This project examines the phenomenon of aesthetic homogenization in Korean society, where people often dress in similar styles—seeking neither to appear outdated nor to stand out from the group. In 2023, the AirPods Max became ubiquitous on the streets of Korea and in Instagram “outfit of the day” (#오오티디) posts, with roughly 90% of them in silver. This prompted the questions: Why silver? How did this electronic product evolve into a fashion symbol among Korean youth?
Drawing on Erving Goffman’s dramaturgical theory, clothing can be viewed as a tool for self-presentation. In Korean social context, wearing the same items is not avoided—rather, it provides a sense of belonging and security. Underlying this is a notable herd mentality and a form of elitism: by adopting the same high-end, iconic product, individuals both blend into the collective and subtly signal their aesthetic and economic capital.
In response, I designed a beanie printed with an image of the AirPods Max, worn by the central model and oriented opposite to the crowd. Inspired by ID photos, the project presents 54 photographs of models dressed in formulaic styles, underscoring how the pursuit of a socially “correct” norm can lead to the erosion of personal uniqueness.
54 giclee prints, foam board,
(L)5030mm*1565mm
(R) 1910mm*1565mm, HMoA.
Proper, 2023. 55 giclee prints, foam board, 4250mm*2635mm, Beijing Friend Store.
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