• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.54-55
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• 2004

• 출판저널
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• 통권242호
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• pp.13-13
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• 1998

이 책은 의상과 패션에서붜 문학.예술.법률.종교.철학 등 인간사의 모든 부문에 걸쳐 '여성의 정체성과 타자성'을 추적.탐구하여 여성의 다양한 목소리를 그대로 살려내고자 한다. 책을 읽으며 우리는 전혀 새로운 눈으로 기존의 철학자.혁명가.예술가를 바라보는 경이로운 체험을 하게 된다.

• 디자인학연구
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• 제20권1호
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• pp.287-296
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• 2007

최근 우리나라 여성들의 패션경향은 단순히 유행을 따르던 시대를 지나 자신만의 개성적이고 독창적인 미를 살리려는 방향으로 흐르고 있다. 이러한 시대적 요구에 부응하여 패션 디자인에 있어서 새로운 아이디어를 개발해야 함은 당연한 일일 것이다. 본 연구는 1960년대 팝 아트의 대표적인 작가인 로이 리히텐슈타인의 작품세계를 연구하고 이를 현대적 감각에 맞는 의상과 접목시킴으로써 예술세계의 실용화와 더불어 의상세계의 예술화를 추구하였다. 연구의 결과는 다음과 같다. 첫째, 로이 리히텐슈타인은 만화를 비롯한 인쇄 매체물에 환등기의 기계적인 기법을 도입하여 벤데이(Ben Day)점들을 창안해 내었다. 본 연구는 그의 작품을 응용하여 의상을 제작함에 있어 그 작품의 특징 중 벤데이 점과 사선, 삼원색의 기본색 사용, 단순화된 평면 형태에 주목하였다. 둘째, 그의 작품의 대표적인 특징인 벤데이 점은 의상에 응용하여 다양한 모양과 크기와 색의 다트(Dot) 문양으로 응용하여 표현하였다. 그리고 그의 사선은 다양한 크기와 색의 스트라잎(Stripe) 문양으로 표현하였다. 셋째, 그의 작품에 사용된 삼원색과 무채색을 의상의 기본 색상으로 사용하였으며, 단순화된 평면 형태의 조형적 특징을 활용하여 단순하고 대담한 스타일의 의상을 디자인 하였다. 로이 리히텐슈타인의 만화적 이미지의 이용, 망점 스크린과 사선, 강렬한 색채 등은 더욱 다양한 방법으로 연구되어지고 미래 많은 패션 디자이너에게도 무한한 디자인 영감을 제공해 줄 것으로 기대된다.

• 한국의류학회지
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• 제29권7호
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• pp.926-937
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• 2005

The analysis category of Art to Wear was text analyzed from the research material of 100 projects put together by fashion specialist. The conclusion of Art to Wear was comprehended the general features of it were compared and analyzed from a semiotics context. According to this analysis, the formative features of modern Art to Wear is categorized into three different dimensions from a semiotics light. The formative features of modem Art to Wear in the light of syntactic dimension was divided as an open constructed shape of Space Extension, non-typical Deformation, Geometrical Plasticity. The formative features of modem Art to Wear in the light of semantic dimension express symbolic meaning through metaphorical sign. These sign reflect the body image of the life and death and its objective of Abjection, Hybrid of discultural appearance and the image of Hyper-reality, which are features used to comprehend the inner meaning. The formative features of modem Art to Wear in the light of pragmatic dimension divided the artist emotion and meaning system delivered by Emotive Image, the Phatic Image that arouse inner signification and the Poetic Image which contain artistic and aesthetic meaning within it.

• 복식문화연구
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• 제11권1호
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• pp.118-134
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• 2003

The first purpose of this study is to take a better look it the background of Formalism art in the cultural society and to examine the aesthetic value of the formative arts of formalism architecture that are ail basically founded upon the study of Formalism. Secondly, it analyzes the aesthetic value of Formalism Art to Wear, Which can be explained as a mixture of art and fashion, by investigate to the features of art history. The results are as follows; First, Formalism Art to Wear of Simultaneity does not represent continuance but simultaneous. In other words. inside the same time and place of dimension, events art visualized without transformation. Secondly, formalism Art to Wear of Geometrical Aesthetics deals with a purely genuine atmosphere that pursues absolute perfection, composed abstract of geometrical shapes. Thirdly, Fomarlism Art to Wear of Deformation breaks analysis from balance and symmetry showing extreme transformation nil new vitality. Fourthly, Formalism Art to Wear of Space Extension experiments with post-corporeality. Post-corporeality centers the human body extension that is open to various boundaries of implosion and electronic technologies, providing us with a new Cyborg of the digital body.

• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 복식
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• 제65권7호
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• pp.19-31
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• 2015

Futurists put forward creative fashion by combining art and functionality. This led to a new aesthetic approach in how we view modernized industrial cities. Ernesto Thayaht, a futurist, introduced the "Tuta", which was simple and practical clothes. Tuta expressed the imagination and aesthetic values of Futurism. The characteristics of the Tuta were categorized into the following: Form, Colors, Materials, and Details. The results of examining its characteristics as follows: Tuta had a linear and simple planar pattern, which could be made with one cloth. The same modernized urban colors were used for the top and the bottom. Practical Materials, such as cotton and linen were used because they were easy to wash. Tuta excluded unnecessary ornaments, and only included functional details that would allow for comfortable movement. These design characteristics of Tuta revealed functionality, popularity, modernity, and innovativeness of formativeness. Tuta presented a new model of fashion in the early 20th century and completed the modernization of clothes. Tuta reflected the democratic and equal spirit of the era by innovating and overcoming the structure and form of conventional clothing.

• 한국의류학회지
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• 제29권6호
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• pp.793-804
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• 2005

The new paradigm of the 21st century demand an openly different world of formative ideologies in respect to art and design. The purpose of this study is focused on trying to comprehend aesthetic essence of clothing as an, with the investigation of artistic theories manifested by art philosophers. Art to Wear was categorized into style to understand its artistic meaning as well as to analyze its character. Upon the foundation of semiotics theory, the feature of Art to Wear and its analysis category were argued in the context of Charles Morris three dimension of semiotics analysis. The conclusion to the research is like so. The feature and analysis category of Art to Wear upon a semiotics perspective was divided into syntactic dimension, semantic dimension and pragmatic dimension. The analytical categorization upon the perspective of syntactic dimension fell into the category of topology, shape and color. The semantic dimension of Art to Wear was divided into categories of denotation and connotation. In addition, the pragmatic dimension of Art to Wear analytical categorization was divided into a delivering function and common function.

• 한국의상디자인학회지
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• 제15권1호
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• pp.47-57
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• 2013

In terms of expression, beauty illustration has become more diverse and innovative. Because of continued unique creative activities, more novelty has been pursued. In this study, beauty illustration in new artistic and decorative images was used to investigate the basic concepts of art activities, illustration and beauty illustration and make up for beauty illustration which adheres to traditional and classical expressions. In this study, the following results were obtained: First, in terms of expression of beauty illustration, the work with art expressions are still poor compared to other fields such as fashion illustration. Therefore, it is necessary to attempt beauty illustration of a new image which expresses artistic emotions. Second, by using an artistic technique called 'paper sculpture', a semi-solid shape has been completed, and a decorative beauty illustration was created. People get new inspiration through beautiful and innocent art pieces, which in turn motivate to create new expression. New art activities which take a human body as an art support beauty activities through picture and more sensitive inspiration. It was attempted to express other emotion and beauty by observing a single piece of work. A new possibility in beauty illustration which is differentiated from other art activities is proposed and its domain is developed.

• 복식문화연구
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• 제26권6호
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• pp.888-898
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• 2018

The purpose of this study was to review and establish the two concepts of art film and artistic expression in Prada fashion films, through a literature review of domestic and international case studies, as a form of luxury branded content, Prada fashion films are considered to artistic film genre. For the study, aesthetic expression in art films as discussed in the previous research was divided into four types. The study method was to review fashion / art films from the founding of YouTube, specially, works that used digital images from Thunder Perfect Mind, which was introduced in Prada in 2005, to Nylon Farm in 2018, stylistic features were searched by film. In addition, for this study, fashion film was analyzed based on the typology of art films. The following conclusions regarding artistic expression were drawn from this study : First, the Prada fashion films represent a transition to advanced art through a conceptual approach. Second, the causal relationships personality psychology can be cited through the disturbed and fragmented narrative lines. Third, the films help people identity Prada's aesthetics by humanizing the luxury brand. Fourth, the films are a feature of serialization.