Browse > Article

A Study on the Expansion of Contemporary Fashion  

Choi, Soo-Hyun (Fashion Design Course, Yeungjin College)
Publication Information
Journal of the Korean Society of Costume / v.57, no.2, 2007 , pp. 155-171 More about this Journal
Abstract
Exaggerated expressions of contemporary fashion have exceeded historical precedents in volume. The purpose of this study is to understand the aesthetic characteristics of expanded form In contemporary fashion. To take dresses beyond their flat shapes into three-dimensional forms, it was investigated into volume of dresses by using the void and the mass. The void Is rarefied space and the mass is densified space. The void of dresses could be constructed from the boning such as panier and stiff textiles as organza lining. The mass could be constructed from padding. Fold, pleats, twist, and the layering of fabrics show features of both the void and the mass. Contemporary fashion designers relied on the void rather that the mass to make the enormous volume because of the weight of the mass. X-silhouette and the expansion of skirt and sleeve were dominant as the result of accentuating the body with a waistline. However, many of expanded dresses were so voluminous that they obscured the body's outlines. Some forms were strange and shocking. Many designers explored the void and there were a multitude of methods to construct the void: compartments of air, architectural techniques, technical textiles, fold such at origami. The aesthetic consciousness of expanded dresses could be classified into 7 categories, the giant, the dynamic, the deconstructive, the historical, the comedic, the rhythmical, and the technical character.
Keywords
expanded form of dress; volume; void; mass;
Citations & Related Records
연도 인용수 순위
  • Reference
1 Koda, H. (2001). Extreme Beauty: The Body Transformed. New York: The Metropolitan Museum of Art, pp. 10-12
2 Joedicke, J. (1999). 건축의 공간과 형태. 윤재의, 지연순(역). 서울: 세진사. pp. 19-22
3 Quinn, B. (2003). The Fashion of Architecture. Oxford: Berg, p, 215-217
4 Quinn, B. (2003). The Fashion of Architecture. Oxford: Berg, p, 83
5 안성찬 (2000). 숭고의 미학: 그 기원과 개념사 연구. 서강대 학교 박사학위 논문. p. 21
6 김수현 외 1인 (1992). 건축설계 의장론. 서울: 도서출판 국제. pp. 276-277
7 Laver, J. (1986). Costume & Fashion: A Concise History. New York: Thames and Hudson. pp. 281-283
8 Ash, J. & Wilson, E. (1992). Chic Thrills: A Fashion Reader. London: Pandora Press. p. 172
9 Evans, C. & Thornton, M. (1989). Women & Fashion. London: Quartebooks Ltd. p. 147, pp, 152-154
10 백기수 (1992). 미학. 서울: 서울대학교출판부, p. 78
11 다께우찌 도시오 (1974). 미학 예술학 사전, pp. 275
12 Quinn, B. (2003). The Fashion of Architecture. Oxford: Berg, p, 219-223
13 Evans, C. (2003). Fashion at the edge: Spectacle, modernity and deathliness. New Haven and London: Yale Univ. Press. pp. 270-275.
14 장애란 (1993), Balenciaga 의 작품에 나타난 건축적인 형태미에 관한 연구. 복식, 21, pp. 8
15 Quinn, B. (2003). The Fashion of Architecture. Oxford: Berg, p, 63
16 Oblak. M. (1995). Kant and Mslevich: The Possibility of Sublime. Art & Design. May 1995. p. 41
17 조규화 (1989). 복식미학. 서울: 수학사. p. 119
18 장애란 (1993), Balenciaga 의 작품에 나타난 건축적인 형태미에 관한 연구. 복식, 21, pp. 5-18
19 다께우찌 도시오 (1974). 미학 예술학 사전, pp. 278-280
20 Joedicke, J. (1999). 건축의 공간과 형태. 윤재의, 지연순(역). 서울: 세진사. pp. 26-27
21 안영길 외 옮김. (1990). 미학 예술학 사전. 서울: 미진사. pp. 26-27
22 Davis, M. V. (1980), Visual Design in Dress. New Jersey: Prentice-hall. INC, p. 58
23 검민자 (2004). 복식미학강의 1. 서울: 교문사, pp. 215-217
24 Flugel, J.C. (1930). The Psychology of Clothes. London: Hogarth Press. pp. 46-48
25 안성찬 (2000). 숭고의 미학: 그 기원과 개념사 연구. 서강대 학교 박사학위 논문. p. 95-97
26 Steele. V. (1991). Women of Fashion. New York: Rizzoli. p, 186
27 Koda, H. (2001). Extreme Beauty: The Body Transformed. New York: The Metropolitan Museum of Art, pp. 113
28 Quinn, B. (2002). A Note: Hussein Chalayan, Fashion and Technology. Fashion Theory, 6(4), pp. 359-368   DOI   ScienceOn
29 다께우찌 도시오 (1974). 미학 예술학 사전
30 Vogue Korea. 2002년 9월. p.186
31 윤미숙 (1991). E. Burke 으| 崇高와 美의 分析에 關한 硏究. 영남대학교 석사학위 논문. pp. 23-30