In the 21st century, it appears as a blend of various cultures and values and a compromise. The background of this environmental change is the hybrid phenomenon. Due to the hybrid phenomenon, the elements of the past, present and future are newly compromised, and the spatial boundaries of the West, ...
In the 21st century, it appears as a blend of various cultures and values and a compromise. The background of this environmental change is the hybrid phenomenon. Due to the hybrid phenomenon, the elements of the past, present and future are newly compromised, and the spatial boundaries of the West, the East, the regions and the world are collapsing. In addition, the distinction between gender and social class is blurring, the confrontation between various styles is broken up, and they are being mixed in the form of new culture.
This hybrid phenomenon continues to appear in the design field, including fashion. Hybrid fashion means creating a new image by mixing various cultures beyond the time and space. As a result, fashion has moved away from existing values and forms of beauty, delivering new and diverse values and beauty. and many consumers are paying attention to rising fashion designers that symbolize ‘fresh power’.
Therefore, the purpose of this study is based on the hybrid fashion phenomena, and analyzes the texts of the collection themes of the various genres in the collections of rising fashion designers in Korea and China, and provide concrete theoretical information of the commonalities and differences of fashion design in the two countries.
The research method was conducted by literature and empirical research. Literature research focused on literatures such as thesis on ‘Hybrid’ and ‘Rising Fashion Designer’, journal articles, books, and internet articles. The empirical study was conducted in three ways: data collection, text analysis of collection themes, and image verification of collection works.
Rising fashion designer is a designer brand that has been in the spotlight for less than two years since its launch. The criteria for selection of rising fashion designers based on the criteria of ‘Generation Next’ of ‘Seoul Fashion Week’ and ‘Beijing Fashion Week’ of China are as follows. First of all, the criteria for launching are within three years of launching as a fashion designer, that is, a designer brand launched after 2016. Second, about the career, the criteria for having two or more consecutive participations in Generation Next of Seoul Fashion Week and Beijing Fashion Week during the period of S/S from 2017 to F/W of 2019 collection. Third, about age, it is assumed that they will be 40 years old or younger.
According to the selection criteria, Korea has selected 11 emerging fashion designers from 10 brands that are active in the Generation Next collection of Seoul Fashion Week. China has selected six emerging fashion designers from five brands in the Beijing Fashion Week collection. Based on the same criteria, we can see that Korea has a lot more Rising fashion designers than China.
As for the analysis criteria, first, 10 attributes of hybrid fashion were classified through previous studies. After that, we analyzed the text of each season's collection theme. For the purpose of more objective analysis, Other than the researcher, who major in fashion design's three doctors and one masters each read the season's collection themes of the rising fashion designers we had collected. and checked which of the 10 attributes of the hybrid fashion were classified earlier. Three or more people checked attributes as final choice. As a result, Korea has four attributes: ‘temporal’, ‘spatial’, ‘gender’ and ‘style’. China has three attributes: ‘temporal’, ‘spatial’ and ‘gender’.
The specific analysis results are as follows.
First, the attribute of temporal is that ‘past and present’, which applied the traditional culture and image of the past to modern design was common to both Korea and China. However, in Korea, there was an example of not only the traditional culture of the country but also the western culture of the West or traditional dress expressed by modern language was found. Instead, in China, an example of expressed by Japanese traditional culture was found. In addition, expressed the same ‘present and future’. In Korea, various incisions and zippers based on achromatic colors pursued future-oriented fashion through detail and unique silhouette. On the other hand, the difference between the present and future is expressed in fantastic elements and original and surreal patterns in China.
Second, the attribute of spatial can be divided into both Korean and Chinese ways of expressing their traditional culture with the composition, detail, and silhouette of Western clothes, and Western culture and themes with Oriental design elements. Among them, the way of expressing the same Western culture and themes with oriental design elements, while the silk used in Hanbok was mainly used in Korea, the black and white color symbolizing yin and yang in China appeared as a difference. In China, the difference was that it was inspired by Japanese culture and expressed as Western deconstructionism.
Third, the attribute of gender can be divided into the ways of Genderless and Androgynous both Korean and Chinese. However, in the same method of ‘Genderless’, While Koreans tend to layer a variety of casual items for both men and women, and to emphasize the slim silhouette for men and the oversize silhouette for women, in China, they use materials such as surreal patterns, thin and transparent gauze fabrics, and dark embroidery. It was characterized by the emphasis on using eye makeup. In the same method of ‘Androgynous’, Korea is represented by masculine stripe and check pattern, minimalistic and feminine silhouette. while China is expressed the masculine blazers and coats and the black and white color symbolize yin and yang. Additionally, Another interesting point is that in Korea, the design inspiration for social topics such as 'Mitto' was inspired.
Fourth, the attribute of style is that there was plenty of examples of the mix of different styles in korea. But there is no such example in China, which is the biggest difference. I think it is the result of Korean rising fashion designers actively use SNS and conduct collaboration with various distribution channels and efforts on various contents and styles that suit the taste of modern consumers.
In the 21st century, it appears as a blend of various cultures and values and a compromise. The background of this environmental change is the hybrid phenomenon. Due to the hybrid phenomenon, the elements of the past, present and future are newly compromised, and the spatial boundaries of the West, the East, the regions and the world are collapsing. In addition, the distinction between gender and social class is blurring, the confrontation between various styles is broken up, and they are being mixed in the form of new culture.
This hybrid phenomenon continues to appear in the design field, including fashion. Hybrid fashion means creating a new image by mixing various cultures beyond the time and space. As a result, fashion has moved away from existing values and forms of beauty, delivering new and diverse values and beauty. and many consumers are paying attention to rising fashion designers that symbolize ‘fresh power’.
Therefore, the purpose of this study is based on the hybrid fashion phenomena, and analyzes the texts of the collection themes of the various genres in the collections of rising fashion designers in Korea and China, and provide concrete theoretical information of the commonalities and differences of fashion design in the two countries.
The research method was conducted by literature and empirical research. Literature research focused on literatures such as thesis on ‘Hybrid’ and ‘Rising Fashion Designer’, journal articles, books, and internet articles. The empirical study was conducted in three ways: data collection, text analysis of collection themes, and image verification of collection works.
Rising fashion designer is a designer brand that has been in the spotlight for less than two years since its launch. The criteria for selection of rising fashion designers based on the criteria of ‘Generation Next’ of ‘Seoul Fashion Week’ and ‘Beijing Fashion Week’ of China are as follows. First of all, the criteria for launching are within three years of launching as a fashion designer, that is, a designer brand launched after 2016. Second, about the career, the criteria for having two or more consecutive participations in Generation Next of Seoul Fashion Week and Beijing Fashion Week during the period of S/S from 2017 to F/W of 2019 collection. Third, about age, it is assumed that they will be 40 years old or younger.
According to the selection criteria, Korea has selected 11 emerging fashion designers from 10 brands that are active in the Generation Next collection of Seoul Fashion Week. China has selected six emerging fashion designers from five brands in the Beijing Fashion Week collection. Based on the same criteria, we can see that Korea has a lot more Rising fashion designers than China.
As for the analysis criteria, first, 10 attributes of hybrid fashion were classified through previous studies. After that, we analyzed the text of each season's collection theme. For the purpose of more objective analysis, Other than the researcher, who major in fashion design's three doctors and one masters each read the season's collection themes of the rising fashion designers we had collected. and checked which of the 10 attributes of the hybrid fashion were classified earlier. Three or more people checked attributes as final choice. As a result, Korea has four attributes: ‘temporal’, ‘spatial’, ‘gender’ and ‘style’. China has three attributes: ‘temporal’, ‘spatial’ and ‘gender’.
The specific analysis results are as follows.
First, the attribute of temporal is that ‘past and present’, which applied the traditional culture and image of the past to modern design was common to both Korea and China. However, in Korea, there was an example of not only the traditional culture of the country but also the western culture of the West or traditional dress expressed by modern language was found. Instead, in China, an example of expressed by Japanese traditional culture was found. In addition, expressed the same ‘present and future’. In Korea, various incisions and zippers based on achromatic colors pursued future-oriented fashion through detail and unique silhouette. On the other hand, the difference between the present and future is expressed in fantastic elements and original and surreal patterns in China.
Second, the attribute of spatial can be divided into both Korean and Chinese ways of expressing their traditional culture with the composition, detail, and silhouette of Western clothes, and Western culture and themes with Oriental design elements. Among them, the way of expressing the same Western culture and themes with oriental design elements, while the silk used in Hanbok was mainly used in Korea, the black and white color symbolizing yin and yang in China appeared as a difference. In China, the difference was that it was inspired by Japanese culture and expressed as Western deconstructionism.
Third, the attribute of gender can be divided into the ways of Genderless and Androgynous both Korean and Chinese. However, in the same method of ‘Genderless’, While Koreans tend to layer a variety of casual items for both men and women, and to emphasize the slim silhouette for men and the oversize silhouette for women, in China, they use materials such as surreal patterns, thin and transparent gauze fabrics, and dark embroidery. It was characterized by the emphasis on using eye makeup. In the same method of ‘Androgynous’, Korea is represented by masculine stripe and check pattern, minimalistic and feminine silhouette. while China is expressed the masculine blazers and coats and the black and white color symbolize yin and yang. Additionally, Another interesting point is that in Korea, the design inspiration for social topics such as 'Mitto' was inspired.
Fourth, the attribute of style is that there was plenty of examples of the mix of different styles in korea. But there is no such example in China, which is the biggest difference. I think it is the result of Korean rising fashion designers actively use SNS and conduct collaboration with various distribution channels and efforts on various contents and styles that suit the taste of modern consumers.
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#Rising Fashion Designer Hybrid Fashion Korean Fashion Chinese Fashion Compare between Korean and Chinese
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