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논문 기본 정보

자료유형
학술저널
저자정보
Daniela Llanos Rocha (Duksung Women’s University) Yoon Kim (Duksung Women’s University)
저널정보
한국복식학회 International Journal of Costume and Fashion International Journal of Costume and Fashion Vol.24 No.1
발행연도
2024.6
수록면
39 - 54 (16page)
DOI
10.7233/ijcf.2024.24.1.039

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초록· 키워드

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This study investigates the intersection of sustainable materials and Neo-Deconstructive Fashion, focusing on leading brands like Marques Almeida, Loewe, Y/Project, and Balenciaga. The research examines these brands’ material choices, production processes, and designs through an in-depth case analysis, aiming to amplify understanding and encourage the integration of sustainable materials within Neo-deconstructive fashion. The movement’s core characteristics, including playfulness, diversity, communication, pursuit of new values, and recreation, are redefined through sustainable practices. Playfulness in this movement is transitioning to eco-conscious practices by incorporating recycled items and unconventional textiles. The rise of Millenials and Gen Z has pushed designers to engage actively, balancing creativity and practicality while integrating sustainability in communication methods. The pursuit of new values has reshaped the industry, with brands showcasing their commitment through collaborations, diverse inspirations, and sustainable materials. The concept of recreation drives innovation, leading to waste reduction and unconventional designs. Neo-deconstructive fashion’s ongoing evolution demonstrates its enduring connection with sustainability, with designers actively prioritizing eco-friendly materials and showcasing a proactive stance against environmental issues. This relationship underscores collective efforts to address ecological concerns, influenced by societal awareness and technological advancements, shaping the trajectory of sustainable fashion.

목차

Abstract
Introduction
Theorical Background
Material-Focused Sustainability in Neo-Deconstructive Fashion
Brand Overview
Use of Sustainable Materials in Neo-deconstructive Fashion
Conclusion
References

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