[ Research Paper ] ISSN 1225-1151 (Print) ISSN 2234-0793 (Online) Journal of the Korean Society of Clothing and Textiles Vol. 44, No. 3 (2020) p.400~412 https://doi.org/10.5850/JKSCT.2020.44.3.400 Korean Genderless Fashion Consumers' Self-image and Identification Eun Jung Shin⋅Ae-Ran Koh† Dept. of Clothing & Textiles, Yonsei University Received August 28, 2019; Revised (December 25, 2019; March 11, 2020); Accepted April 25, 2020 Abstract The “genderless fashion” style adopted by 20 to 30-year-olds in Korea cannot be ignored in the consumer fashion code. This study investigated self-images of Korean genderless fashion consumers through in-depth interviews. Interview analyses confirmed that Korean genderless fashion consumers express their self-image through clothing. As the theoretical framework, this study used Lacan's concept of desire to classify the types of self-image consumers want to express. The results are classified into three subject types: those who pursue self-fulfillment, those who pursue fulfillment from others, and those who pursue endless fulfillment through a self-image. This reflects various factors and the subjects' desires. Further, a subject's desire to present a spe- cific self-image was an important factor in understanding the genderless fashion style. The study results re- vealed that modern fashion is an “unconscious” field of self-expression that crucially reflects individual desires. The study also contributes to the understanding of the concept of self-image at large. Key words: Genderless fashion, Self-image, Clothing, Lacan's concept of desire I. Introduction mesh, and other similar types of clothing. Does his style represent his sexual identity? Is it just the current fa- Korea is famous for Hallyu (the Korean Wave). The shion trend, or is it a part of Korean fashion at large? Korean Wave trend has spread past Asia and into Eu- Gender is a re-emerging theme in fashion. Currently, rope, the United States, and the Middle East. An exami- it is necessary to redefine masculinity and femininity nation of this trend reveals that Korean fashion is more to illuminate the status of gender identity, because the associated with celebrity styles rather than with tradi- perception of gender roles are changing as the traditio- tional Korean clothes. Korean rapper G-Dragon is Cha- nal roles of males and females change. Therefore, both nel's muse, and one of the only asian celebrities sup- males and females demand equal gender roles due to ported by the Chanel brand (Spedding, 2016). It is diffi- the obligation to obtain economic power. This pheno- cult to distinguish whether G-Dragon's clothing is mens- menon has also been associated with changes in life- wear or womenswear; his style is representative of style. “genderless fashion” as he freely wears skirts, laces, “Lifestyle” is defined in many ways. “Lifestyle” is as a characteristic aspect of life, a product of culture, †Corresponding author E-mail: [email protected] values, popularity, property, and regulation (O'Reilly This work was supported by the Brain Korea 21 Plus Pro- & Benson, 2016). Clothing is the easiest way to exp- ject of Dept. of Clothing and Textiles, Yonsei University ress one's lifestyle, and the garments one wears are the in 2020. most basic representation of lifestyle—they are not just ⓒ 2020, The Korean Society of Clothing and Textiles. All rights reserved. – 400 – Korean Genderless Fashion Consumers' Self-image and Identification material objects (Hollander, 1993). Clothing is the so- —the sum of thoughts and emotions that an individual cial phenomenon that most easily reflects the ideas and has about himself or herself. Human beings exhibit spe- lifestyle of an era, and that changes in fashion are ref- cific behaviors and desires according to their self-con- lected in the changes in lifestyle (Davis, 1994). For ex- cept (Leary & Tangney, 2012). Through the preceding ample, in the 1970s and 1980s, the “androgynous” and research, self-image can be explained as a concept that “glam” looks were prevalent and seen as a leading fa- represents one's self-concept and self-identity in a so- shion trend rather than a style accepted by the public, cio-cultural way. Various relevant discussions have whereas the recent “metrosexual” and similar male been made with fashion theories such as “impression masculinity trends have been widely accepted among formation” and “appearance management.” This study men (Coad, 2008). This reflects the changes in what is aims to define the self and self-image within this frame- perceived as “ideal” by the public. From the psycho- work. In Sontag and Lee's (2004) self-concept, cloth- logical standpoint, by examining the preferences of gen- ing is a component of the self and an aspect of the ap- derless fashion consumers, one can observe the rea- pearance through which the self is formed and identified. sons why colorful and decorative elements of women's Roach-Higgins and Eicher (1992) point out that appa- wear are incorporated in menswear or why some pre- rel becomes an important communication tool in so- ferences even transcend the boundaries of woman and cial interaction, providing important clues on the identi- man, as a part of the human being's internal represen- ties of oneself and others. The practical or ideal indivi- tation of narcissism (Martin et al., 2017). dual or social self-concept that an individual has about Genderless fashion phenomenon can be explained himself or herself is a guide for many product and brand through the increasing trend of self-appreciation amo- choices (DaSilveira et al., 2015). Their interrelation- ng modern people. Additionally, narcissism is more ships can be explained by applying the Lacanian psy- than just vanity which represents the image of fashion. choanalytic theory on subject formation, from the per- Looking at fashion images is a process of establishing spective of the “gaze” (Lacan, 1968/1998; Miller, 1981/ self-identity, which is required for both men and wo- 1998). Genderless fashion consumers look at their ap- men. To embrace oneself as an attractive object, to see pearances through the gaze of others; they observe and and enjoy oneself, people choose colorful and decora- gaze at their own self-image through the reactions and tive fashion items. As such, since the 20th century, the words of others (Bancroft, 2012). We can observe the desire to appeal to the public has emerged, and in re- effect of gazing and the gaze of others on the subject. cent times genderless fashion has become prevalent (Bo- Lacan is a representative psychoanalyst who studied ultwood & Jerrard, 2000). subject formation through the gaze. His structure of the The self is not an independent being separate from unconscious comprises the imaginary, the symbolic, all other beings; it is built on relationships and other and the real orders, presenting the three self-concepts: developments through constant interaction with all ideal ego, ego-ideal, and superego. Self is mainly exp- that is encountered in the surrounding social world ressed by the terms “ego” and “self,” and has been stu- (Hattie, 2014). In these relationships, we use “self-ex- died in relation to self-concept, identity, self-image, pression, an act of expressing identity to others,” (Le- self-consciousness, self-category, and self-worth. ary, 1996) to form our own presence. Self-presentation This study is based on the idea that genderless fash- is a concept that focuses on how we see ourselves as an ion and current trends are related to self-expression ra- “act” that influences people to respond according to ther than interpretation in relation to sexual identity. the way we want. And self- presentation aims for a bet- The study investigated the background of gendered fa- ter image of the self in any given situation (Burns, 1999). shion and the background that became widely known, Self-image can be understood in the same context as and tried to find out through in-depth interviews what “self-concept”. Self-concept as “the picture of the self” genderless fashion consumers are expressing themsel- – 401 – Journal of the Korean Society of Clothing and Textiles Vol. 44 No. 3, 2020 ves in what they want to express. sentative term was “unisex” during the 1980s, it was To grasp the meaning and structure related to these “androgynous” and in the 1990s “genderless” was the acts in more depth, Lacan's psychoanalytic theory of most prominent. Derived from the word “gender”, desire is applied. Lacan states that humans are essen- “genderless” has been acknowledged as an internatio- tially deficient, and they will always desire something nal term in the 1990s, meaning “no distinction of sex” to fill that deficit. Since such deficit can never be filled, or “neutral.” In addition, in the field of fashion, gender- they constantly seek and desire something. Hence, less has been described as a new tendency that is cha- desire is a key concept that constitutes society and cul- racterized by the destruction of gender and age stereo- ture, as a power and essence of human life (Miller, 1958/ types. It is a new concept that is being developed by lea- 2019). This desire is the fundamental motive of our ac- ding new generations who deviate from societal and tions, and self-expressive behaviors that express iden- gender codes. This notion recognizes and acknowled- tity to others can be regarded as the manifestation of ges benignity, which has been deeply hidden in oursel- desire (Bancroft, 2012). Therefore, this study intends ves, as an equivalent essence or an individual, without to grasp the motivations behind self-expressive beha- denying or excluding any part. It introduces a newly viors in genderless fashion and the kinds of desire that designed world by integrating masculine and feminine they reveal as well as what the consumers desire to re- aspects, divided by gender, without any norms and re- ceive through such behaviors.