• 복식
• /
• 제67권2호
• /
• pp.68-87
• /
• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• 조형예술학연구
• /
• 제7권
• /
• pp.185-205
• /
• 2005

This study is about the aesthetic function of product design. On the basis of aesthetic characteristics inside the products, the main purpose of this study lies in the interpretation of aesthetic function in terms of provider and receptor. To interpret the aesthetic function of product design, many attempts had been made with theorists who studied the aesthetic function in product modeling. Especially, this study is systemized from Haug's product aesthetic criticism to Vershofen, Loewy, Villeger, Buerdeck, Packard and Sombart's interpretation. Under the point of view of both provider and receptor, this study analyzes the different characteristics of interpretation on the basis of above theorist's concept. This analysis is able to demonstrate the rationales of the demands in current prestigious design and understanding of concrete design principals. Accordingly, the future study will be proceeded with interpretation of aesthetics functions in prestigious design.

• 한국융합학회논문지
• /
• 제11권4호
• /
• pp.157-163
• /
• 2020

본 논문은 도시 생활구조물 활용을 위한 CIGS 태양전지 심미성 향상 제품디자인 개발융합연구로써, 기존 태양전지 패널의 문제점을 파악하고 제품디자인의 심미성 요소를 바탕으로 설문조사와 FGD [전문가 집단 토론]를 통해 CIGS 태양전지 심미성 향상을 위한 전문적인 심미성 요소를 도출하였다. 도출된 심미성 요소 중 '환경 조화성', '패턴 균형성', '시대 보편성' 이렇게 상위 3종을 콘셉트로 제품 디자인 프로세스를 진행하여 심미성 향상을 위한 CIGS 태양전지 모듈 디자인과 어셈블리 디자인을 도출하였으며, 제품 시뮬레이션을 통해 아파트, 베란다와 창호, 스트릿퍼니처에 적용했다. 본 연구는 추후 실제 도시 생활구조물에 활용해 심미성과 CIGS태양전지의 기능을 적용하기에 적합하며, 향후 연구방향은 다양한 패턴과 구조적 디자인개발에 관한 연구가 필요하다.

• 복식
• /
• 제61권2호
• /
• pp.1-19
• /
• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• 패션비즈니스
• /
• 제6권4호
• /
• pp.62-82
• /
• 2002

The purpose of this study was to investigate the Avant-garde's aesthetic values and expressoinal characteristic, and to find out(analysis) the design characteristic of Avant garde fashion since 1995. Expressoinal characteristics of Avant garde with the anti-aesthetic, radically pursuing newness, and open mind, are revealed dynamism, hostile innovation, and experimentalism. Futuristic images expressed in dynamism represent space style, body conscious style, cyborg style, kinetic style, and primitive style. And deconstructional images related to hostile innovation show punk style, grunge style, humor style, and abstractive style. Also surreal images related to experimentalism hold erotic style, depasemant style, deformation style, and collage style. The proper usage of newness offers the escape, the vividness, and the humour from the fatigue of the life and so, it is expected to offer the chance of transfering the active individuals and societies directly or indirectly By analyzing the instances for the images of avant-garde fashion since 1995, the contribution about the expectation of the design trends of the present and future is expected.

• 복식
• /
• 제63권4호
• /
• pp.101-117
• /
• 2013

The purpose of this study is to consider the works of Nick Knight, the most influential fashion visual maker, to find out the characteristics of his works. For the research method, literature reviews were done by studying his book, viewing the articles on his official web site, reading journal review of his works and his interview articles. For the work analysis, fashion brands 'Christian Dior', 'Alexander McQueen', 'Martin Margiela', 'Hussein Chalayan' and 'Gareth Pugh' that have worked with Nick Knight were selected. The characteristics of his fashion works were derived from overall analysis of fashion visual works. The characteristics of Nick Knight's works are as follows. First is the 'innovation of image expression'. He used digital infra in advance and introduced digital images at the initial stage. He used fashion films as the means of communication and tried new image expressions in 3D. Second is 'breaking down the boundaries of creating process'. He worked with various field experts to make high quality works. He invited the public to participate in his creative process through the internet. Third is 'breaking down the categories of aesthetic expression'. He provided a wide variety of aesthetic standard and refused aesthetic stereotype. He broke the boundaries between fashion and art with a unique technique and high values.

• 한국콘텐츠학회논문지
• /
• 제12권12호
• /
• pp.587-596
• /
• 2012

본 연구는 디자인 3대 요소인 '심미성', '재료', '기능성/구조성'의 요소에 '제거', '감소', '증가', '창조'라는 4가지 디자인 사고 틀 적용을 통하여, 새로운 제품디자인 컨셉 및 아이디어개발을 위한 사고방법을 제안하였다. 본 연구에서 제안 된 혁신제품 아이디어 창출 방법의 검증을 위해서 성공적인 혁신 제품 디자인 사례로 소개된 232개의 제품들을 분석하였다. 그 연구결과의 대표적 결론은 다음과 같다. 첫째, 본 연구에서 개발한 '대표적인 디자인 가치요소인인 '심미성', '재료', '기능성/구조성'의 요소를 기준으로 한 4가지 디자인사고 프레임?'은 혁신제품 디자인 개발을 위한 시스템적인 창의력 사고 방법에 도움을 줄 수 있을 것이다. 둘째, 혁신제품 디자인 사례 분석 결과 41%의 혁신제품디자인은 디자인 요소 중 '기능성/구조성'의 혁신을 통하여 이루어졌다. 셋째, 기존의 혁신제품디자인(74%)은 디자인요소에 대한 가치의 '제거와 감소' 보다는 디자인요소에 대한 가치의 '증가와 창조'를 통하여 이루었다. 본 연구에서 제안한 연구 결과는 디자이너들이 가장 힘들어 하는 아이디어 창출에 있어서, 또 다른 시스템적인 아이디어 창출 방법을 제안한 것이다.

• International Journal of Advanced Culture Technology
• /
• 제7권2호
• /
• pp.113-124
• /
• 2019

Stanley Kubrick's 1968 film titled 2001: A Space Odyssey has generally been considered as a monumental piece of mainstream epic science-fiction. However, this film can be evaluated as having properties of experimental cinema by boldly trying technical innovation and aesthetic experiment in various aspects. From the filmmaker's process to filmic structure, technical innovations, screening method, $mise-en-sc\grave{e}ne$, cinematic style and its (auto-)reflexivity, 2001: A Space Odyssey is highly experimental. We will attempt to separate out aspects of 2001: A Space Odyssey that derive explicitly from traditions in experimental cinema, whether adopting those traditions or innovating within them, by identifying the film's experimental strategies and relating them to other experimental films that came before and after. This will show that the purely formal characteristics of the film's conception carry meanings on their own relating to Kubrick's personal expression, ideas about cinema and philosophy that go beyond the scope of the film's narrative.

• 복식문화연구
• /
• 제8권1호
• /
• pp.102-114
• /
• 2000

The works of the Futurism were developed along with manifestos and statement in publishing. Futurist aesthetic and ideological agenda on futurist fashion displayed in manifestos on clothes. Futurist fashion propagated in consummate Futurist style through the written manifesto. The Futurists anticipated much of modern fashion phenomenon. In Futurist Men's Clothing, men's clothing is aggressive, agile, dynamic, simple and comfortable, hygienic, gay, luminous, volatile, asymmetric and variable. In Futurist Manifesto on Woman's Clothing, woman is now a principal agent of revolt, a walking synthesis of the audacious, performance-oriented aesthetic of the futurist universe. For Futurist woman's clothing they claimed ingenuity, daring, and economy. The Futurist Manifesto of Italian Hat was continued with their provocative style and radical ambition. Their innovation will rescue a lagging Italian expert and restore the Italian male to his former Iatin Vigor. Speed, dynamic, utility, and funtionality are the main characters. In Futurist Manifesto of Italian Cravat, Futurist cravat is called Anti-cravatta, which is anti-traditional style and made of unconventional materials. In general, the Futurist argued for clothes that promoted simple and functionality. These Futurist fashion project were invention of the new style, avant-garde style, in daily wear and were realized for the renewal of taste in clothing design as a modernizing factors.

• 복식문화연구
• /
• 제27권1호
• /
• pp.11-19
• /
• 2019

The mass production after the industrialisation and the fast changing fashion cycles in today's world resulted in buying clothes and home textiles more than we need and discarding them before they complete their life cycles. This causes vast amounts of textile waste that creates environmental issues. Upcycling is the creative process of transforming clothing and textile waste by reusing deadstock or used fabric to create new garments and products. It holds importance in terms of sustainability, reducing waste and environmental pollution. During the process of upcycling, certainly the creativity and innovation are the key words because to reuse a product to a better value needs a creative mind, aesthetic consciousness, innovative look and knowledge and it is quite different from a normal design procedure. There is a delicate level of aesthetics which carries the reused materials to a higher value. The handling of the materials, knowing how to manipulate the waste material, the techniques available to apply to surfaces, the concept of two and three dimension on textiles and clothing, contributions of other branches of art such as sculpture and painting all help the designer to reach a higher aesthetic value in the upcycled product in this process. In the study; it was aimed to raise awareness, to attract attention to sustainable fashion and also to contribute to sustainable development as an upcycling design project realized with students in textile and fashion design education taken as an example.