인플래터블 패션의 조형적 특성 연구

손수민 ( Sue Min Son ) 복식문화학회 2013 복식문화연구 Vol.21 No.4

This study aims 10 identify the formative features of inflatable fashion that has changed its form or fulfilled specific functions by inserting air between fabrics or between clothes and the human body. Images of inflatable fashion images after the 1990s were collected from the literature and internet data and were analyzed based on the formative features of inflatable design. Through this analysis, it was determined that there were four formative features of inflatable fashion: First, inflatable fashion has functionality. General fashion also has functionality, but inflatable fashion has expanded functionalities such as an air bag effect or insulation due to injected air. Second, the formative potential. Inflatable fashion can be changed into different forms depending on the amount or air injected. Light-weighted air holds up the material of the clothes. So new forms that are different from conventional fashion, which gives inflatable fashion its formative potential, can be suggested. Third, aesthetic expansion. Inflatable fashion when its volume is expanded expresses the beauty of scale, or expresses a voluptuous beauty when part of human body is exaggerated. Fourth, it has an unconstructive characteristic. Space that is visible due to the transparent material of inflatable fashion expresses the intention of the designer to fulfill an unconstructive concept. In conclusion, the formative features of inflatable design have formative significances: practicality, aesthetic significance, semantics and technical significance.

점, 선, 면 기초 조형요소를 활용한 패션쇼메이크업 연구

박정신 ( Jeong Shin Park ) 한국미용학회 2012 한국미용학회지 Vol.18 No.4

The purpose of this study is to examine how the characteristics of basic formative elements exist in fashion show makeup design and are expressed as a visual message. Study methods were theoretical study and empirical study. The theoretical study considered detailed characteristics of basic formative elements of ``point, line, and plane`` through references and previous researches, and the empirical study examined how the characteristics of formative elements of point, line, and plane were combined and expressed in the aspect of concept constitution with its focus on fashion show makeup. As a result, ``point, line, and plane``, the key of formative elements, helped fashion show makeup express a variety of objet illusion by aesthetic technique and visual language and reinforced a design sense of makeup by emotional communication as well as visual- perceptual communication. As the element of point was possible to express feelings according to the methods of use. The element of line varied with thickness, length, and density and showed various expression. The element of plane was segmented as the independent existence of each face part. Based on the findings, makeup using formative elements as expression materials can express images as simple visual language and make the concept of fashion show visual-perceptual and emotional. Makeup using basic formative elements will greatly contribute to enhancing the creativity of fashion show makeup and heightening emotional and art value of fashion.

패션컬렉션에 나타난 네크리스의 조형적 특성

배정후 ( Jung Who Bae ),이경희 ( Kyung Hee Lee ) 한국의류산업학회 2011 한국의류산업학회지 Vol.13 No.4

Jewelry has recognized as a part of independent formative arts of fashion with the change modern man`s cognition for the fashion. It is a great important section to express fashion image. So, many corporations design and develop the jewelry by themselves to maxmize their fashion image. Among the so many kinds of jewelry, especially the necklace is located beneath the face and linked as a part of fashion, so it frequently has showed in Fashion Collection. Like this Fashion and jewelry enact each other and share their esthetic features but, it is insufficient the study of fashion linked with the jewelry. In this study, we defined the words which is using confusedly according to jewelry forms what researched by others. In addition, we tend to study the effect of that the form, hue and character of materials of necklace that is expressed in fashion collection influence fashion image. The method of this study is comprised with precedent studies and analysis of necklace photos in fashion collection. For the analysis of data, we implement content analysis and statistical analysis using SPAW Statistics 18(frequency analysis, percentage, cross-tabulations, X2-test). Because the hue and the form of necklace take a great role to make fashion image with the sense of its eyesight, its effective coordination go up the delicate feelings with the form, hue and quality of the fashion. Especially, the hue is the essential element of formative characteristics to express visual image. The necklace had coordinated more frequently in S/S than F/W, it means that more light and simple fashion let ornamental beauty could express by the necklace. So, it is very effective things that we predict the trend of fashion, then, coordinate with well-matched necklace.

키치패션의 조형적 특성에 관한 연구- K-Pop 아이돌 패션을 중심으로 -

송민경,조문희 한국니트디자인학회 2013 패션과 니트 Vol.11 No.1

This study aims to explore the formative characteristics of Kitsch fashion appearing in costumes of K-pop idols and discover its positive value in modern society, breaking free with negative perceptions of the past. For the study, based on the formative elements of Kitsch fashion, analyzed the formative characteristics represented in Kitsch fashion in 2000 S/S∼2012 F/W Collections under the grounds of preceding studies according to the types of expansion, resistibility, incompatibility, enjoyment, nostalgia, and sexuality. The results showed that expansion was represented as a collection form which allowed coexistent styling with apparels with printed patterns that do not match the exaggeration of closely attached subsidiary materials such as buttons and studs. Resistance was represented as a satirical form which suggests a somewhat gloomy and aggressive impression along with apparels made with easily accessible materials like paper including imitation, wire, and chain. Incompatibility was represented as a incompatible form in practical, functional, and esthetic aspects by using inflexible or strange materials, or tearing parts of the apparel. Enjoyment showed a playful form by wearing colorful and charming designs and toys as accessories. Scent stimulated a scent of the past by wearing school uniforms worn in the past or retro dance fashion apparels. A yearn for a natural and exotic life was shown by wearing traditional clothing of other nations or folksy patterns and accessories. Sexuality was represented as a form which emphasizes bodily beauty by using see-through or mesh materials on parts of the apparel to expose parts of the body rather inwardly or revealing parts of the body like legs or upper body explicitly, or stressing body line and structure. To modern people who wish to direct their own individual styles, K-Pop idol fashion is being accepting as one of the fashion styles, and Kitsch fashion is being represented as a new style for them to express their individuality in a variety of ways. Based on this, Kitsch fashion escapes from resistive and cheap images of the past to be anticipated to show positive, and it can be expected various styles in the fashion of general public as long as the idols.

페이즐리 오너먼트의 조형원리를 활용한 패션텍스타일 디자인 연구

정하정(Ha Jeong Chung),박주희(Juhee Park) 한국복식학회 2020 服飾(복식) Vol.70 No.4

This study aims to present a fashion-textile design process that derives the characteristic of paisley ornamentation from 1900s-2010s fashion derived based on the formative principles of this ornament; they are used in print textile design and applied to garments. Under a theoretical background, for the formative principles of the ornament, this study deals with the motif and pattern. For design planning reflecting formative types, first, textile design skills are used for easy and fast motif transformation and extension via a computer graphic program based on the formative principles of “detachment,” “touching,” “overlapping,” and “union.” The research pursues esthetics by transforming a basic structured motif by applying the formative principles of “spatial distortion” and “penetration” to the paisley ornament. It tries out designs by considering the ornament proportion shown from a bodily frame using the formative principles of “concentration pattern” and “anomaly pattern,” meaning that the structure integrates regular and irregular arrangements that were not used in the paisley ornament in fashion. This creates a garment using the formative principle of “coinciding.” As a result, a collection was created by developing eight print textile designs and six garments and a discussion was conducted about the design methodologies using the formative principles. This presents the motivation for expanding fashion textile design to a professional area.

현대패션에 나타난 금속에 관한 연구

금기숙(Key Sook Geum),유승희(Seung Hee Yu) 한국복식학회 1999 服飾(복식) Vol.45 No.-

In contemporary fashion, metal have used which is as the material with a sufficient potentiality of expression which is displayed by an unique characteristic involved only in metal. In this paper, metal expressed in contemporary fashion is researched. The first thing, the formative characteristic of metal is researched under the consideration of type, technique, and color of metal used in contemporary fashion. Metals such as gold, silver, bronze, aluminum, tin, lead, and iron are usually used in fashion, and those metals are used in various types such as thread, fabric, board, leaf, and cable. Those types of metal as above are applied to the clothing by the techniques of weaving, embroidering, metal leaf, printing, or moulding, which gives the formative characteristic to the clothing. In color, metal has an effect on the colors of surroundings by its smooth and unique luster and its effect of reflection, and produces the visual formative characteristic through the effect of contrast. The esthetic will of metal expressed in modern fashion is researched in this study under the facts studied as above. First, metal expresses the future oriented esthetic Second, metal has the characteristic of attracting the attention. Third, metal is used as valid techniques to express the artistic formation for clothing, escaping from the idea that the clothing is only for wearing. Finally, metal is used as an anti-cultural tool of fighting against the existing order or spirit. Physical characteristics of metal are used for functional material and even for the creative work. It can be proposed that metal will take a role of guiding a new trial and suggesting the way to go for fashion including extending the formative area of fashion and material.

업사이클링 패션의 조형적 특성 연구 : 해체주의 관점을 중심으로

전영선(Jeon, Young-sun),박소형(Park, So-hyoung) 한국조형디자인학회 2021 조형디자인연구 Vol.24 No.4

현대 사회의 대량생산 및 소비체계로 인해 환경적, 경제적인 측면에서 지속가능성에 주목하게 되면서 패션산업에서도 국내외 다양한 브랜드에서 업사이클링 패션을 선보이고 있다. 현대 업사이클링 패션은 단순히 환경적 의미를 넘어서 프린팅, 패턴의 변화, 레이어드 등 다양한 표현 방식을 통해 조형적 특성을 드러내고 있다. 이에 본 연구는 업사이클링 패션이 대중적으로 나타나기 시작한 2010년부터 현재까지의 국내외 업사이클링 패션을 중심으로 해체주의 이론에 기반한 조형적 특성을 도출하는 데 목적이 있다. 연구결과 조형적 특성은 ‘소재의 변형을 통한 의미의 해체’, ‘구성의 탈피를 통한 형태의 해체’, ‘이미지의 차용을 통한 경계의 해체’로 분류되었으며, 그 결과는 다음과 같다. 첫째, ‘소재의 변형을 통한 의미의 해체’에서는 패션이 지닌 환경 및 소재에 대한 의미를 가시적으로 드러내고 소재에 대한 고정관념을 탈피해 이질적인 소재를 사용함으로써 실험성과 우연성의 효과가 나타났다. 둘째, ‘구성의 탈피를 통한 형태의 해체’에서는 구성에 대한 고정관념을 탈피해 장식 요소의 활용, 의도적 과장 등 비정형적 형태를 강조한 유희적 표현이 나타났다. 셋째, ‘이미지의 차용을 통한 경계의 해체’에서는 희소성과 해학성을 지닌 이미지의 차용을 통해 예술성이 강조되고, 시대와 문화의 경계를 허무는 이미지와 형태의 조합을 통해 모호성이 드러났다. As s sustainability in terms of environment and economy is increasingly drawing attention due to the mass production and consumption system of contemporary society, various domestic and foreign brands in the fashion industry are also introducing upcycling fashion. Contemporary upcycling fashion is advancing beyond simple environmental meaning, showing formative characteristics through various modes of expression such as printing, pattern change, and layering. Therefore, the aim of this study is to determine the formative characteristics of upcycling fashion based on the theory of deconstruction by investigating upcycling fashion at home and abroad until now since 2010 when upcycling fashion first became popular. As a result of investigating upcycling fashion at home and abroad based on three categories of deconstruction perspective— deconstruction of meaning through material transformation,’ deconstruction of form through deviation from composition,’ and deconstruction of boundaries through image borrowing’—the following modes of formative characteristics were found. First, in the category of ‘deconstruction of meaning through material transformation,’ it was found that upcycling fashion achieve the effect of experimentation and chance by using disparate materials, visually revealing the meaning of environment and materials contained in fashion and breaking away from fixed ideas about materials. Second, in the category of ‘deconstruction of form through deviation from composition,’ it was found that upcycling fashion show playful expressions that emphasize atypical form such as the use of decorative elements and intentional exaggeration, breaking away from fixed ideas about composition. Third, in the category of ‘deconstruction of boundaries through image borrowing,’ it was found that upcycling fashion emphasize artistry by borrowing rare and humorous images, and display ambiguity by combining images and forms that break down the boundaries between eras and cultures.

블랙 유머 패션의 조형미 연구

안귀주 한국기초조형학회 2018 기초조형학연구 Vol.19 No.5

This study is aimed at defining fashion which arouses laughter under a dark and gloomyatmosphere as black humor fashion and figuring out its formative characteristics. For thepurpose, efforts were made to analyze characteristics and techniques of black humor expressedin art. Black humor in art deforms and distorts the human body with deformation and grotesquetechniques, transfers locations of things through de-phase collage, and photomontage, arousestricks with illusions and trompe l’oeil, do copying and borrowing with parody and pastiche anddirectly employs letters and signs like graffiti. Such characteristics have been adopted for fashionbecoming black humor fashion. Characteristics of deformation and distortion were expressedthrough swelling costumes or integrating space and transfer of locations was expressed throughplacing parts of the human body or articles on costumes or making men wear women’s clothes. Optical illusions and tricks were shown as fake design or momentary illusions that there wereseveral arms or the breast was penetrated. Copying and borrowing were described throughimitating articles and animals and borrowing images of famous pictures and brands. Introductionof letters and signs were creating black humor through printing witty messages or drawing thehuman body grotesquely. Various forms of beauty were analogized from black humor fashion,such as beauty of resistance criticizing absurdity of reality and opposing regulations andrestrictions of the modern society, beauty of amusement which gives interest like games even ifserious and dark afterimages remain, beauty of ugliness which sublimates even all ugly thingsthrough caricaturing them, and avant-garde beauty which makes radical and innovative attemptsfrom customs and concepts of traditional dresses. This study is meaningful to find out aestheticvalues of black humor expressed in fashion and to suggest ways to understand the agony andsorrow of modern people using it for fashion design and heal them. 본 연구는 어둡고 우울한 분위기에서 웃음을 자아내는 패션을 블랙 유머 패션으로 정의하고 조형적 특성과 미적가치를 파악하는데 목적이 있다. 이를 위해서 미술에 표현된 블랙 유머의 특성과 기법을 분석하고 이것이 패션에 적용된 사례를 찾아서 고찰하였다. 미술에서 블랙 유머는 데포르시마옹과 그로테스크 기법으로 인체를 변형·왜곡, 데페이즈망, 콜라주, 포토몽타주를 통해 사물의 위치를 전환, 착시와 트롱프뢰유로 속임수를 유발, 패러디와 파스티슈 기법으로 모방·차용, 그라피티와 같이 문자와 기호를 직접 도입하는 특성을 보이고 있었다. 이러한 특성이 패션에 적용되어 블랙 유머 패션이 되었는데, 변형과 왜곡의 특성은 의상을 부풀리거나 공간을 통합하는 것으로 표현되었고, 위치의 전환은 인체의 부분이나 사물을 의상 위에 올려놓거나 여성복을 남성이 착용하는 것으로 표현되었다. 착시와 속임수는 페이크 디자인과 팔이 여러 개로 보이거나 가슴이 투과되어 보이는순간적 착각으로 나타났고, 모방과 차용은 사물과 동물을 흉내 내고 유명 그림과 브랜드의 이미지를 차용하는것으로 표현되었으며, 문자와 기호의 도입은 위트 있는 메시지를 프린트하거나 인체를 흉측하게 그리는 표현으로 나타나 블랙 유머를 일으키고 있었다. 이러한 블랙 유머 패션에서는 현실의 부조리를 꼬집고 현대사회의 규범과 제약에 대한 반항하는 저항미, 심각하고 어두운 잔상이 남지만 놀이와 같은 흥미를 주는 유희미, 갈등과모순, 모든 추한 것들까지도 희화하여 승화시키는 추(醜)의 미, 전통적인 의복의 관습과 관념으로부터의 급진과혁신을 시도하는 전위미가 유추되었다. 본 연구는 패션에 표현된 어둡고 우울한 유머를 블랙 유머로 정의하고그 조형성과 미적가치를 규명하여 이를 일반적의미의 유머와 구별하여 패션디자인에 활용하도록 제안하는 것에의의가 있다.

소비에트 아방가르드 패션디자인의 조형성 연구

금기숙,이다경 한국기초조형학회 2016 기초조형학연구 Vol.17 No.2

The Soviet avant-garde was large, and influential wave of modern art that flourished in Soviet Union, approximately from 1910 to 1930. The influence of Soviet avant-garde art has not been limited to painting and sculpture, but led to the general development of the Soviet fashion. This study focuses on formativeness of Soviet avant-garde fashion design based on comprehensive understanding of Soviet Union. The study reviews a wide range of domestic and foreign references on historical and cultural characteristics of Soviet Union and Soviet fashion in 1910s and 1920s. In addition, the formativeness of Soviet avant-garde fashion design was carefully analyzed, reviewing visual and literature references worldwide. Analyzing the characteristics of Soviet avant-garde fashion design using factors as silhouette, color, material, pattern, four features – application of geometric structure of straight lines, preference of color contrast, utilization of various materials, combined application of traditional and geometric patterns - were derived. This study highlights formativeness features of Soviet avant-garde fashion design that it strengthened traditional culture, expressed national socialism, encouraged interaction between art and fashion and industrialized fashion. Russian art has been unrevealed in history because of political and ideological reasons and has few previous studies especially on Soviet fashion. This study will broaden and deepen the understanding of Russian fashion while providing new perspectives. 소비에트 아방가르드는 세계 최초의 사회주의 국가 건설과 함께 창안된 소련의 새로운 예술 정책으로 매우 혁신적이었다. 소비에트 아방가르드 예술은 소비에트 아방가르드 패션이 발전할 수 있는 가교 역할을 하였고, 소비에트 아방가르드 패션은 소비에트 패션의 시초가 되었다. 본 연구는 20세기 소련의 정치ž경제ž사회ž문화ž예술ž패션에 대한 전반적인 이해를 기초로 하여 소비에트 아방가르드 패션디자인의 조형성을 살펴보는데 목적이 있다. 본 연구는 소비에트의 사회ž문화적 배경과 패션의 특징을 국내외의 선행연구를 중심으로 살펴보았고, 소비에트 아방가르드 패션디자인의 조형적 분석은 문헌자료에 수록된 작품사진과 국외 인터넷 시각자료 등을 대상으로 진행되었다. 소비에트 아방가르드 패션디자인을 실루엣, 색채, 소재, 문양 등의 조형 요소를 중심으로 분석한 결과, 기하학적 형태와 직선적 실루엣의 활용, 원색 대비 선호, 다양한 소재와 화려한 장식의 활용, 전통 문양과 기하학적 문양의 혼용 등의 특징을 보였다. 위와 같은 디자인의 특징에는 러시아의 전통성 고취, 소비에트 국가 이념의 표출, 패션의 예술화 시도, 패션의 산업화 등의 조형적 의도가 내재함을 파악할 수 있었다. 본 연구는 아직도 한국사회에 생소한 러시아 패션을 이해하기 위한 선행 작업으로 시도되었으며, 나아가 러시아와 러시아 패션에 대한 이해의 범위를 넓힐 수 있다는 점에서도 의의가 깊다고 할 수 있다. 러시아 미술과 패션은 소련 붕괴 이후 도약적인 발전가능성이 있는 분야로 기대되며 향후 연구할 가치 또한 높다. 본 연구를 통해 향후 러시아 패션에 대한 연구가 활발하게 이루어지는 계기가 되기를 기대한다.

Theses: A Study on Formative Characteristics of the Metro Sexual in Men`s Fashion -Focused on Male Consumers in their 10`s~40`s-

( Sun Jeong Moon ),( Sam Ho Chung ) 한국패션비즈니스학회 2011 패션 비즈니스 Vol.15 No.6

This study was attempted to be a help in estimating changes of men`s fashion in sociocultural environment by examining the diversified trends of domestic men`s fashion through literature review, fashion collection analysis and questionnaire in various aspects. For data collection in this study, questionnaires were used, and these were corrected and supplemented after preliminary survey for male consumers from September 2009 to March 2010. Among total 460 copies, 431 copies were used in final analysis. First, among typical factors of changes in image of men`s fashion, change of sexual role was shown as the most important factor. Contrary to men of the past, modern men are actively taking care of their appearance with changes of social values, which indicates that viewpoints on men have become flexible, such that the image of beauty does not apply just to women. Second, analysis on factors of image changes in men`s fashion by age revealed that high mean values were obtained in factors of change of sexual role and trend with difference between groups, and factors of expression of individuality were highly rated without remarkable difference, and aesthetic factors were poorly rated without significance. Third, analysis on preference for formative characteristics of the Metro Sexual showed that feminine materials were negatively rated, and analysis on wearing experience revealed that several items become popular, indicating that wearing experiences are increasing in various areas. This study suggests a new viewpoint of cultural sexual consciousness of the youth that is continuously changing, and is meaningful in understanding emotional and rational lifestyle and cultural style of Metro Sexual, a recent phenomenon of men`s fashion.