Opening and Closure Body Space Expressed in the Fashion Art

  • Huh Jung-Sun (Dept. of Fashion Design, Sangju National University) ;
  • Geum Key-Sook (Dept. of Textile & Fashion Design, Hong Ik University)
  • Published : 2005.06.01

Abstract

The objective of this study is to understand bodily extension and identity in contemporary fashion art through the analysis of 'the fashion acting on the body' among the fashion theory excluding body and the conspicuous works on the opening and covering images as a fashion art as a body-space'. This study also investigated identity problems where there are poles apart in opening and closure their bodies and body-space in which its clothing types were distorted by being de-bodilization out of the traditional and ideological expression method in contemporary fashion art from a opening and closure point of view. Image of opening and closure among body-space in fashion art can be classified into opposing structure of opening and closure. Destroying the boundary between bodily opening and closure for a primary function of clothing and dismantling the role and boundary between body and clothing, opening body-space in appearance as a reemergence of body image or the border between inner and outer are being ambiguous because of transparent material. Being representative work of this study opening body-space was expressed as an opening space image using transparency. On the contrary, closure body-space was isolated from external environment and confined in the certain space, which could limit or restraint body- action. Excluding boundary of body and clothing on the whole or in part, boundary of work becomes body-space. However, these were appeared to be a work inducing unlimited curiosity and meaning from the audience. The interpretation of artistic and body-space in fashion art are indicating the role and function of the fashion art exceeding the suggestible dimensions in the every day life of fashion. The body-space of fashion art showing similar aspect of body art today could be understood that it is substituted into an metaphorical, critical space by seeing it as a symbol system connected with social space. Therefore, contemporary fashion art should be interpreted as an equivocal space looking at the body-space with open mind.

Keywords

References

  1. Schafler-Dale, Julie (1986). An to wear. New York: Abbeville Press, p. 11
  2. National Museum of Comtemporary Art (1988). 88 ART to WEAR Gyungkido: National Museum of Comtemporary, p. 1
  3. Duncan-Aimone, Katherine (2002). The fiberarts book of Wearable Art. New York: Lark Books, p. 1
  4. De Teliga, Jane (1991). Contemporary australia art fashion exhibition. Seoul: Shinsegye Department, p. 1
  5. Kim, Junghye (1998). A study on art wear( I ). The Korean Society of Costume, Vol.38, p. 158
  6. The Korea Fashion & Culture Association (1997). Fashion sculpture. Exhibition Pamphlet, Seoul: DuksuGoong, p. 1
  7. Kim, Minja (1989). Dress as art-impressionism and it's image in dress-. The Korea Home Economics Association, Vol.27, p. 1
  8. Tabatabai Asbaghi, Pandora (1996). Sculpted dress. Looking at fashion. Firenze: Skira Editore, p. 28
  9. Loschck, Ingrid (1987). Reclams mode-und kostuemlexikon. Stuttgart, p. 331
  10. Goldberg, Joann (1986). Art to wear visionary. Ornament. Vol.10, No.2, p. 42
  11. Schafler-Dale, Julie (1978). Style: The nontraditional wearables, Horizen Craft, p. 27
  12. Lise, Kareson (1992). Kejsarens nya klader, Stockholm: Carlsson Bokforiag, p. 7
  13. Geum, Keysook (2001). A study on the artistic characteristics in fashion. 19th International Costume Association Congress. Paris, p. 89
  14. Goldberg, RoseLee (1988). Performance art. London: Tames and Hudson, p. 176
  15. Boultwood, A., & Jerrard, R. (2000). Ambivalence, and its relation to fashion and the body. Fashion Theory. Vol.4, Issue 3, London: Berg, p. 301 https://doi.org/10.2752/136270400778995480
  16. Wilson, Elisabetb (1985). Adorned in dreams: Fashion and Modernity. London: Virago, p. 121
  17. Huh, Jungsun (2001). Huh lung Sun fashion installation. The Second Solo Exhibition Pamphlet, Seoul, p. 5
  18. Spindier, Amy & Grumbach, Didier (2000). Viktor & rolf haute couture book. Groningen: Groningen Museum, p. 7
  19. Warr, Tracey & Jones, Amelia (2000). The artist's body. London: Phaidon, p. 178
  20. Felshin, Nina (1993). Empty dress-clothing as surrogate in recent art. New York: Independent Curators Incorporated, p. 26
  21. Williams, Gilda(eds) (2000). Fresh cream. London: Phaidon, p. 202
  22. Black, Sandy (2002). Knitwear in fashion. London: Thames & Hudson, pp. 158-159