인플래터블 패션의 조형적 특성 연구

손수민 ( Sue Min Son ) 복식문화학회 2013 服飾文化硏究 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.

연구논문 : 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.

현대패션에 나타난 금속에 관한 연구

금기숙(Key Sook Geum),유승희(Seung Hee Yu) 한국복식학회 1999 服飾 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.

소비에트 아방가르드 패션디자인의 조형성 연구

금기숙 ( Key Sook Geum ),이다경 ( Da Kyung Lee ) 한국기초조형학회 2016 기초조형학연구 Vol.17 No.2

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 정치·경제·사회·예술·패션에 대한 전반적인 이해를 기초로 하여 소비에트 아방가르드 패션디자인의 조형성을 살펴보는데 목적이 있다. 본 연구는 소비에트의 사회·문화적 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. 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.

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.

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.

스팀펑크(Steampunk) 패션에 나타난 표현특성 및 내적가치

김지영(Ji Young Kim),권미정(Mi Jeong Kwon) 한국디자인문화학회 2015 한국디자인문화학회지 Vol.21 No.1

현대인들은 문명의 발달에만 관심을 쏟아온 메마른 현재에 대한 회의와 과학에 대한 한계에 부딪혀 따뜻했던 과거에 대한 향수를 느끼고자 하는 욕구가 커지고 있다. 이와 같은 현상 스팀펑크(steampunk)라는 장르로 대변되어 최근 패션.디자인 등 문화 전반을 아우르는 라이프스타일로 부상하고 있다. ‘스팀’이라는 단어는 열로 숨을 쉬는 듯한 고전적인 방식의 운동기관의 증기력에서 수증기를 의미하고, ‘펑크’라는 단어는 동시대의 스타일이나 이상에 얽매이지 않고 독자적으로 살아가는 부류라는 의미이며, 스팀펑크는 ‘19세기 말 영국의 빅토리아 여왕 시대 패션 사조와 기계문명에 대한 경배가 함께 녹아있는 문화적 흐름’으로 정의된다. 영화, 애니메이션, 문학, 게임 등의 분야에서는 스팀펑크 장르가 대중적으로 소개되어져 왔고, 관련된 연구들도 진행되고 있다. 패션 분야에서도 국내외의 컬렉션에서 ‘스팀펑크’를 주제로 한 컬렉션들이 선보여졌으며 많은 주목을 받았으나, 대중 패션으로서의 스팀펑크 패션에 관한 학문적 연구는 부족하다. 본 연구의 연구 방법은 이론적 연구와 실증적 연구 방법으로 작품 사례 분석을 중심으로 이루어 졌으며 이론적 연구는 국내.외 스팀펑크와 빅토리아 시대에 관한 문헌 및 자료, 선행 연구 논문, 웹 사이트를 통해 조사하였고 이를 통해서 3가지 하위범주가 도출되었다. 패션 컬렉션에서 스팀펑크의 외적 조형성 연구를 위해 하위범주를 대표하는 3人의 디자이너인 알렉산더 맥퀸(Alexander Mcqueen), 비비안 웨스트우드(Vivienne Westwood)와 돌체앤가바나(Dolce & Gabbana)를 선정하였다. www.firstview.com, www.style.com에서 자료를 선정하였으며, 3人 디자이너의 2010년 S/S 컬렉션부터 2014년 F/W 컬렉션까지 최근 5년간의 컬렉션에 나타난 작품들을 대상으로 하였다. 전문가 3人의 의견을 참고하여 분석하였고, 총 374장의 의상 사진이 수집되었다. 이를 살펴본 결과는 다음과 같다. 첫째, 패션 컬렉션에 나타나는 스팀펑크 패션의 조형성을 분석한 결과는, 아이템은 케이프.코트, 팬츠와 드레스 형이 대표적으로 나타났으며, 특히 드레스가 전체의 63%정도로 대부분을 차지하고 있었다. 색상은 블랙, 브라운, 레드가 스팀펑크 패션의 대표 컬러로 나타났다. 소재는 면, 레이스, 금속, 벨벳, 가죽 등의 빅토리안 시대적인 느낌의 소재가 다채롭게 사용되고 있었다. 장식은 벨트, 구두, 코르셋, 액세서리, 왕관, 단추, 조형물, 버팀대 등이 스팀펑크 패션의 기계적 미를 표현하고 있었다. 둘째, 이론적 연구를 통해 하위범주를 도출한 결과 스팀펑크의 특성은 복고성, 이중성, 다양성으로 나타났다. 복고성은 19세기 빅토리아 시대 의상을 현대적으로 재해석한 형식을 나타내고, 이중성은 빅토리아 시대 의상에 기계적 이미지를 표현한 형식이며, 다양성은 복합적이고 다차원적인 이미지들의 융합 형식이다. 셋째, 내적 가치는 향수와 그리움, 자유와 일탈, 환상과 유토피아로 파악할 수 있었다. 과거의 빅토리아시대의 복식을 표현하며 옛 것에 대한 그리움을 나타내는 향수와 그리움, 과거의 복식의 재현에서 끝나지 않고 현대적인 소재와의 융합을 통해 정해진 규범에의 일탈을 꿈꾸는 자유와 일탈, 가상의 세계에 대한상상과 희망적인 미래에 대한 기대가 표현된 환상과 유토피아로 볼 수 있었다. 이상의 연구를 통해서 스팀펑크가 패션 트렌드의 한부분을 차지하고 있음을 알 수 있었고 향후 주류 문화로 발전할 수 있는 가능성을 확인해 볼 수 있었다. People have been only interested in the development of civilization in modern days. As a result, they started to feel remorse about the limitation of science due to increased desire of yearning the past. This phenomena is replaced as the genre of ‘steampunk’ which encompasses recent fashion culture and is recognized as ’lifestyle’. ‘Steam’ means hot mist that forms by using the power of locomotive organ according to old-fashioned ways. ’Punk’ means independent class that is against conventional attitudes and behaviors. The genre of steampunk has been publicly introduced to the industry of film, animation, literature and game and its related study also has been continued. Collections that are based on the theme of steampunk became famous, however, academic study about the fashion of steampunk needs to be sufficiently conducted as public fashion. Both theoretical and empirical methods of study were mainly used to analyze the examples of steampunk work. Theoretical study was conducted about domestic and international steampunk through Victorian literature, preceding articles and web sites. As a result, three designers-Alexander Mcqueen, Vivienne Westwood and Dolce & Gabbana-who represent the subcategories were selected in order to research the exterior formativeness of steampunk. Based on the collection during five years of 2010 S/S and 2014 F/W, sources were chosen through www.firstview.com, www.style.com and fashion magazines from three designers. 374 fashion photos were gathered according to the analysis of three professionals’ opinions. Followings are the results. First of all, the outcomes of the analyzed exterior formativeness of fashion collection items were cape, coat, pants and dresses. Black, brown and red represented as major colours of steampunk fashion. Fabrics such as lace, metal, velvet and leather that are Victorian style have been variously used. Decoration such as belt, shoes, corset, accessory, crown, button, sculpture and bracket expressed mechanical beauty of steampunk fashion. Secondly, retro-style, duplicity and diversity were shown as characteristics of steampunk through the results of subcategory based on theoretical research. Retro-style represented the contemporarily reinterpretation pattern of 19th century Victorian style. Duplicity represented Victorian style and technical image. Diversity combined complicated and multi-dimensional images. Thirdly, intrinsic value of steampunk was apprehended by nostalgia, freedom, aberration, fantasy and utopia. Nostalgia was expressed through trimmings in the Victorian period. Freedom and aberration were delivered by combining modern material that sought unconventional pattern without repeating trimmings from the past. Fantasy and utopia were achieved by imagining a virtual world filled with hopeful future. In conclusion, steampunk counts significant part of fashion trend and has potential of progressing as mainstream culture.

모더니즘 시대의 건축과 패션에 나타난 조형적 특성에 관한 연구

김혜영(Kim Hye-Young),허다슬(Hur Da-Sul) 한국복식학회 2005 服飾 Vol.55 No.4

The modern period was the time that the most radical and extensive social and mental changes were occurring throughout the history, and modernism was prevailing as a general cognition system of people. Modernism, which carries principles of progress, belief in application of scientific technology, worship of reason, ideal of liberty as a col-e value of civilization, was plated as a leading ideology in the realm of society, culture and art In the early 20th century. In this study, the formative characteristics of modernism seen in architecture and fashion are analogized and analyzed in four ways ell the basis of the theory of p. Greenhalgh. First, 'Standardization for mass-production', which is analogized which P. Greenhalgh's 'Decompart-mentalisation', 'Social Morality', and' Technology'. Standardization for mass-production in architecture focuses on the development of a design prototype in order to mass produce; the development of ready-made clothes is actively done ill the fashion area for the same purpose as well. Second, 'Rational functionality' coming from P. Greenhalgh's 'The total work of art' and 'Function'. While rational functionality in architecture puts an emphasis on the rational operation of all the functions in regard to the relation between each part and the whole, rational functionality in fashion call be mainly seen in a dramatic increase in physical activity which could be hardly found before the modernism period. Namely, all the fashion design elements are developed for a certain rational and functional design on each part as well as on the whole in order to greatly increase physical activity. Third, 'the pursuit for genuineness of objects and universality of beauty' is on the analogy of P Greenhalgh's 'Truth', 'Anti-historicism', 'Abstraction', 'Internationalism/Universality'. This idea is adopted in architecture in the form of design of geometrical abstraction. In the same way, design using geometrical abstraction comes to have a significant meaning in fashion of the modernism period. So to speak, modernism architecture and fashion can be reborn to become an inter·national style by giving up the decorative and regional design prevailing before modernism and by expressing universal aesthetics in the form of simplicity and abstraction instead. Fourth, 'Expression of progress through a change in a viewpoint' stems from P. Greenhalgh's 'Progress', 'Transformation of Consciousness', 'Theology'. In architecture, this concept appears by using new construction materials and methods and by representing new aesthetical idea. As a result, it makes it possible for people to make progress for better lives. Like in architecture, new attempts for material application and processing are made in fashion. This gives rise to a general change in a viewpoint related to fashion, so that a flew fashion design which there has never been before can come out.