• Journal of Fashion Business
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• v.5 no.4
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• pp.101-117
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• 2001

Artist's creative works is accomplished in the very complicated network being in fluenced each other, getting celebrate from surround and center, and showing repetition and change. It took an important role of 1920's culture with new social and mental feature generated by revolution. It also has been influenced on an intellectual paradigm and artistic tendency. According to the feather the Art to Wear of Constructivism, at first, design as absolution of folk art in Russia prior to the concept is coming up to systematic design and useful article's performance. Courageous arrangement of color and rhythm is unique. The second is a tendency clothing design of productirism. It is connected with material culture and artists insisted creature of productive material that is a essential in life than Arts in museum. The third, tendency clothing design of minimalism emphasis functional aspect that is produced industrial aesthetics. The examples are simply designed and functional cloths for sorking uniform. This thesis is studied about clothing and textiles of major artists, formative property, and international reflection from October revolution in 1917 that is strengthen a system by introducing a new economic policy to a five year plan.

• Archives of design research
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• v.13 no.3
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• pp.271-280
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• 2000

This is the deconstruction of functionism and means the complex phenomenon of disharmony such as the reputation of purity, search for history, irony and so on. The perceptional system of post modernist and deconstructionist philosopy, that allow us to have the critical angle of view such as the deconstruction of the existing foundation and the absence of the meaning of the reasoncentered thinking of the west, is shown to be grafted into design, fashion and so forth. These elements are taking root as the style of the end of the 20th century. The deconstructional fashion revolting against the existing regime has been reconstructed and created a innovative aesthetic sense by going so far as to address the way that doffing is formed, the way to handle materials and physiological and psychological elements. The deconstructional fashion depicted on new interpretation of the body proportion with planeness and specificity while ignoring three-dimensionality , structuristic rationality

• Journal of Fashion Business
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• v.20 no.2
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• pp.97-106
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• 2016

This study aims examine specific image preferences through selected fashion style and evaluation terms. Therefore, this study provided basic information in order to help select a suitable fashion style within a desired image. As times are changing, most people obtain information about fashion through the use of the Internet by utilizing mobile phones and personal computers and less through magazines, newspapers and so on. When people buy clothes, they seem to be more influenced by the design and color than by price and quality. It is not perceived important for buying like company, advertising, the place of purchase etc. The results of the analysis reveal the structural elements of an image having a sense of fashion style and can be categorized as a natural image, romantic image, elegance image, casual image and avant-garde image. Among the six fashion styles, the natural image is regarded the highest A style. The romantic image is the highest B style and elegance image is the C, D, E style. The casual image is the highest F style and avant-garde image is a D style. In regards to appropriate fashion style by ages, the twenty-something population is investigated in finding a fit that is lively and vibrant in style while the thirty-something population is perceived to identify with a more feminine style. The forty-something population has shown to prefer a more luxurious style. Through this observation one can see that there is a distinction is fashion style between ages.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.50-65
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• 2007

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 form, my study develops a framework by which to classify the planarization of the body in Japanese avant-garde fashion. In order to inquire the formative style and aesthetic values expressed in Japanese avant-garde fashion, my study examines subjects from the discourse on the body to the fashion collections of the 20th and 21st century. The results of the study are as follows. Japanese avant-garde fashion focuses on a planarization of the body which questions the three dimensional construction of the body in more conventional clothing system. Un-structured, variable space posited between the body and clothes, participation of the wearer, attention to recent technology and material, and absence of gender identification characterizes the planarization of the body in Japanese avant-garde fashion. The absence of body in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body Ultimately, planarization of the body betrays the correspondence between signifiant and signifie in sartorial convention. 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 Japanese avant-garde fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Home Economics Association
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• v.38 no.12
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• pp.257-269
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• 2000

예술작품은 의상디자인에 영감 혹은 영향을 줌으로써 상업적 의상으로 재생산된다. 오늘날까지도 60년대의 많은 팝 아티스트 작품들이 그대로 T셔츠 등에 프린트되는 것을 쉽게 볼 수 있다. 이러한 직접적 영향에는 자주 맹목적 표절이라는 논란을 불러 일으켰으나 긍정적이든 부정적이든 예술작품과 의상 디자인은 20세기초부터 밀접한 관계를 가져왔다. Sonia Delaunay는 예술을 대중과 결합시키는 가장 좋은 방법은 의상을 통해서라고 생각하였다. 그녀는 "만일 예술작품을 생활 속에 들어가게 하려면 그건 여성들 자신이 입고 다니는 방법뿐이다". 라고 말하였다. 결국 이러한 예술의 대중화에 대한 이론은 60년대에 와서 팝 아트 패션의 출현으로 그 결실을 보게 된다. 상류층을 대상으로 한 의상이 대중화되는 과정에서 60년대 경제호황으로 인한 젊은이들의 소비자층 형성과 미술양식에서의 팝아트의 출현은 자연스러운 시대적 조류로 나타났다. 이러한 상황은 팝 아트가 이 시대의 미술 양식에 혁신적일 뿐 아니라, 사회 전반에 팝 아트의 특성(소비 문화적, 대중 문화적, 재현적, 통속적, 기계적, 획일적)을 유행시키고, 대중에게 순수 예술과 복식에 참여 할 수 있는 기회를 부여했다고 볼 수 있다. 따라서 본 연구에서는 가장 혁명적이고도 대중적이라고 할 수 있는 팝 아트 이미지의 작품 제작과 분석을 통하여 현재 논의되고 있는 전시회나 패션쇼에서만 볼 수 있다는 다소 아방가르드 적인 의상 작품들의 대중화 방안에 대한 해결책을 모색하고자 하였다. 실제 의상 디자인 창작에 초점을 맞추었으며, 제작을 위해서 팝 아트에서 주요 소재로 삼았고 대중적 이미지의 심볼이라고도 할 수 있는 Coca Cola label을 표현 모티브로 삼아 개성적이고도 독창적인 의상 디자인을 한 후 분석하였다. 또한 독특한 의상 표현의 개발을 위하여 표현 기법으로는 현대 미술에서 새로운 재료와 여러 가지 재료를 화면에 도입시키는 표현 방법으로서 사용된 콜라주 기법을 사용하였다. 본 연구를 통하여 의상 창작에 있어 조형예술과 연결하여 대중적인 이미지를 도입함으로써 착용자가 예술에 대한 친근하고 익숙한 느낌을 갖게 하며, 예술과 상품 그 자체에 대한 상업적 홍보 목적으로도 사용할 수 있으며, 대중적인 이미지를 표현함에 있어 콜라주 기법은 염색 기법을 사용하지 않고서도 작가가 원하는 표현 효과를 낼 수 있다는 측면을 발견할 수 있었다. 즉 사용된 대중적 상표 이미지는 주인에서 흔히 볼 수 있는 현대 도시의 인공적 환경들로, 의상을 독특하고 개성 있게 표현할 수 있는 모티브의 역할을 하면서 또한 그 예가 무한하여 다양한 디자인 창출의 가능성을 갖고 있으며, 의상을 통해 예술과 대중을 융합시켰다는 예술의 대중화, 민주화라는 중요한 역할을 하였다. 전시회나 패션쇼에서 만 볼 수 있는 예술적 성격을 띠는 아방가르드 작품의 대중 확산 방법으로 제시될 수 있는 이상적인 방법으로는 예술성이 짙은 도저히 입을 수 없다고 생각되어지는 아방가르드한 의상을 일반 대중 브랜드들이 단순한 모방이 아닌 새로운 패러디 작업으로 일반화시켜 상업성을 띤 의상으로 재조정되어 여성들의 몸에 걸치게 하는 것이다. 이와 같은 순환으로써, 조형예술 작품은 의상 디자인 참작에 영향, 영감을 주면서 여러 번의 형태 변화를 거치는 패러디를 통해 각 계층의 누구나가 좋아하고 접할 수 있는 또 다른 창조를 맞아 대중의 손까지 갈 수 있는 것이다.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.14-23
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• 2011

The present study aims to apply the theory of Brecht's 'Verfremdung' or distancing effect to the process of fashion design. The distancing effect refers to an avant-garde artistic technique that enables artists to create their works by viewing particular objects separately from the phenomena that occur around those objects. Brecht encouraged a sense of purpose that involved shifting to the new society sought by modernism. He also suggested an artistic approach that isolates perception from judgment 'Verfremdung' which reflects his approach well. In this paper, with the distancing effect considered as a method for creation, the author identifies the system of thought associated with the distancing method and applies this system to fashion design. To this end, the author first reviewed the concepts of 'Entfremdung' (alienation) and the distancing effect and studied the backgrounds of the two concepts. Next, the author identified Brecht's epic theory and its application. As a result, a method of perceiving objects as used with the distancing effect was noted, and this method was utilized to distinguish the relationship between the body and its clothes. Specifically of interest were parts of the human body and the related functions of clothes as well as the motor functions of the body and detailed decorations on clothes. Moreover, the author discovered a trend in the wearing of clothes that exists in the context of historical changeability by examining Brecht's work as it relates to the types of clothes that are worn. Finally, the author applied the distancing effect to fashion design in consideration of the discovered trend.

• Journal of Fashion Business
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• v.12 no.2
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• pp.100-116
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• 2008

This study aims to analyze the characteristics of deconstruction-ism expressed in the fashion of Alexander McQueen. The method and contents of this study are as follows. The three large categories for analysis are indeterminacy, decentralization, and intertextuality. The indeterminacy of meaning is divided into unstructured and unorganized factors in fashion, while decentralization can be categorized into cross-gender, subculture, and post-humanism. Lastly, inter-textuality is classified into factors of mixing mode and mixed styles. Materials for analysis were chosen from a total of 616 designs from the website, www.firstview.com, which carries McQueen's collection from 2000 S/S through 2007 F/W. My analysis qualitatively evaluates the frequency of each category and the characteristics of design. The result of this study is as followed. First, the avant-garde facets of inter-textuality are most prominent. In particular, McQueen has introduced retro fashion and ethnic factors of the third world, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has enjoyed using two fabrics of different texture in order to inflict a shock and contrast, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of McQueen's fashion design. McQueen has employed unstructured expression techniques, which dismantle harmony and balance, the basic rule of design, and has presented unorganized images free from basic forms of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. Third, the aspects of decentralization were also shown in McQueen's design. His trans-gender clothing dissolves the traditional division of men and women and adopts a mixed gender expression. Furthermore, he has even tried to express a fourth gender by connecting the human with machine or animal or by connecting the material with the non-material.

• Journal of the Korean Society of Costume
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• v.45
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• pp.55-70
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• 1999

The purpose of this study is to offer a new inspiration for fashion design relating the "Romanticism" in art to one in fasion-examining the circumstance expressionad the latest trend which is involved with it. Since. 1990. Romanticism is motivated and represented in the middle of aridity in this age which is going on the end (of age). To say the details Romanticism in fashion is represented modernly in the compound of social grounds cultures and new techniques. Romanticism in fashion is represented modernly in the compound of social grounds cultures and new techniques. Romanticism in fashion is classified in four categories : Retro Avantgarde, Minimal and Ethnic. First Retro mood in Romanticism is represented by reappearing the costumes in medieval Renaissance Baroque Rococo, Romantic era Specially corsets crinolines bustle decorative ribbons frills and Medieval symbols in religion are important factors in intuitional symbolic Romanticism. Second Avantgrde mood in Romanticism is mainly represented in the oriental patterns colors items being motivated by Eastern customs images and cultures. Today they appear in modern concept reinterpreting 'fusion" "hybrid" and "cross-over". Romanticism in fashion is creating new forms and beauties absorbing the past and the present. In addition it is motivated by the nostalgic mood. the expectation for the future and the refineent. Romanticism would be an important fashion theme to offer new inspirations for the fashion in 21th century rather than remain at the reappearance.er than remain at the reappearance.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.20-33
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• 2011

This study aims to analyze the expressive aspect of men's shirts through examining the characteristics of men's shirts with the trend of men's clothing well represented and considering the image based on high fashion. As a method of study, I have conducted the theoretical study through the literature data, and the content analysis through photographs from S/S collection in 2005 to F/W collection in 2010. Especially, in the recent men's shirts, the materials of glossy silk, wavering chiffon and jersey tend to appear and various images are represented with the tasteful decoration such as ruffle, pin tuck and embroidery together with pastel color. Thus, the result of this study is as follows: Firstly, the masculine and romantic images are researched as the image emphasizing the beautiful and soft masculine beauty which doesn't lose the masculinity even though they are seasonedwith the feminine elements. Soft masculine beauty is emphasized by using romantic image decoration of frills, beads and pin tuck or silk, jersey and openwork materials etc. Secondly, practical fusion images have been studied as the images emphasizing the freshness with practicality through grafting more than two items onto one shirt. Many designs have appeared representing new shapes by grafting more than two items onto one shirt or obscuring the border line between the items. Thirdly, the avant-garde chic images have been researched as the image emphasizing the chick image through representing unique and odd designs by excessively expressing the silhouette in general shapes of shirts. I come. to find that the mainly the designs, emphasizing the uniqueness and the distinction with transformed shapes of sleeves, cuffs and the length of shirts in exaggerated manners, are appearing. Thus, I intend to provide a reference material which will be useful for the newly created design and researches of figurative characteristics in the future fashion.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.14-25
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• 2009

This Study is purposed to comparative analysis in the case of balanced with Ethnic image fashion and the event of an unbalanced between fashion and make-up and to reconfigure on the make-up of the features on the Ethnic image Fashion in the 21st century. The result of this study is as follows. First, in the case of Japanese ethnic image make-up, to emphasize applied forms and formative characterization, they generally use circles and horizontal lines. Also the harmony between Japanese image make-up and primary colors like white and red strengthen ethnic images better. In the event of an unbalance between fashion and image make-up, fashion occurs dynamically in Africa and linearly in China. Sexy & natural image make-up also widely appear in the modern view. Second, in the case of African ethnic make-up balanced with African image fashion, the form is repeatedly dotted, widely water-colored, and mattedly textured using ash make-up colors such as white, red, gold, gray and so forth. African image make-up strongly expresses primitive natural beauty adding primal tribal painting art and mask forms. In case of an unbalance between fashion and image make-up, no distinctive ethnic image make-up appears. To emphasize natural patterns as well as splendid & decorative fashion, they try not to use primary colors, but instead focus on natural make-up and monotone colored point make-up, sexy make-up, avant-garde make-up, goth make-up, romantic make-up, glossy make-up.