the following four categories: narrative papercraft fashion, organic papercraft fashion, variable papercraft fashion, and recycling papercraft fashion. The characteristics and aspects of each type of papercraft is described below. First, narrative papercraft fashion expresses as factual description of the natural environment. These works convey fantastic image by showing fairy tale animals or plants using paper folding or cutting. Second, organic papercraft fashion creates a futuristic shape by expressing organic parts in nature. Also, it often depicts future-oriented images by repeatedly representing organic shapes using uniform patterns in nature. Third, variable papercraft fashion expresses a variety of changing shapes through a flexible design based on the style of wearing. This variation may be accomplished through changeable dress connected to human gestures. Variable papercraft represents playfulness, which conveys enjoyment to the wearer and the audience. Fourth, recycling papercraft fashion uses paper materials of the past, and recreates them into artworks through handicraft techniques. Recycling papercraft conveys high value added fashion by dissolving the material into pulp.

Born in the 19th century as an intermediate between the past and the future, steampunk provides a strong feeling of fantasy. The objective of this research is to understand the utilization of steampunk in all realms through an in-depth literature review and empirical study. Taking the findings as a foundation, we will analyze examples shown in fashion designs that are put into real production, and those designs that can provide inspiration for further design development. The research methodology will constitute a major analysis of advanced research, internet materials, and literature. Photo materials will be collected from professional websites for steampunk. The product method such as follows. Firstly, we will classify the internal meaning of characteristics in steampunk that are similar to the characteristics that are being researched, then take it as the standard and arrange to integrate all five features: restoration, pluralism, duplicity, resistibility and abnormality. We will spread out the design based on images from advanced research. Secondly, in order for to design a steampunk product, I decided on four themes: devastated environment, brutal wars, cool-headed machinery, and the overlap of the future and the past. Inspiration was acquired from representative movies and animations featuring steampunk. Thus, new directions for fashion design with steampunk features can be discovered. It raises the feasibility of this combination in modern society. In the future with the development of technology, it functions as a design that is easy for users to approach.

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

The structural aesthetics of architecture are becoming an inspirational source for many fashion designers and have been reborn in structural fashion. This study planned to analyze the method of expression of structural aesthetics expressed in modern structural fashion design and the construction method to maximize such an effect on the basis of the construction characteristic of Santiago Calatrava as the representative architect of the structural aesthetic. According to the study, the structural aesthetics expressed in modern structural fashion design are as follows: 1) The symbolical formative aesthetic expressed by symbolical inference and analyzation; 2) the dynamic beauty of physic expressed by visual emphasis and dynamics; and 3) the asymmetric beauty of symmetry expressed by metastasis toward the boundary between balance and imbalance. In addition, to maximize structural aesthetics, we used repetition and a progressive technique based on rhythm, asymmetry, and incision-based variances, such as balance, polygon flux, and inference, and analyzation-based distortion as the structuring principle. The following expression methods for maximizing structural aesthetics were found: 1) symbolical and structural exaggeration of appearance; 2) detail technique expansion and material property diversification; and 3) the three-dimensional transformation of structure and shell expression. Structural fashion design was found to have maximized structural aesthetics by using such expression methods to secure artistic esthetics, destroy existing shapes and patterns, and create unique shapes.

The influence of Japonism, which is the post-mid-19th century phenomenon of appreciating and preferring the Japanese style that manifested all across Western art, started to grow as a result of the active open-door policy of Japan at this time. As all areas of Japanese arts and culture, such as paintings, sculptures and theater plays, influenced Europe and America, this influence developed into a cultural phenomenon that was reflected even in fashion. The characteristic elements of the kimono first expanded from Paris and showed a similar silhouette to that of the traditional kimono in the early 20th century, but towards the middle and the end of the century, kimono sleeves that were connected as one piece without a connecting seam line between the sleeve and bodice started to appear. The foundation of this research focuses on the design characteristics of kimono sleeves that can be seen in 20th-century fashion, and five varying kimono sleeve jackets and coats based on these formative characteristics were designed. Each design had a gusset design added, which improved the external and mobility problems inherent in kimono sleeve patterns, while at the same time serving as a proposal for new design element applications. Additionally, through various changes to and attempts at designs using the kimono sleeve as a limiting factor, new design possibilities were explored.

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer’s brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer’s name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

This study analyzed the design elements and fashion images of women's knitwear in collections of Paris, Milan, London and New York between 2003 and 2008, and examined knitwear trends in an effort to verify whether knitwear trends are repeated in certain cycles, whether they show complicated patterns in cycles and yet occur in quasi cycles, or whether they occur non-periodically in complicated forms of chaotic cycles. Trend cycle analysis results are deemed to identify the time series attribute of knit fashions. It also sought to categorize the attribute of various factors influencing knitwear trends with a view to determining relevancy between design elements, and to present the direction of predicting knitwear fashion trends and the progression of short-term knitwear trends. This study reached the following conclusion. According to design elements or fashion images, knitwear fashion trends occur in cycles, quasi cycles, non-periodical cycles. These cyclic characteristics can be used as scientific data for planning knitwear products. The study confirmed close relevancy between fashion images and fashion elements. It identified close relevancy between designs with similar fashion elements and images through coordinates by year and season, and it is possible to make short-term prediction of trend direction through the flow of coordinates. Time series data were insufficient, thereby making it difficult to perfectly verify chaos indices and giving limitations to this study. A study with more time series data will produce a more effective method of predicting and using knitwear fashion trends.

The orientalism in fashion is believed to develop from the eclectic notion of oriental and occidental fashion. By studying on Gabrielle Chanel’s clothing that is usually used by neutral colors and on Yohji Yamamoto’s clothing that characterizes clothes in neutral colors, the purpose of this study is to seek ways for remaking Korean traditional clothing into a new modern one to gain a world reputation in terms of clothes. Therefore the study is for exploring the characteristics on the factors of fashion design such as color, line and textile materials with works of Gabrielle Chanel, a famous designer in Western world who has made a black color a popular one for people and works of Yohji Yamamoto, an well-known fashion designer of the East using neutral colors. This study analyzed, from the 2004 S/S to the 2006 F/W, the collection of works published in style.com through the works of Gabrielle Chanel, Yohji Yamamoto, and through the analysis of the visual target. A total of 527 images are used in this paper. Elements of fashion design analysis are lines, colors, and materials. The study reached the conclusion as follows after analyzing the characteristics on clothing with neutral colors of Gabrielle Chanel and Yohji Yamamoto. In case of aesthetic characteristics on the design of Gabrielle Channel, it has expression of feminist, sensual, modern and luxury. It is considered that Gabrielle Channel has a luxury image using a neutral color. Also using simple sleeveless in black and tweed structure, the garments have mixed with neutral colors. Fashion design characteristics on the design of Yohji Yamamoto classified into sensual, modern, ascetic expression. Therefore the design has a simple expression of using a black color. Yohji Yamamoto is a designer who pursues unstructured design by using various neutral colors such as black, gray and white based on the oriental sentiment.