• 패션비즈니스
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• 제11권1호
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• pp.26-37
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• 2007

Madeleine Vionnet(1876$\sim$1975, France),the most prominent figure of the 20th century draping, started her apprentice in France in 1888 and expressed feminity of adult products through her various works until she closed the house in 1940. The feminine designs of the adult style appeared in 1930s, whose characteristics were silhouette and details that emphasize the body, and bias designs. Not only Vionnet, but also Chanel and Schiaparelli were the representative female designers at that time. The preliminary researches of Vionnet designs were mostly focused on her cutting methods. This paper purports to examine Vionnet's bias cutting method, to compare Vionnet with female designers of Chanel and Schiaparelli who led the mode of 1930s with feminine designs for the adult products in that period, and then to attempt creative designs by use of bias cutting.

• 복식문화연구
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• 제19권6호
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• pp.1193-1204
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• 2011

As designs that simulate man's five wits are important, all five senses used are complex. Tactil value by Bernard Berenson means that the object in fine art makes the spectator feel like his or her finger is touching something, although the spectator is distant from the art piece. Especially as costumes have a relationship with the flexible skin and moving body, tactile modality and tactile value is more important. In order to analyze how Madeleine Vionnet realized a new femininity through the application of the principal of tactile value to dress design and in order to define tactile value in the field of fashion, this study examines the theory of tactile value, sculpture, painting, contemporary art, and product design as well as the design of Madeleine Vionnet from 1925 to 1937 because she was in the fashion business enlarging dress shops in New york during this period. The shape of Madeleine Vionnet's dresses made the concealed body alive through organic curves pressed against the body from cuts and dissections based on the anatomy of a supple body with curves and movement. In the garments, soft physical characteristics or the glossy touch of silk or pile textile imitated smooth skin while colors similar to a woman's eye, hair, and skin color continue the impression of the dress extending to the body through these design elements, Madeleine Vionnet's dresses reinforce the will to touch female body hidden under the dress by tactile values, not by the body's modification or visual exposure.

• 패션비즈니스
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• 제14권2호
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• 복식문화연구
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• 제4권1호
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• pp.93-109
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• 1996

Madeleine Vionnet, a representative designer of the 1920′s, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This is because she developed a three dimensional design by expressing cloth-she rejected corset, should pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tired Bias cut" and "Handkerchief point" she let the skirt hemline dangle irregularly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the human body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

• 복식문화연구
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• 제10권6호
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• pp.763-780
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• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• 한국의류학회지
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• 제29권12호
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• pp.1582-1594
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• 2005

이 연구의 목적은 패션디자인에서의 형태의 중요성을 이해하는 새로운 시각을 제시하는데 있다. 뵐플린과 드롱의 이론을 바탕으로 Flat St Rounded, Closed & Opened 과 Part & Whole의 세 가지 형태를 보는 시각을 가지고 Vionnet와 Dior 작품에서의 형태미를 분석하는데 적용시켜 고찰해 보았다. Vonnet와 Dior은 그들의 디자인에서 형태와 구조를 디자인의 기본원리로 하여 기하학적인 형태를 그들의 디자인에 적용시킨 디자이너들이다. Vionnet의 10작품과 Dior의 11작품을 선정해 Belong의 visual priorities diagram을 적용시켜 각 디자이너 작품의 형태미를 고찰하고 비교해 보았다. Vionnet는 의복과 인간의 신체 사이의 관계를 통해 새로운 형태미학을 창조해 냈으며 그녀의 작품은 2차원 또는 3차원이라는 공간의 차이에 따라 형태의 전위를 보여주는 독특한 형태학적 특성을 보여주고 있다 그녀의 작품은 2차원의 공간에서는 평면적이고 닫힌 형태인 삼각형, 사각형, 원으로 구성되어 있으나 바이어스 재단에 의한 입체재단 방법을 통해 3차원의 공간에서는 입체적이고 열린 형태로의 형태변형을 한다는 특징을 나타낸다. Dior의 작품은 인체의 자연스러운 형태보다는 인위적인 형태미를 보여주고 있으며 이는 Vionnet작품과의 커다란 차이점이다. Dior은 3차원의 공간에서 구, 각기둥, 원기둥, 각뿔, 입방체와 같은 입체 기하학의 형태를 사용하여 의복의 형태를 만들어 냈고 이는 다아트 변형, 보닝, 개더, 턱, 플리츠, 셔링과 같은 구조주의적인 기술을 통해 실현되고 있다. Dior의 작품은 3차원의 공간에서 인체의 형태와는 무관한 의복 자체만의 형태를 가지고 있으며 이는 입체적이고 닫힌 형태적 특성을 가진다.

• 한국생활과학회지
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• 제22권2호
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• pp.315-328
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• 2013

The purpose of this study was to analyze on the aesthetic collaboration appeared on the modernism arts and Haute Couture designers in the 20th century as the necessity of analyzing on the pure meaning of collaboration which is a talking point associated with culture of the 21st century. The study was performed by means of documentary method. The results are as follows; First, it was analyzed that the collaboration in the pure meaning of the first half of the 20th century had partial common points which was stated as Art Inspiration in the arts collaboration out of the 21st century collaboration. Secondly, the Haute Couture designers(Paul Poiret, Gabriell Chanel, Madeleine Vionnet and Elsa Schiaparelli) have common point that they involved into the artworking through active exchange with many artists from diversified fields in the 20th century. Especially, the characteristics of the collaboration in the forms, materials and color of their works were appeared visually. When the collaboration in the first half of 20th century was regarded entirely as mental matter of manifestation of pure aesthetics, in can be said that the big difference was mostly the maximization of mutual interest between collaborator and collaboratee in the 21st century collaboration.

• 패션비즈니스
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• 제4권4호
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• pp.1-16
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• 2000

The purpose of this study is to investigate the formative beauty, changes in fashion and aesthetical sense that can be seen in the bias drapings of Madeleine Vionnet and her influences on modern fashion since she used draping as a new fashion means to represent the new feminine images which modernism of the early 20th century and social changes from the two great World War's generated, and to provide proper data to encourage designers' creativity that is wanting in the circle of Korea fashion. Bias draping led women to respect worship their body from the heart with seductive modernism enriching the material's texture to the utmost through geometrical patterns of triangle, quartered plane and quardrants and simple cylindrical cuts and with an attribute adapting itself to the wearer's body. Bias draped wear consisted of light and transparent materials and overall surface decoration revealed women's movements and sought the extension of environmental movements and demonstrated its eroticism. On the other hand, biased daywear gained anonymity through cutting true to body line and psychological protective quality as of cape, and this went well with the independent femininity accepting difference as well as pursuing revolution from the inside. The great inflation and the 2nd World War gave birth to escape from reality like surrealistic artistic tendencies and Hollywood films and increased romanticism. Bias draping once underwent unpopularity except in expensive clothes due to knit wear boom and the utilization of new elastic materials, however, it began to receive lights again from pluralization waves and retro tendencies and to be introduced in many designers' collections. A young genius of England, John Galliano improved functions of Haute Couture through creation of new styles and fantastic shows to promote profits in the fashion markets. Bias draping fitted in human body line provides us comfort and aesthetic qualities through careful choice of material and elegance by delicate cutting.

• 복식
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• 제61권8호
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.