This study aimed to examine the formative characteristics and internal values of anxiety that had been expressed in men's fashion since the 2000s. Existential philosophy and psychoanalysis that have studied anxiety in-depth view anxiety as a condition for stepping towards the original self-existence. Humans constantly gratify their desires from anxieties that spring from the imperfection of being and establishes their identity from a repetition of desires. In this process, humans realize that they live as open beings with finitude and recover their state of existence. For such a reason, anxiety is interpreted as an impetus for leading a subjective and proactive life. Anxiety threw questions about the being by penetrating into the most covert realms of the human mind and drove change while providing variables to consciousness and behavior. Contemporary men's fashion has also directed shifts in fashion under the influence of anxiety. Fashion designers accepted the domain of 'anxiety' as a source of creative activity and manifested it into a fashion design, sharing the significance and internal values of anxiety with the wearer(appreciator) by indirectly displaying it.
Anxiety that had been portrayed in men's fashion after the 2000s was reviewed by classifying it into the 'image of darkness', 'distorted image', 'feminine image', 'image of protection', and 'artistic image'.
Fashion expressed as the 'image of darkness' heavily exhibited fearful sensation as an outward representation of anxieties towards destruction, pain, and death that were deeply suppressed within the human mind. The image of darkness manifested as the tailored silhouettes and bulk silhouettes, and skirts were used in addition to men's basic items. The designer effectively conveyed the dark atmosphere of the collection by using details such as exaggeration, deconstruction of forms, distortion, cutting, exposure, complexity patterns, and skeleton patterns. Various materials were used for the costumes, and black and gray colors were mainly used. Accessories were used not only sharp necklaces, chain necklaces, and earrings, but also high heels, pumps shoes, and long boots, which are not commonly used as men's fashion items, giving a visual shock. The Models were mask-like white makeup all over their faces or had makeup with overdrawn black eyeliner and black lipstick.
The 'distorted image' manifested as the tailored silhouettes, o-shaped, and y-shaped, and primarily used items that were exclusive to men's clothing. It showed that various materials were used, and colors were used mainly in achromatic colors. Most of the models examined in the distorted image wore hats, sunglasses, and masks to cover their faces. They revealed their masculine side with natural makeup and softly dark makeup.
The 'feminine image' accentuated the femininity of men's fashion with the hourglass silhouettes, a-shaped, tailored silhouettes, and sheath silhouettes, which served as an active reflection of anxiety towards men's oppressed identity. Fashion expressed as a feminine image expressed femininity through feminine items, thin and soft materials, bright colors, and bold makeup.
The 'image of protection' used items that were reserved for men's clothing with a focus on the tailored silhouettes. In the fashion collection, sustainable fabrics and functional fabrics were used to protect the environment and emphasize practicality, and achromatic colors and low-toned chromatic colors were used together. The models mainly wore accessories, a type of bag and hat, and showed a traditional male image with natural makeup.
The 'artistic image' completely deviated from the structure of attire by centering around a deformed silhouette. It developed designs with maximized artistry by incorporating disparate materials aside from the fashion items. Colors were mainly used in achromatic colors, which maximized the fear felt from the grotesque design. The models used a hat and gloves as accessories and completed the styling with natural makeup or dark makeup.
The images of anxiety demonstrated in 21st-century men's fashion possess the internal values of 'subjectivity', 'otherness', 'de-boundary', and 'sublimation'. First, subjectivity propelled humans to accept their state of essential existence from various fashion images expressed with anxiety and to establish their own identity subjectively. Second, otherness allowed humans to recognize that a wide range of identities coexists by revealing a state of an alienated self from fashion images. Moreover, it allowed them to concurrently rebuild their existence by discovering the state of an alienated self amid others. Third, de-boundary reminded humans that they too are open beings with new possibilities by resorting to the diverse possibilities of fashion expressed with anxiety and enabled them to achieve self-realization. Fourth, sublimation aided humans to resolve anxiety by conveying the realm of suppressed inner anxiety with fashion, thereby facilitating the enjoyment of desires that could not be fully satisfied.
Men's fashion embraced anxiety as a source of creative activity and communicated its significance and internal values. Embodying anxiety through men's fashion helped designers and appreciators to alleviate anxiety and to understand its true meaning. Furthermore, it allowed them to once again ruminate over the meaning of human existence that exists by anxiety and to restore the state of an authentic self. By presenting an array of possibilities, 21st-century men's fashion has not only expanded the scope of fashion but is also reaching out into the territory of 'fashion for humans' in a broader sense while performing a psychological role. This study conducted a study around men's fashion. A follow-up study should explore what kind of trends and values 21st-century fashion is employing to expand the territory of fashion by looking into the psychological role of women's fashion.