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하와이 목질의복 (Balk Cloth) KAPA 에 대한 연구
박민여(Meeg Nee Park) 한국복식학회 1991 服飾 Vol.17 No.-
The use of bark cloth, made of the inner bark of certain trees, was widespread along tropical zones from the Africa to the Hawaii encompassing the globe. They include Malaysia, Indonesia, New Guinea, Polynesian Islands and South America. Among them the Hawaiian bark cloth, named Kapa(pronounced as tapa) was rated as the best quality and most admired. It has variety in designs and colors as well as the most sophistcated production methods. The distinct processes of kapa making are composed of two stages. The first is called first beating and it is a preparatory stage to beat the sea-water soaked bast. It was done with a round beater on a stone anvil. The second beating process was carried out with the squared beater and wooden anvil. The strips from the first beating was soaked again in the water and then beaten lightly to break up fibers. The craftmen laid a bundle of strips over the anvil and beat it into pieces of kapa. The second beater of Hawaii was the most characteristic one among bark cloth producing countries. On their surfaces were the producing countries. On their surfaces were the engraved patterns, which were creation of theirs. These distinguished designs enabled them to produce the kapa with the thinner and finer texture and an elaboration of impressed designs known as watermarks. The Hawaiian culture was self-sufficient one : Evrything they used was of their own creation until 19th century. Among their inventions of printing designs on kapa are three most important and distinguished processes. They are the overlaying the cord snapping and the block printing techniques. Their inventiveness as well as self sufficient environment made it possible to develop their fine art of the kapa making. It is said that the mass producing and cheap western technology of loom forced them to gradually abandon their traditional art and as a result this fine and valuable legacy of Hawaiian traditional kapa making technique is all but disappeared. However it is encouraging and heart warming to find that some of the people as well as specialized researchers joined together to form a group to try to reproduce the old kapa and study the traditional art. They consider the kapa as an expression of the ethnic identity with Hawaii`s heritage as well as valuable art of human history.
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장안화(An Hua Chang),박민여(Meeg Nee Park) 한국복식학회 2004 服飾 Vol.54 No.5
This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows: The fashion show place expanded its area when it moved its center because of not only the use of ordinary and public friendly place but also adjacent places` post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions, gesture and pose, etc of a model: In addition, its performance element combines other genre freely to be one time and viewers` participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future images. At sound trackc and sound effects, the show`s overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones, who are isolated from recreation values and the society, establish friendly relations with the society
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장안화(An Hua Chang),박민여(Meeg Nee Park) 한국복식학회 2001 服飾 Vol.51 No.4
Since the beginning of the 90`s, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano, even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology showing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.
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진경옥(Kyung Ok Jin),박민여(Meeg Nee Park) 한국복식학회 2000 服飾 Vol.50 No.5
The pastiche is one of the most unique characteristics in the post-modern period. The pastiche fashion design is an intentional imitation expressed by deconstructivity of the design. It has become the major creation method of post-modern fashion by expressing the image from the variety and creativity. The concept of imitation in pastiche is the important fashion subject which lead the dynamics and creativities of fashion when it has freshness and spiritual energy. The values of creative area of pastiche are as follows: Firstly, it provides the delightness through the disharmony by being released from the restraint and stress of the restricted society. Secondly, the characteristics of restoration generated by development and reproduced from imitation has become an origin of creation. Thirdly, the boundary between subculture and high-class culture would be dismantled and the elements of these culture are mixed to become a unique image through its abundance and compromise vague public culture. Fourthly, the pastiche fashion dismantles the basic structure of clothes to endow avant-garde esthetic appreciation. Fifthly, the folklore fashion representing the culture of minority and neighboring countries would become a new destroying the historically fixed clue. sixtly, the reinterpretation of pastiche fashion discovers the new regulations and beauties from imitation to provides tow important elements of post-capitalism fashion, dynamics and creativity. Lastly, the consistent adaptation of image of fashion design with strong technical and theoretical basis can establish new fashions of this era with its unique creativeness.
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