현대 패션에 나타난 젠더리스의 표현 특성 -뉴욕 타임즈를 중심으로-
The Expressive Characteristics of Genderless in Modern Fashion -focusing on The New York Times-
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본 연구의 목적은 의상과 구두, 가방, 주얼리 등의 액세서리 그리고 향수까지 세분화하여 현대패션에 나타난 젠더리스의 특성을 분석하는 것이다. 연구방법은 전문서적과 선행연구 분석을 바탕으로 한 문헌연구와 뉴욕타임즈(New York Times)에서 1984년부터 2024년까지 ‘genderless fashion’의 키워드로 도출한 118개 기사와 사진의 내용분석을 사용했다. 연구결과는 첫째, 현대 패션에서 젠더리스로 묘사된 의류와 착장방식은 크로스드레싱, 인체의 굴곡을 타이트하게 드러내지 않는 의상 그리고 심플한 디자인과 유용한 구성의 속옷들이었다. 또한 성별이 아닌 인체에 맞게 자유롭게 조절하여 입을 수 있는 트랜스포머블 의류 등이 젠더리스로 묘사되었다. 둘째, 젠더리스로 묘사된 액세서리의 특징은 다음과 같다. 남성의 하이힐 구두와 무지개 색상 스니커즈가 젠더리스 아이템으로 묘사되었다. 또한 남성이 드는 작은 가방 혹은 하이브랜드의 아이코닉한 여성 가방의 큰 사이즈 버전이 젠더리스 가방으로 여겨졌다. 젠더리스로 묘사된 주얼리는 남성들이 착용한 화려한 보석 및 진주, 미니멀 디자인, 트렌스포머블 디자인 등이었다. 젠더리스 향수는 성별을 구분하여 출시되었지만 이성이 탐내는 향수 혹은 전형적인 혼합을 벗어나 남성과 여성의 이중적 특징을 모두 담은 향기로 표현되었다. 셋째, 젠더리스로 묘사된 인물로는 남성 메이크업 유튜버가 증가하는 경향을 보였다. 이처럼 젠더리스 의상이나 액세서리는 모두 성별 규범의 해체와 지지 현상을 동시에 반영하고, 개인의 성적 취향을 자신감 있게 표현하는 방향으로 나아가고 있었다. 중요한 흐름은, 젠더리스가 주로 남성들의 패션과 사고방식, 취향 변화에 의해 주도되고 있는 점으로 상품 기획 시에 더 민감하게 주목할 필요가 있을 것이다. 본 연구의 결과가 현대 패션산업에서 성 정체성의 다양성을 창의적인 방식으로 풀어내고, 현대와 전통적 가치의 효과적인 균형 찾는데 기여하기를 고대한다.
Abstract
The purpose of this study is to analyze the characteristics of genderless fashion in contemporary fashion, extending beyond clothing to accessories such as shoes, bags, jewelry, and even perfumes. The research methodology includes a literature review based on professional books and previous studies, as well as content analysis of 118 articles and photographs extracted from The New York Times between 1984 and 2024 using the keyword ‘genderless fashion.’ The findings of the study are as follows: First, genderless clothing in modern fashion is often characterized by cross-dressing, garments that do not tightly follow the body’s curves, simple designs, and functional undergarments. Transformable clothing, which can be freely adjusted to fit the body rather than conforming to gender, was also depicted as genderless. Second, the characteristics of genderless accessories include men's high-heeled shoes and rainbow-colored sneakers. Additionally, small bags carried by men or larger versions of iconic women's bags from high-end brands were considered genderless. Genderless jewelry was described as including extravagant gemstones and pearls worn by men, minimalist designs, and transformable pieces. Genderless perfumes, though initially launched with gender distinctions, were often portrayed as fragrances desired by the opposite sex or as embodying both masculine and feminine characteristics beyond traditional combinations. Third, there was an increasing trend of male makeup YouTubers being recognized as figures in genderless fashion. In conclusion, genderless fashion and accessories reflect both the deconstruction and support of gender norms, with a growing emphasis on confidently expressing individual sexual preferences. An important observation is that genderless fashion is primarily driven by changes in men's fashion, mindset, and preferences, suggesting that product planning should pay closer attention to these shifts. This study anticipates that its findings will contribute to creatively addressing gender identity diversity in the modern fashion industry and finding an effective balance between contemporary and traditional values.
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