• 복식문화연구
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• 제18권3호
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• pp.550-558
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• 2010

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

• 복식문화연구
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• 제19권1호
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• pp.128-149
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• 2011

This study dealing with the Italian futurist and Russian constructivist costume designs which aimed for new fashion design freed from the conventional meanings of fashion and explore the artistic purpose reflected within the designs expressed differently according to cultural and regional differences in order examine the early 20th century Avant-grade costume designs. The scope of this study is limited to the 1910s to the 1930s when the Italian futurism and the Russian constructivism were originated and were most active. This monograph focused on the works of the Italian futurists, Giacomo Balla who declared the 'Manifesto delle moda minile futurista', Fortunato Depero, and Thayaht who suggested a new direction for the futurist, and on the works of the Russian constructivists Alexander Rodchenko, Varvara Stepanova and Liubov Popova. As an one method of investigated, this paper is used materials of various sources to examine their features. Futurists costume designs expressed a radical conception of progress and their source of aesthetics was dynamism. The concept of 'power' which was the basis of the futurists was incorporated in the costumes while non-symmetrical cut-outs and bright and vivid colors completed the futurist costume designs. Moreover the Russian constructivists brought advances in the field of fabric and textile designs. What was particularly interesting about the Russian constructivist costumes was that the artists worked at the textile mills themselves, directly involved in the designs and manufacturing of fabric, developing an advancement in textile and a new understanding of costume. Furthermore, many Russian artists settled in Paris, actively participating in the fashion industry, and therefore, they have greatly contributed to the development of the early 20th century Avant-garde costume designs.