• 한국의류산업학회지
• /
• 제14권4호
• /
• pp.519-531
• /
• 2012

This study comprehends the various expressions of Lady Gaga's fashion style based on Craig Owens's Allegory theory. This study analyzed four application elements of Borrow, Site Specificity, Accumulate of Strategy, and Hybridization in addition, it studied all aspects of the aesthetic value of Lady GaGa (an influential popular culture icon). It was classified in the external representation of the fashion style for the aesthetic value. The results are summarized as follows: First, 'Borrow' of the singers of the 80's music and fashion style present from her elders and visual homage to shock artists. It influenced her fans with a difference in viewpoint for a star's fashion that subsequently resulted in a deformation of form, playful kitsch style, and mixed gender. Second, 'Site specificity' presents an extreme make over through an intentional and grotesques fashion style to extend physical territory and defenseless. The results remove stereotypes and reveal deconstructive performances. Third, 'Accumulate of strategy' simultaneously presents voluptuous beauty, futurism, and avant-garde style. This shows the countercultural tendency through the random repetition of fashion images and layerd coordination. Finally, 'Hybridization' presents multiful fashion style through a collaboration with world-famous designers and cosmetic brands. She expressed a diverse and complex fashion style composed of an art form that combines a high-tech cyborg image. The aesthetic values of Lady Gaga' fashion style are 'ambivalence virtuality', 'Transcendental mixed gender', 'plural textuality', and 'unexpected play culture'.

• 복식문화연구
• /
• 제6권2호
• /
• pp.109-126
• /
• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• 건축역사연구
• /
• 제12권3호
• /
• pp.101-116
• /
• 2003

The word 'Neo-Modern' means the revival of modernism, specially the concept of the White Geometry of Le corbusier and Mies van de Rohe, and the Neo-Modern movement in architecture indicates the leading aspects appeared in 1990's. Modern architecture was a formalistic art movement. With its historical roots, in Europe extending back to the avant- garde modern architecture in 1920's, Neo-Modern appeared with the name of New York Five, in 1970's. In Japan, there has been an outstanding movements presenting Modernism architectural charateristics, since 1980's. The characteristics of these works can be discerned from the those of Regionalism of Historicalism in 1980's. This study is to investigate and analyze the characteristics of the works of Japanese Neo-Modern architects and to contribute to defining the word, 'Neo-Modernism'. In chapter one, the background, purpose and methode of study are presented. In chapter two, the concept and historical background of 'Neo-Modernism' are studied. In chapter three, the characteristics of Neo-Modernism are studied on the basis of the main concepts and formal characteristics of modernism and New york Five. In chapter four, the tradition of Modernism inside the history of Japanese architecture were studied, specially focused on Metabolism. In chapter five, The characteristics of Neo-modern expressions used in the 18 exhibition and cultural facilities in Japan, established after 1980, are analyzed in terms of 4 expression categories. In chapter six, a synthetic conclusion is presented.

• 한국콘텐츠학회논문지
• /
• 제20권6호
• /
• pp.267-278
• /
• 2020

연극공연 산업은 대표적인 문화 콘텐츠 산업임에도 불구하고 그동안 국가 차원의 지원이 빈약하고 연극 관련 종사자들도 연극환경과의 능동적인 상호작용보다는 연기력 향상 등 개인 노력에 치우쳐온 경향이 있다. 그래서 연극 산업에 대한 실효성 있는 활성화 대책의 필요성이 커지고 있으며, 이는 연극과 연극환경과의 상호작용의 질을 증진하는 데서 찾아야 할 것이다. 이에 본 연구의 목적은 연극 배우들의 연극의 주요 환경인 정치, 기업 및 테크놀로지와의 상호작용 정도가 연극의 활성화에 미치는 영향을 분석하는 것이다. 이를 위해 소셜네트워크 분석을 수행하였다. 연구 결과 매개 중심성이 소셜네트워크 상의 연극 관련 액터(연극인, 연극기관)들의 가시성에 유의한 영향을 주는 것으로 나타났다. 이는 연극 관련 액터가 연극환경 요소들 간의 정보나 자원흐름의 중심에 있을수록 더욱 가시성이 높아진다는 의미이며, 연극이 적극적으로 테크놀로지를 습득하며 아방가르드를 창출하고, 정치 및 기업과의 능동적인 상호작용을 통해 영향력과 외연을 넓히는 노력을 부단히 해야함을 보이고 있다.

• 복식문화연구
• /
• 제24권5호
• /
• pp.642-652
• /
• 2016

The purpose of this study is to understand the concept of a sexual image and verify the method of its design expression through case studies of the sexual image evening dress shown in an Haute Couture Collection over the last 10 years (2005~2014). The results of analysis are as follows: First, "expression by the seeing through of the natural body" expressed a natural sexual image that combined fashion of the previous times with the beauty of the natural body by using a see-through material and classic or ethnic image. Second, "expression of a sexual-image look that emphasizes romantic detail" illustrated a romantic sexual image that emphasizes feminine sensitivity by mixing various ornamental elements such as see-through material and symbolism of underwear image. Third, "creation of a nude look using skin color" expressed sexual image of an evening dress by inducing erotic sexual association through a combination of opaque material of skin color and design shape that is intended for body exposure. Fourth, "combination of sexual symbol and heterogeneous elements" expressed a decadent, avant-garde and futuristic sexual images by using women's underwear and a sexual symbol as design motif and mixed with mismatching elements. Fifth, "use of a fantastic black image" expressed an exclusive and refined sexual image and a decadent and primitive sexual image by using a fantastic image of black color. The results of this study are expected to be used for the design process of the evening-dress industry that aims for quality improvement.

• 복식문화연구
• /
• 제24권5호
• /
• pp.626-641
• /
• 2016

Maximalism in modern fashion, which is contrary to the current fashion market that emphasizes functionality and practicality, is an important notion that has been expressed in a variety of ways through designer's unique sense with a mixture of experimental design. With such creative work that suits a trend in novel fashion design, Rei Kawakubo is a current representative of Comme des Garcons who has not only introduced deconstructivism and Japanese-style avant-garde to the fashion industry for the first time. Our research, thus, analyzed the characteristic of maximalism's expression based on the features represented in her collection. Firstly, Expandability is classified as a method of distorting parts of a body and a method of excessively overinflating the silhouette of clothing. Secondly, decorations are expressed in the other as blending different types of materials together. Thirdly, fantasy evokes a fresh and stimulating surreal sensation that may only be felt in an imagination by assigning supernatural and amusing expression to the garment. The forth, fusion refers to a creation of novelty from combining various types of elements and images. The fifth, experiment is unique trait that develops mysterious images, consisted of various details. The sixth, non-structure is different from an initial form of garment that maintains a bilateral symmetry. The importance of our research lies in proposing a fundamental data for development of creative design as well as in expanding a range of possible expression for maximalism, by analyzing the characteristics of maximalism seen in Rei Kawakubo's collection.

• 패션비즈니스
• /
• 제11권4호
• /
• pp.52-68
• /
• 2007

[ $Courr{\grave{e}}ges$ ]Look style has been showing up continuously since 1980s in the fashion world. In response to that, this study aimed to look into the trend of design in 1960s and examine the formative artistic characteristics in $Courr{\grave{e}}ges$ Look in order to explore the $Courr{\grave{e}}ges$ Look of Andre Courregs. Following the flow of the times, the $Courr{\grave{e}}ges$'s design has transformed and developed through the styles of the pants suit look, the space age look, the mini look and the sporty look. His own style constructed by simple line like a mini skirts, accurate rates, geometric patterns, high tech materials, vivid color and etc, in 1960s. He has also innovated the fields of textile, garment cutting, details, and accessories. The $Courr{\grave{e}}ges$ Style was expressed by pure&avant-garde style, sporty&modern style, cheerful&reveal style and dynamic&funny style. Functionality with humor to $Courr{\grave{e}}ges$ was an important element that expresses both youth and casual. For the active, new woman, not only a funtional beauty but also a futuristic sensibility is expressed in the $Courr{\grave{e}}ges$ Style.

• 디자인학연구
• /
• 제19권1호
• /
• pp.49-58
• /
• 2006

본 연구는 다원화된 현대건축에서 나타나는 현상의 하나인 단일체적(monolithic) 표현 성향의 특성에 관한 것이다. 다양한 건축적 표현 중에서 단일체 건축은 형태적 산만함이나 분열, 이론에 치중한 형태적 복합성의 난해함을 대치하려는 의도로 해석되고, 현시대의 불안정성, 불확정성, 유동성 등이 강조되는 아방가르드적인 건축이론이나 작품경향에 반해 건축의 위상과 자율성 확립을 통한 반발이기도 하다. 이런 단일체 건축은 단순하고 경제적인 구조를 빈틈없는 외피로 감싼 형태적 엄격함을 보여주면서 인식이 용이한 이미지를 구축함으로써 독자적 아이덴티티를 갖춘 형태의 자립형 건축이라 할 수 있다. 외관의 추상적 형태를 이용해 형태묘사적인 아이덴티티를 구축하거나, 크기나 스케일을 과장함으로써 존재감을 강화시키기도 하며, 색, 재료, 마감, 단면형태 등을 이용하여 내부공간과 외부공간을 중재하는 표피를 전략적으로 탐색하기도 한다. 이런 단일체 건축은 오늘날의 다중적이고 불확정적인 상황에서 건축적 아이덴티터를 확립하기 위한 노력의 일환으로 받아들이는 것이 합당할 것이다.

• 한국의상디자인학회지
• /
• 제20권2호
• /
• pp.101-115
• /
• 2018

The purpose of this study is to contribute to the development of the women's fashion field with the goal of creating creative and experimental fashion styles through the categorization of cases of women's fashion design expressed with Maximalism, a type of expression used in modern fashion, as well as analyzing and examining the formativeness of this style. Qualitative research was conducted through a literature review and design case analysis. The scope of this research was from 2011 S/S to 2016 F/W, and the regional scope included the women's collections from Paris, Milano, London and New York. The results acquired are as follows. Initially, exaggeration was expressed through excessively exaggerating the overall silhouette of clothing or exaggeratedly distorting certain parts of the overall silhouette. Secondly, decoration was expressed through the use of the same colors and materials and the addition of excessive details and trimmings to express an exaggerated style of clothing as well as to express a luxurious and handcrafted style of clothing. Thirdly, fusion was expressed through integrating multiple items from different cultures, deconstruction, which destroys the concept of gender and use of clothing, and fashion style that transcends time and space. Fourthly, non-structurality was expressed through differentiating multiple weight feelings applied to the left/right sides of clothing or expressing a structural designs that is asymmetrical to the upper/lower/left/right directions to create a silhouette that displays a creative avant-garde style. As examined above, it was found that the maximalism expressed in fashion after 2011 created new images and expressed maximized emotional orientations through the exaggerated use of multiple silhouettes and decorations or through the integration of colors, patterns, ages and images. Through this process, maximalism is expected to not only provide an infinite possibility to the modern fashion that pursues diversification and multiplication, but also serve as an example that represents diversified post-modernism fashion trends in the future.

• 복식
• /
• 제52권4호
• /
• pp.155-171
• /
• 2002

Trompe-1’oeil technique strategically conceived with a view to effectively realize creative ideas among the expression techniques of fine arts style has provided the driving force in development of fine arts and has continuously influenced development of the modern fashion pursuing unique individuality. The purpose of this study is to open a new horizon for the development of fashion as a practical art, and to seek the expansion of the creative domain and ultimately to contribute to the creation of original and creative fashion by examining the interrelationship between Trompe-1’oeil, which has long been utilized and positioned as one of the leading fine arts techniques with the advent of surrealism in the beginning of the 20th century and the modern fashion. The study is focused first on finding out how Trompe-1’oeil technique originated in connection with researching the fashion of Trompe-1’oeil and on analysing the techniques of expression, and then on investigating into Elsa Schiaparelli, pioneer of Trompe-1’oeil technique to identify her influences, and finally on classifying clothes employing Trompe-1’oeil technique by their expression method to examine how Trompe-1’oeil technique has been applied to modern clothes. As for the research method, the researcher has referred to fine arts books, collection of pictorial records and the like to gain conceptual understanding of Trompe-1’oeil and to examine the expression method and the features of Trompe-1’oeil, and collected and referred to fashion books and fashion marazines to understand Elsa Schiaparelli and the expression tendencies of Tromprf-1’oeil in modern fashions. Particularly, the researcher has attempted to search the correlation between modern fashion and Trompe-1’oeil technique. As a result of this research, the researcher has managed to classify Trompe-1’oeil technique expressed in modern fashion into ‘harmony’, ‘application of the human body’, ‘front and back’, ‘surface and inside’. ‘completion of the incomplete’ and ‘detail.’ The researcher has also noted that Elsa Schiaparelli, a surrealist first applied Trompe-1’oeil technique to clothes and confirmed that quite a few avant-garde clothes designers following Elia Schiaparelli, by using Trompe-1’oeil technique in clothes, recently recreate fresh feelings.