• 복식문화연구
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• 제14권1호
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• pp.153-167
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• 2006

The hip-hop, which began with subculture of black people in Harlem, have changed variously in musical history after the times, which has become the culture phenomenon that had controlled dancing, fashion, and further consciousness of the new generation around the world in 1990s. Since Jean Patou first used Graffiti on clothing in 1920s, graffiti art has been expressed through various methods in many designers' works. The purpose of this study is to develop 'The Hip-Hop' clothing design which express major images in works of Jean-Michel Basquiat, a representative painter of Graffiti art in modern fashion. The concept is Jean Casual Look representing Young Street Culture. Breaking from existing strong legitimate hip-hop styles, clothing design expresses funny, healthy, comfortable, and active feelings. Adobe Illustrator and Adobe Photoshop program were used to design Hip-Hop clothing. With the result that the images on Basquiat's works applied to the hip-hop clothing design, it is suggested that the works of artists are worthy of practical use as factors of a high value-added design, which corresponds with collaboration appearing in modern design variously.

• 한국연극학
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• 제49호
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• pp.101-131
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• 2013

This paper reviews the Insaenggeukjang's history and Insaenggeukjang's play. This paper has been written with a purpose to understand and to examine the members(actors and actresses), the structure, the plays, the performing works, the change process, and the meaning of Insaenggeukjang(life theater) and junggangeug(middle-theater) in 1930s. Insaenggeukjang is Korean theater for the drama in the second half of 1930s. In particular, Insaenggeukjang is a theatrical troupe that led Korean theatrical troupes in 1937 to 1938. This paper intend to examine Insaenggeukjang's history, activity, feature and works. I study Insaenggeukjang and performing works contained in the newspapers and the magazines in 1920-30s, and conference papers and theater-art books published recently.

• 복식
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• 제29권
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• pp.143-158
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• 1996

It was the year of 1903 when avantgarde artists in Vienna gave a birth to the Wiener Werkstaette under the influence of Aesthetic Movement and Guild of Handicraft from England. This study is on the backgrounds of the birth of the Wiener Werkstaette its artis-tic motto and world-wide echo it provoked. This thesis goes back to the time when the decadent Wiener Secession shaped up refiewing the Reform Movement It also covers characteristics works of major members of the Wiener Werkstaette which were produced on the basis of the concept of Gesmtkunstwerk, The conclusion of this study is that : 1. Without losing its own specifc features various fields of formative arts were combinded together coherently and succeeded to realize the idealistic art that is the com-posite are 2. The Wiener Werkstaette was strongly opposed to the ready-made clothes which be-came popular as the society was Industrialized and commercialized. unlike those ready-to-wear clathes those members of the Wiener Werkstaette preferred to make each clothes with different mateirals and printed their own unique pattern designs. 3.As a results of close relationships between the Wiener Werkstaette and paul poiret 'Stu-dio Martine' was established in paris and new pattern deslhns were introduced by Raoul Dufy. 4. After the break-out of World War One cultural exchanges with other foreign countries were vuirtually cut off and the Wiener Werkstaette was disconnected from the influence of Parisl That was the motive for Wiener Werkstaette to start building up its unique artistic style with peculiar materials techniques and methods of productionl Those brisk and creative activities of the Wiener Werkstaette brought forth "the Golden perlod of 1920s" 5. Its historic design and ornamental pattern were assessed as a prelude to the Post-mod-ernism Since the late 1970s with the redis-covery of the culture of vienna in 1900s. the Art to wear which was created by the 'Wiener Werkstaette' but unfortunately tucked away by the Greate Depression and nationalism has been revaluated and studied. In Korea it was since 1985 when 'the art to wear' began to gain attention widely. It is urged that the theory of the 'Gesamtkunstwerk' should be also ac-cepted and shared earnestly.

• 미술이론과 현장
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• 제4호
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• 디자인학연구
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• 제5권1호
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• pp.37-44
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• 1992

Today, the art and the architecture face up to the problem of loss of direction. So, the derection of post have been lost. This phenomina cause the second loss of direction, because the mode of pre-modernism is underestimated. After all, the mode and philosophy of after-modernism face up to the new crisis of derection. Present artists, archtectures and designers have to acnieve new trial and study for estimation of aestetics and directions. Ultimately, constant exercise and study of philosophy, morpholophy, morphology, current mode and new materials is necessary to search a methodology. This all have to be accomplished by the clear philosophy. The original identity is formed in environmental basis. So, first, architectures, designers, and artist understand native identity, second, we sho have acadenical and practical faculties impose significance. In case of Europe, the change of mode have led paradigm of culture. The great change of social culture have come out the wave of revolution that cross in design, architecture and art. 1920's of modernism evolve 1960's completion. In the change of life style, functionalism have evolved postmodernnism. But, in this change we do not suggest the new derection that form concrete idea and sympathy. This phenomina appear in the end of a centry, and nowaday is that day. This trends effect on artists, architectures, and designers, and design and will be changed. Finally, we need to study of concrete and new direction in this circumstance.

• 미술이론과 현장
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• 제9호
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• pp.59-91
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• 2010

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

• 디지털융복합연구
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• 제16권10호
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• pp.479-484
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• 2018

일제 강점기 여성들 one length hair style의 변천사 및 형태학적 분석을 시도한 연구로서 선행논문과 저서를 바탕으로 형태, 질감, 색상 등 헤어디자인의 구성 요소들을 분석하여 다양한 형태의 one length hair style 커트가 가능해지는데 연구의 목적이 있다. 연구 결과 1910년-1920년대 one length hair style은 커트 길이의 단차가 전혀 없는 out line을 지닌 형태, 자연 그대로의 모발 질감, 자연 모발 색상을 보였다. 1930년대 one length hair style은 약간의 커트 길이의 단차를 보이면서 다이아몬드 형태, 자연스런 질감의 narrow wave, 과산화수소나 oxygenated water을 이용한 약간의 탈색이 이뤄졌다. 1940년대 one length hair style은 형태, 질감, 색상 면에서 화려한 미(美)를 추구하려는 특이점이 발견되지 않았다. 본 연구를 통해 one length hair style에 관한 심층적이고 세분화 된 후속 연구가 가능해지며, 헤어미용 교육의 기초 자료 및 뉴 모드의 트렌드 개발을 위한 초석으로 작용하리라 사료한다.

• 패션비즈니스
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• 제18권4호
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• pp.80-96
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• 2014

The purpose of this study is to consider the expression of costume through the review of cinema costumes and to provide the model of cooperation between fashion and movie industry by analysis of collaboration with fashion brands in the movie . The subjects are the 1974 film directed by Jack Clayton and the 2013 version by Baz Luhrmann. Cinema Fashion was studied by analyzing the costumes of the two main characters, Gatsby and Daisy, in each scene. Gatsby's costume appeared as a model of traditional American classic suit, sensitive G-G look that symbolizes social success and traditional casual style that reflects upper-class life style. Daisy's costume expressed pastel toned luxury flapper look, oriental art deco style, and prestigious jewelry representing high class. The collaborations with fashion brands were carried out with Ralph Lauren and Cartier in 1974 film, and Brooks Brothers, Prada, and Tiffany in 2013. The value of prestige brands that matched the images of the movie was utilized, but marketing strategies for the promotion of fashion goods were not enough in 1974 version. On the other hand, in 2013 film, the effects of collaboration of the movie and fashion brands were forecasted sufficiently and marketing campaigns for promotion were performed in a various ways. The characteristics of collaborations were as follows: (1) the usage of prestige brands value, (2) collections planning and promotion using the stories of a movie, (3) the usage of multidirectional digital media, and (4) multi-dimensional promotion using entertainment factors. In collaborations with the movie, fashion brands could make cooperative relationship to produce the positive effects for promotion and prestige image strategies and draw attention of the people to the movie and fashion.

• 복식
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• 제36권
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• 미술자료
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• 제98권
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• pp.200-225
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• 2020

본 연구는 국립중앙박물관 소장 <민화 책거리>를 중심으로 이와 유사한 국내외 소장품 총 14점을 발굴하여 '석당' 공방 제작품으로 논의하였다. 본 논문은 첫째, 이 작품군에 찍힌 인장(印章)을 토대로 이들이 제작된 공방의 이름을 석당(石堂)으로 명명했다. 둘째, 작품 14점의 도상을 분석하여 이들이 제작된 시기가 1920년대일 것이라는 점을 추론했다. 셋째, 이 작품군에 드러난 지명과 주소 같은 정보를 통해 이 작품군이 주문화가 아니라 반(半)기성화로 제작되었을 가능성을 논의했다. 넷째, 이 작품에 보이는 다양한 첨단 제품의 도안을 분석하여 이것이 중화(中華)의 몰락 및 구미(歐美)의 부상을 포함한 새로운 외교 관계를 표상하며 구미로부터 물건이 직수입되기 시작한 통상 환경의 변화를 예증한다는 사실을 도출했다. 마지막으로 20세기 전반에 유행했던 이형록-이덕영 계열의 책거리와 석당 계열 책거리를 비교함으로써 시각 문화에 있어 전통의 계승 및 혁신 문제에 대한 중요한 시사점을 제시하고자 하였다.