• 복식
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• 제29권
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• pp.143-158
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• 1996

It was the year of 1903 when avantgarde artists in Vienna gave a birth to the Wiener Werkstaette under the influence of Aesthetic Movement and Guild of Handicraft from England. This study is on the backgrounds of the birth of the Wiener Werkstaette its artis-tic motto and world-wide echo it provoked. This thesis goes back to the time when the decadent Wiener Secession shaped up refiewing the Reform Movement It also covers characteristics works of major members of the Wiener Werkstaette which were produced on the basis of the concept of Gesmtkunstwerk, The conclusion of this study is that : 1. Without losing its own specifc features various fields of formative arts were combinded together coherently and succeeded to realize the idealistic art that is the com-posite are 2. The Wiener Werkstaette was strongly opposed to the ready-made clothes which be-came popular as the society was Industrialized and commercialized. unlike those ready-to-wear clathes those members of the Wiener Werkstaette preferred to make each clothes with different mateirals and printed their own unique pattern designs. 3.As a results of close relationships between the Wiener Werkstaette and paul poiret 'Stu-dio Martine' was established in paris and new pattern deslhns were introduced by Raoul Dufy. 4. After the break-out of World War One cultural exchanges with other foreign countries were vuirtually cut off and the Wiener Werkstaette was disconnected from the influence of Parisl That was the motive for Wiener Werkstaette to start building up its unique artistic style with peculiar materials techniques and methods of productionl Those brisk and creative activities of the Wiener Werkstaette brought forth "the Golden perlod of 1920s" 5. Its historic design and ornamental pattern were assessed as a prelude to the Post-mod-ernism Since the late 1970s with the redis-covery of the culture of vienna in 1900s. the Art to wear which was created by the 'Wiener Werkstaette' but unfortunately tucked away by the Greate Depression and nationalism has been revaluated and studied. In Korea it was since 1985 when 'the art to wear' began to gain attention widely. It is urged that the theory of the 'Gesamtkunstwerk' should be also ac-cepted and shared earnestly.

• 한국의류산업학회지
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• 제18권4호
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• pp.399-411
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• 2016

This research reviewed the developmental process of domestic outdoor wear and later analyzed the images given out by men's outdoor wear. The research results are as follows. First, military supplies left by American soldiers were dyed or reformed and then worn, and daily wear were mainly worn in the 1960s. Wears made from light and waterproof materials were worn and equipments were used in the 1970s. High functioning materials which allowed simultaneous breathability, waterproof and thermal insulation functions were used for wears in the 1980s. For the jacket especially, functionality was enhanced sith zippers, snaps and velcro to prevent cold air penetration in the 1990s. Florescent piping decorations and logo decorations, and prints and colors which reflected the trend, were used to emphasize fashionity and decorativeness in the 2000s. Second, Sophisticated image emphasized urban feeling with toned-down windbreaker jackets without much detail, with down jacket and pants. Casual image expressed a relaxed feeling with windbreaker jacket, shirts, jumper, vest and pants made of cotton, mesh knit and denim. Active image emphasized functionality by brightly colored windbreaker jackets, down jacket and pants. Ethnic image expressed an exotic mood with windbreaker jackets with stylized prints, with jumper, down jacket and pants. Military image showed a strong masculine feeling with jackets adorned with epaulettes, khaki colors and camouflage prints, with jumper, T-shirts, vest, shorts and pants. Avantgarde image exuded an experimental and unique feeling with jackets made of various colors and materials, such as cotton, jersey and glossy materials, with down jacket and jersey pants.

• 한국생활과학회지
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• 제17권5호
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• pp.975-987
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• 2008

The purpose of this thesis is to conduct a thorough research on shoes of 2000s, understand the changes and analyze the differences and the characteristics of the shoe designs of the past and present in order to predict and indicate the future direction of the women shoe designs. The shoes of the millennium not only kept the old fashioned shapes but also showed futuristic shapes. With the increasing importance of shoes in fashion, shoes with various images were created. As far as the materials are concerned, natural materials and artificial materials were both used. The colors were vivid and the futuristic colors. On the other hand, pastel toned colors and romantic colors were used in many different designs and shapes regardlees of the seasons. Straps and hills differed from the oldies. Heavy decorations were added to strap shoes to form a whole new design and hills show geometrical platforms or the avantgarde like heights. Feminine images overwhelmed the shoe designs of the millennium. To elaborate, Pumps displayed feminine images the most for it showed a high frequency number regardless of the seasons. Shoes are presented in aesthetical perspective rather then functional or practical perspectives that are based on human nature. Cultural, social, environmental and some part religious factors had a great influence on the evolution on the shoes. Especially in the 2000s, future oriented concepts were implemented on shoe designs, resulting a wider range of expressiveness and in the end leading to a more creative shoe designing. Changes in shoe designs could be pointed out in many ways according to the shapes materials, colors, modeling of decorations or also with the diverting trends.

• 디자인학연구
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• 18호
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• pp.165-174
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• 1996

1950년 독일의 브라운 사는 시장에서의 우위를 확보하고자 제품들에서 확고한 현대적 디자인의 실현을 근간으로 한 경영전략을 추구하기 시작하였다. 디자인 실장인 프릿츠 아이홀러(Fritz Eichler)박사는 울름 조형대학(Hochschule fur Gestaltung Ulm)이 한스 구겔로(Hans Gugelot)그리고 오틀아이혀(O시 Aicher)와 함께 코퍼레이트 아이덴터티 프로그램(Corporate Identity Programme)의 기초로서, 브라운 디자인 경영전략의 초기 기본 지침을 개발하였다. 그리고 1955년 이들에 가담하게 된 디터람스(Dieter Rams)는 브라운 디자인 전체의 형태를 특징 짓는 인물로서, 그 디자인의 계속적인 개발을 이끌어 왔다. 1950년 중반에 브라운 사의 전 제품 프로그램은 새로이 디자인되어지기 시작했고, 이는 곧바로 시장에서의 명백한 성공으로 이어졌다. 그리고 당시 독보적인 하나의 아방가르드(Avant-garde)운동이었던 브라운사의 새로운 디자인 라인은 일종의 객관화 할 수 있는 “훌륭한 형태(Good Form)”에 대한 생각의 본보기가 되었다. 이로서 브라운 사의 제품 프로그램 전체가 새로운 라인에 따라 재 디자인되어진 60년대와 70년대에, 브라운 디자인은 전 세계 디자인 분야의 현장에 결정적인 영향을 끼쳐왔다. 목적에 대한 완벽한 충족, 정밀함, 안전성, 내구성, 제품의 질 그리고 점차 최근에 들어서는 환경에 조화를 이루는 것 등에 기초를 두는 브라운 디자인은 무엇보다도 근본에 있어서 기능적이고 구체적이다. 그래서 브라운 제품들의 모든 요소들은 유사하게 조화를 이루어 통일 감을 주고, 모든 불필요한 세부사항들을 제거하고 필수적인 요소들을 체계적인 정돈에 집중되어 있다.

• 복식
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• 제56권3호
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.