Journal of the Korean Society of Costume (복식)

The Korean Society of Costume (한국복식학회)
권호 표지

Representation of the Body in Fashion -Focusing on the Representation of Physicality-

복식에 표현된 몸의 재현성[I] -몸의 사실성 재현을 중심으로-

  • Yim, Eun-Hyuk (Fashion Design Department, Samsung Art & Design Institute) ;
  • Kim, Min-Ja (Clothing & Textiles Department, Seoul National University)
  • 임은혁 (SADI(Samsung Art & Design Institute) 패션디자인과) ;
  • 김민자 (서울대학교 의류학과)
  • Published : 2006.10.31
Download PDF
⟨ Previous Next ⟩

Abstract

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

Keywords

References

  1. Gaines, Jane & Herzog, Charlotte (eds.) (1990). Febricsiions: Costume and the female body, New York: Routledge, p. 2
  2. Hollander, Anne (1994). Sex and Suits: the Evolution of Modern Dress. New York: Tokyo: London: Kodansha International, p. 15
  3. 김민자 (2004). 복식미학강의 2, 교문사. p. 93
  4. Entwistle (2000). Joanne, The Fashioned body, Cambridge: Polity Press. p. 10
  5. Laver. James (2002). Costume and Fashion. London: Thames & Hudson, p. 62
  6. 임영방 (2003). 미술이 걸어온 길. 학고재, p. 74
  7. Richter, A. (1998). 레오나르도 다 빈치의 과학노트. 조한재 (역), 도서풀판 서해문집, p 170
  8. Gombrich, E. H. (1994). 서양 미술사, 백숭길, 이종승(역), 도서출판 예경, p. 178
  9. 김용호 (1997) 몸으로 생각한다. 민음사, p. 50
  10. Kohler, Carl (1963). A History of Costume. New York: Dover Publications, INC., p. 193
  11. Brattig, Patricia (ed.) (2003). Femme Fashion 1780- 2004. Stuttgart: Arnoldsche, p. 163
  12. Brattig, Patricia (ed.) (2003). Femme Fashion 1780- 2004. Stuttgart: Arnoldsche, p. 59
  13. Hollander, Anne. (1994). Sex and Suits: the Evolution of Modern Dress. New York: Tokyo: London: Kodansha International, p. 142
  14. Brattig, Patricia (ed.). (2003). Femme Fashion 1780- 2004. Stuttgart: Arnoldsche, p. 65
  15. Brattig, Patricia (ed.). (2003). Femme Fashion 1780- 2004. Stuttgart: Arnoldsche, p. 87
  16. Fukai, Akiko et al. (2002). Fashion: A History from the 18th to the 20th Century, Koln: Taschen, p. 153
  17. Milbank, C. R. (1985). Couture, The Great Designers. New York: Stewart, Tabori and Chang, p. 18
  18. Steele, Valerie (1991). Women of Fashion. New York: Rizzoli, p. 53.
  19. Steele, Valerie (1991). Women of Fashion. New York: Rizzoli, pp. 61-62
  20. Steele, Valerie (1991). Women of Fashion. New York: Rizzoli, p. 63
  21. Steele, Valerie (1991). Women of Fashion. New York: Rizzoli, p. 83
  22. Buxbaum, Gedra(ed.) (1999). Icons of Fashion: The 20th Century. Munich: London: New York: Prestel, p. 48
  23. Fukai, Akiko (2005). Visions of the body 2005 전시 카탈로그, 서울시립미술관
  24. Steele, Valerie, (1991). Women of Fashion. New York: Rizzoli, p. 42
  25. Hollander, Anne (1994). Sex and Suits: the Evolution of Modern Dress. New York: Tokyo: London: Kodansha International, p. 170
  26. Finkelstein, Joanne (2005). 패션의 유혹: 욕망의 문화사, 김대웅, 김여경 (역), 청년사, pp. 135-136
  27. Buxbaum, Gedra(ed.) (1999). Icons of Fashion: The 20th Century. Munich: London: New York: Prestel, p. 172
  28. Husain, Humairated.) (1998). Decades of Beauty, New York: Octopus Publishing Group, p. 185
  29. Buxbaum, Gedra(ed.) (1999). Icons of Fashion: The 20th Century. Munich: London: New York: Prestel, p. 140
  30. Handley, Susannah (1999). Nylon: The Stow of a Fashion Revolution, Baltimore: The Jonhs Hopkins University Press, p. 145
  31. Handley, Susannah (1999). Nylon: The Stow of a Fashion Revolution, Baltimore: The Jonhs Hopkins University Press, p. 146
  32. 김민자 (2004). 복식미학강의 2, 교문사. p. 217
  33. Fukai, Akiko, et al. (2002). Fashion: A History from the 18th to the 20th Century, Koln: Taschen p. 115
  34. Hollander. Anne (1993). Seeing through Clothes. Berkeley: University of California Press, p.xiii
  35. Steele, Valerie (1991). Women of Fashion. New York: Rizzoli,p. 143