Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers’ collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun’s collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

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.

예이츠의 희곡 『유리창에 쓰인 사랑의 노래』는 스위프트의 열정, 공포, 사랑을 극화한다. 그는 효과적 무대장치와 시적 장치로 스위프트와 그의 연인들의 강렬한 열정과 사랑을 끌어낸다. 즉, 그의 극적, 시적 도구들이 극을 극단적 아름다움과 웅장함에 도달하게 한다. 그는 찰스 로렌스의 극 『스위프트와 스텔라』에서, 스위프트의 전기에서 여러 가지를 빌려오지만, 모두를 완전히 자신의 극에 녹여서 자신의 극을 전혀 새롭고 정교한 극으로 변화시킨다. 예이츠의 최후의 최고의 걸작 중의 하나이다.