• Archives of design research
• /
• v.13 no.3
• /
• pp.69-80
• /
• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20 century. Resurgence of interests in human body has been based on the skepticism on rapid digitalization and do-materialization currently undergoing in electronic media environments. Artists have been endeavoring more and more to find a synthesis which links the conceptual and the sensuous in their works as digitalization gets faster and faster. The Bodily-oriented art uses its visceral qualities, either literally or metaphorically, to engage our total being, not just our mental consciousness, in building a sensuous, evocative statement. Its transcendent ideas are inter- mixed with the fabric of the world. We are touched by this art not only because we understand it cognitively, but because we "feel"it. These characteristics of textile arts caused gradual increase of soft-sculpture works using textiles and implies possibilities of inter-grade of physical and mental world. Ann Hamilton, Magdalena Abakanowiz, Folly Apfelbaum and Pallid Dougherty are, for example, related to the fiber arts. It would be of worth to study the characteristics of contemporary faber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz′works in the context of human body and body-signs. Life and works might be classified into 5 stages; first, learning period since her birth in 1930, second, creation period of Abakan, third, remodelling period of Abakan, fourth, composition and dissolution period of Abakan and the last and fifth, new transformation period of Abakan. ′Abakan′through her whole life as an artist has been a plastic language and based ultimately on external human body but in various materials and forms.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.159-178
• /
• 1998

Genres of the modern arts are expanding the overlapping area between the arts ; ceramics and weaving considered as crafts are devel-oped to the ceramic art and the fiber art, re-spectively. This trend has been also applied to the clothing part, which produced several new terms such as‘art to wear’,‘unwearable art’,‘clothing sculpture’and so on. As following this tendency, the unwearable art is dwelling on the boundary of painting, fiber art and scul-pture, and the clothing sculpture comes from the combination of fiber art and sculpture. While Issey Miyake's dress made of bamboo and Foltuny's pleats dress associated with Greek stone-column introduce the sculpture to the functional fashion design, the works of clothing sculpture become the arts by applying the sculpture to the non-functional unwearable art. Although the clothing sculpture is an interesting subject to be studied continuously for its effect on the contemporary clothing part, it is valuable enough as an unwearable art and sculpture respresenting the artist's concept under the circumstance that the boundary between arts and design is no longer clear, i.e., the clothing and the sculpture come across their regions each other. Furthermore, the clothing sculpture has its own value as a metapor exposing idea, feeling and spirit of the artist in the genre of the unwearable art. With a view point of the abstract clothing concept, the clothing sculpture has been taking the role expanding the clothing to the world of fine art.

• Journal of Science of Art and Design
• /
• v.2
• /
• pp.161-192
• /
• 2000

Body has been high-lightened as one of the most important theme since the philosophy and the arts are focused on it in the late 20th century. It would be of worth to study the characteristics of contemporary fiber-art works, especially done by Abakanowiz who has been regarded as a dominant pioneer in the contemporary fiber-arts from the viewpoint of inter-grade of the physicals and the mental. This paper, therefore, deals with the Abaknowiz' works in the context of human body and body-signs. Life and works might be classified into 5 stages: first, learning period since her birth in 1930, second, creation period of Abakans, third, remodelling period of Abakans, fourth, composition and dissolution period of Abakans and the last and fifth, new transformation period of Abakans. 'Abakans' through her whole life as an artist have been a plastic language and based ultimately on external human body but in various materials and forms. Abakan as a human-sign uses the past experiences and the texts of the other world in mixed and overlapped forms. Life-size Abakans by Abaknowiz can be easily understood as Abakanowiz herself and her Polish ancestor at the same time. The neuter Abakans with mashed face and obscure body is a expressive figure of coexisting world with opposite concepts like war and ideology, anxiety and freedom, man and woman, and etc. Human body as body-sign is an extensive image has existed since our forefathers and overlapped with the inter textual and the popular images. 'Abakans' that is our world and inner-self at the same time might be a window through which she tries to show what the world is.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1034-1046
• /
• 2009

Based upon literature survey, this research aims to analyze western children's clothing and characteristics over centuries. It was not until the 18th century that children were given serious consideration and that fabrication of clothing began to be designed only for children. The very first clothes which revolutionized children's wear was 'a la matelot' in the 18th century which freed children from physical restriction, recognized gender difference, and sailor suit became popular among all sexes and adopted as school uniform. And then children's clothing was shortened in length and adopted tubular silhouette, which allowed greater comfort and movement. The 20th century saw children's wear reform to be carried out after the World War II due to invention of synthetic fiber, easy care dress material, mass production system and sophistication of marketing methods. Further evidence of improvement of children's social status can be found in contemporary designs: for example, 'casualized' wear, 'character design' which reflects children's psychology and 'family look' which is designed to be worn with mothers. This evolution of children's clothing within western dressing support the view that children's clothing is not a miniature of adult wear but it reflects idiosyncrasies of the era and exerts children's dignity.