• 프린팅코리아
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• v.14 no.10
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• pp.104-107
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• 2015

세계적인 디자이너 알레산드로 멘디니의 초대형 전시가 서울디자인재단, 아뜰리에 멘디니, 주한 이탈리아문화원 공동 주최, 아트센터이다. 마이아트예술기획연구소 공동 주관으로 10월 8일부터 2016년 2월 28일까지 동대문디자인플라자 디자인전시관에서 열린다. 그의 이름을 걸고 이루어지는 대규모 단독 전시로는 국내뿐 아니라 동아시아에서도 최초다.

• Journal of the Korea Furniture Society
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• v.15 no.2
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• pp.31-39
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• 2004

The works of Alessandro Mendini doing a big role in Italian design give us fresh impetus and the message on future design. His work activity has created new space and given the second life with arranging radical and fresh visual ornaments by using various materials. His design works have been challenged on fixed and ordinary thought. He applies gorgeous and plain natural colors. When he develops idea into the form, his works hold meditation and clear subjectivity. Alessandro Mendini makes us aware that his work of arts connects human spirit with thing.

• Journal of Fashion Business
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• v.24 no.2
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• pp.32-43
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• 2020

The purpose of this study is to analyze the granny look of the new-tro trend via Alessandro Michele's Gucci collection and to provide a reference standard for future design developments by identifying the representation of the granny look. To analyze the new-tro trend and the granny look, basic concepts were analyzed through aesthetic and art books and the photographic data were collected through Internet sites. A total of 186 fashion images were considered as granny look by five clothing experts. The images were subdivided into silhouettes and items, materials, patterns, and colors to analyze the modeling factors and identify the intrinsic inner meaning based on the theory of Nostalgia. The analysis showed that the silhouette was expressed naturally without exaggeration or shrinkage. The thermosetting materials included fur, velvet, knit and quilted materials, while the colors showed raw and faded shades based on the use of natural colors. The patterns were mostly natural, such as flowers, leaves, and stalks, which were aimed at nature. The inner meaning of the granny look is based on the theory of Nostalgia, primarily because it is an emotional fairy tale and second, it reflected the sessions of nature. Also, it is a reinterpretation of the narrative. In conclusion, the academic and fashion industries need to understand the various emerging trends in accordance with the social and cultural backgrounds to derive a positive benefit.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.107-113
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• 1998

This stud tires to present a general picture about Alessandro Mendini's unique idea of redesign. One of Italian post-war redical architect and designer mendini gives us a special opportunity to appreciate the social cultural and political context where the post-war Italian design lies. Also known as "banal design" Mendin's design revolutionized the way in which we practice utilize and think about design itself. It is my opinion that the idea of his redesign can be best understood when we consider the social contest of Italian design. Unlike that of other European countries post-war Italian design gave special emphasis on how design can or should be more than a simple activity of making aesthetic or industrial products. In terms of these possibilities Mendini was never optimistic : today we are completely controlled by dehumanized mass production and it is impossible for design to take a special role for a social change Then Mendini's pessimism is bound up with the spirit of this age widely known as postmodernism. Even though Mendini himself never characterized his design as postmodern it is not difficult to identify various postmodern elements in his idea and practice of redesign. Thus in the final section of this study I shall investigate the postmodern elements in this design and furthermore such an idea as what makes Mendini postmodern.