Moda, insanların değişiklik arama ve yeni biçimler ortaya koyma tutkusunun bir dışa vurumudur. Bu dışa vurum, süslenme ve değişiklik ihtiyacıyla beraber toplumda yaşayan bireylerin ortak gelenek görenekleriyle ilintili olarak ortaya çıkan, moda kültürüyle beslenen, geçici yaşam biçimleriyle şekillenen ve çoğu zamanda da çağcıl yeniliklerle vücut bulan melez bir yapının simgesidir. Ortak bir kökene dair öznel bir inanç taşıyan her birey o toplumu oluşturan ana kültür kalıplarını (dil, din, örf- adetler, edebiyat, musiki, mimari, giyim - kuşam) kullanarak yeni yaşam tarzları geliştirir ve geliştirilen her yeni yaşam biçimi onları baskın olan gruptan ayrıştırarak, kendi toplumsal kimliklerini kazanmalarında etkin bir rol üstlenir. Giysi tasarımlarının tasarımsal süreçlerinde geçmişe atfedilen her tür tasarımsal eylem, tasarımcının geçmiş eylemlerinden beslenir ve belli bir sembolik dil kullanarak tasarımcının hâkim toplum içerisindeki kimlik ya da etnik kimliğinin bir ifadesi olarak karşımıza çıkar. Etnik kimlik her ne kadar azınlık statüsüne indirgenen grupların başvurdukları ya da refere ettikleri bir kavram olarak anlam bulsa da, çalışmada geçen etnik kimlik tamamen apolitik söylemler içeren ve yalnızca ortak bir kültüre, dile ve müşterek inançlara sahip toplumlarda yaşayan bireylerin yer değiştirmelerine bağlı olarak, onlara doğuştan "verili" olan ile sonradan "edinilmiş" olan arasındaki sözsel olmayan iletişimi sağlayan yaratıcı ve özgün her tür tasarımsal eylemler kastedilmektedir. Kimlik/Etnik kimliğin moda tasarımı üzerindeki rolüne odaklanan bu çalışmada, örneklem olarak dünyaca ünlü moda tasarımcıları Erte, Balenciaga, John Galliano, Kansai Yamamoto ve Atıl Kutoğlu seçilmiştir. Seçilen bu moda tasarımcılarının özgün giysi tasarımları, etnik kimlik unsurlarını tasarımsal süreçler içerisinde barındırması açısından araştırmaya geniş olanaklar sunmuştur. Bu çerçevede, moda tasarımcılarının özgün giysi tasarımları incelenerek konuyla ilgili görsel içerikler tespit edilmiştir. Tespit edilen bu görsel içerikler giysi tasarımı üzerinden analizleri yapılarak, etnik kimliğin zengin bir tasarım dilinin gelişimine nasıl katkı sağladığı konusuna açıklık getirilmiştir

Fashion is an outpouring of people's passion for seeking change and putting forth new forms. This representation is a symbol of the hybrid society that emerges from the common traditions of the society at the same time that the society is nourished by the need for decoration and change. Every individual who has a subjective belief in a common roots plays an active role in acquiring his or her social identities by using new lifestyles to develop the main culture patterns (language, religion, customs, literature, music, architecture, clothing, New ways of life distinguish them from the dominant group. Any kind of design action is nourished in the design process of the garment designs that are attributed to the past, and the designer's past acts of anticipation and the use of a certain symbolic language as an expression of the ethnic identity of the designer in the judge society. Although ethnic identity is perceived as a concept to which the groups reduced to the minority status are referrals or to which they refer, the ethnic identity implied in this work is the fact that the ethnic identity does not contain apolitical discourses and is based only on the design of the individuals who relate to the displacements of individuals living in communities with a common culture, language and common beliefs Actions that give them non-verbal communication between "born" born and later ‘acquired’. In this work focusing on the role of ethnic identity on fashion design, selected world famous fashion designers Erte, Cristóbal Balenciaga, John Galliano, Kansai Yamamoto and Atıl Kutoğlu as samples. Selected fashion designers offer their unique garment designs and explore the wide range of possibilities in terms of ethnic identity as a design process. In this frame, the detected visual contents are examined with respect to the original design of fashion designers. These identified visual contents clarify ethnic identity how contributes to the development of a rich design language It is often not possible to use the same or similar forms of clothing in the same sense. Intercultural differences give each individual who constitutes that society a distinct identity or a distinctive cultural characteristic. In this sense, clothing plays an important role in gaining a social identity and is thus an important cultural marker. Although intercultural interaction has reduced the currency of traditional clothing within contemporary forms of clothing; one thing is certain that these forms of clothing, bearing cultural and ethnic traces of the society to which they belong, have been used at any time in the past by other individuals constituting that culture. Erte, Balenciaga, Galliano, Yamamoto and Atıl Kutoglu were chosen as the sample for the research topic in this study titled "Construction of a Rich Design Language Through Identity-Ethnic Identity". These designers were chosen as a sample for this research because they are globally well-known fashion designers as well as being fashion designers who have been accepted with their unique clothing designs in the dominant society they live in. It is thought that this study contains important details in terms of both how identity constitutes a source for rich design language and demonstrating how the cultural portability of identity-ethnic identity gains functionality from the viewpoint of design and designer. The Relationship Between Fashion Design and Identity-Ethnic Identity It is often enough for an individual or group of people to have a different characteristic from the majority for that individual or group to be marginalized. The process of marginalization is one of the biggest obstacles against understanding the difference, establishing empathy and establishing a harmonious social life (Kundakçı, 2013; Çay Sağlam and Yaşar, 2017; 139). Fashion designers who support their design abilities with creative ideas among the actions of establishing a strong link between the existing and what is later acquired, also lay the groundwork for the construction of a rich design language that makes a reference to information based on the pre-existing by doing so. This rich language, created between the old and the new, makes it possible to use a symbolic language on clothing design, and the biggest design challenge arising from this phase is the necessity of tackling design activities, arising from the blending of old knowledge and new knowledge and supported by new ideas, with a creative design language. It should never be forgotten that any kind of creative design action that keeps the original clothing design within aesthetical pleasures and that does not break the artistic bond in any way enables the development of a rich design language and at the same time allows the designer to develop a rich style of design. Design Examples Showing the Construction of a Rich Design Language Through Identity-Ethnic Identity 1. Erte One of the most prominent visual examples showing that the artist is using its ethnic identity is the caftan costume design he created after being influenced by Ottoman miniatures (Picture 2). The original Erte clothing design in the picture is part of the artist's 'Le Harem Modeme I' collection. The design was inspired by the form of the 'caftan', in which Ottoman clothing was represented most prominently. Family ties of the artist with the Tatar dynasty, which has a common past with the Ottoman Empire, has strengthened the connection of the design with ethnic forms. This design, which makes a strong reference to the artist's ethnic identity, has been completed with a mink fur, which is used on the collar, cuffs and skirts of the garment and is considered a dynasty symbol. 2. Balenciaga The realist designer, who sometimes wandered out of tradition, handled his works with a more innovative approach (Figure 1). This original Balenciaga clothing design in the picture was designed with the inspiration of a traditional garment, which has been accepted by the Spanish people for centuries and worn by matadors during bullfighting. The first noteworthy feature of the design is how a traditional form that has been attributed to the Spanish people is designed from the ground up with a talent that is unique to the designer without disturbing the ethnic identity. This unique design where ethnic identity is emphasized with a rich design language presents the ethnic identity of its designer to the viewers as if it were a strong matador. 3. Galliano With an interdisciplinary approach in his original garment designs that blends more original, more innovative and more creative clothing models with different surface and fabric designs, Galliano’s unique clothing designs, where he narrates emotions and passions, giving them a historical identity, are dominated by a transformation from traditional forms to modern forms. In today's Galliano designs, where the boundaries of creativity are pushed, it is possible to hear the crazy musical rhythm that colorful and enthusiastic Mediterranean winds leave on Andalusian people (Figure 2). Galliano, often separated from his contemporaries by his different and unconventional style, seems to carry traces of a protest rebellion against the beliefs and practices of medieval Spain in a sense with the modern touches used in his unique designs. 4. Yamamoto In Japanese culture, kimono possesses the formal differences that distinguish the person wearing it from others by its color and design features. These kimonos, believed by the Japanese people to guard them against evil when worn, are one of the most distinctive clothing characteristics of Japanese culture, especially with their rich pattern and color background (Kozbekçi and Ayranpınar, 2010: 49). This unique garment design (Figure 3), in which we see the deep traces of the elements of the artist’s ethnic identity, has been designed in a realistic style. Herbal and animal embellishments used in surface patterns are among the important elements referring to the ethnic identity of the artist. 5. Atıl Kutoğlu The artist, who produces his designs in Austria, applies the cultural traces of the geography where he was born to his designs with a modern approach and a direct expression (Figure 4). In the clothing designs decorated with details unique to the Turkish identity, Kutoğlu has left deep traces in the memories of the different cultural representative Turkish people. These forms that express ethnic identity are not traces that can be forgotten over time. So much so that the state of originality used by the artist in his collections of clothes has been revived in the extraordinary interpretation of Atıl Kutoğlu (Figure 5). CONCLUSION These traces, which include clues as to who the person is or where they come from, contribute to the process of creating ethnic identities. Ethnic identity is a feeling of belonging to an innate identity, unlike the elements of the dominant culture that the individual lives in. In other words, ethnic identity is a combination of the universal values that are given by the society that the individual has lived in since his or her birth, and the ones that have been added later as time and space change. Although the concept of ethnic identity varies for different people in different contexts, different times and places, ethnic identity, which is emphasized in the main subject of the article, is related to how the individual uses some cultural values that the individual brings from birth within the dominant culture, depending on translocation. The message that the individual wants to convey here includes saying that I am here to the people of the host country, where a person that is not “me” is an “other”. From here, using ethnic identity for fashion designers who are serving clothing or more specifically, fashion, through fashionable design processes, is a manifestation of a conceptual bridge between the guest society and the original society. Since the fashion designer can not ignore its surroundings at this point, it either incorporates elements of ethnic identity directly into its design processes as part of the dominant society it lives in, or uses the original knowledge given to it through birth in some elements of his designs, by blending it with an intercultural approach in this new way of life. Whether ethnic identity is used directly in the design process or is used with an interdisciplinary approach, a rich design language is built in both situations. From all these assumptions and probabilities, it can be said that, in addition to all the references which exist in the nature of original design, the designs which are able to be found in the cultural structure to which they belong without being deteriorated, and which can maintain their ethnic identity are considered to have gained a multilingual and rich style of design. However, although imagining or re-interpreting the design within the historical period to which it belongs, or creating it with a unique design language without spoiling it seem to be the most problematic of design processes, it should never be forgotten that the development of a unique design language that strengthens the connection of the designer with art, that is focused on the cultural process, will be a sign that a rich design language has been developed through ethnic identity.