• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.121-134
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• 2004

Wiener Werkstaette(workshop) established in 1903 was an artistic handicraft working group, the central figure of which was an architecture, J. Hoffman. Especially its textile design part established in 1910 produced good results. The textile design part of Wiener Werkstaette took total artwork (Gesamtkunstwerke), which Pursued artistic work in all visual parts of life, as a central concept of their work and tried to insert the artistic creativity into the textile design. Regarding the influence relationship between Wiener Werkstaette textile design and formative art, it was influenced by the geometric tendency of C.R. Mackintosh and the style and motive of Japanese art. From 1910's, bright, vivid and cheerful designs were mass-produced by uniquely using various motives, techniques and colors. The formative significance of Wiener Werkstaette textile design are as follows. Firstly, the pattern includes both rational and sensual elements. Secondly, the aesthetic patterns of Wiener Werkstaette include formative elements anticipating the modernism. The leading artistic sense like this played role of catalyzer through which the golden age of artistic decoration, art deco, came. The significance of the textile was made aware through clothes design . The clothes design made with Wiener Werkstaette textile conveyed message as art to everyone and provided the elite of society supporting them with Proud that they are fashion leader ahead of times and have artistic sense. Wiener Werkstaette textile design like this played big role as an instrument for realizing the total artwork by attaining the new artistic formative fruits.

• Journal of the Korean Society of Costume
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• v.29
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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.

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.34-34
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• 2004

1903년에 설립된 오스트리아 빈공방은 총체개념을 가진 호프만(Josef Hoffman)을 중심으로 1910년경부터 직물파트를 설립하여 왕성한 활동을 하였다. 빈공방 직물디자인을 3단계로 나누어 그 조형성과 영향관계를 살펴보면 1기는 1903년부터 1910년까지로 핵심인물인 모저와 호프만은 세세션과 맥킨토시의 기하차적인 성향과 일본미술의 양식과 모티브에 영향을 받아 자연형태를 기하학적으로 양식화하여 간결한 문양디자인을 하였다. (중략)

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• Journal of the Korea Furniture Society
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• v.24 no.4
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• pp.350-364
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• 2013

Based on the background of the times and theoretical background that influenced the formation of the works of Charles Rennie Mackintosh, one of representative architects of Art Nouveau, this study examined the formative characteristics of furniture design by period. In addition, his influences on the modern furniture design were also reviewed. In the latter half of the 19th century, due to Arts and Crafts Movement, the popularity of Art Nouveau was not high in England and due to conservative and traditional culture, Mackintosh had difficult time to display his ability in England. On the other hand, because Glasgow, one of industrial cities located in the center of Scotland where he had grown was an open and modern city, Mackintosh could win international fame in architecture and furniture design thanks to the atmosphere. Furthermore, it is found from the formative characteristics of his works that Historicism, Arts and Crafts Movement and Japanese culture and the influences of Continent became his theoretical background. His works creatively combined the noble design of Scotland and Art Nouveau to be considered a simple and pure style with a straight tendency and his working period can be divided into Beginning, Middle and Last Period according to the formative characteristics of furniture design. His constituting principle that decorated the structure influenced the Wien Secession's activities to form Wiener Werkstaette and this finally became the important background to develop to 'Modernism Design' through Art Deco and Bauhaus.