• 한국산학기술학회논문지
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• 제13권1호
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• pp.425-430
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• 2012

물리학의 이론들은 사회 현상을 바라보는 관점과 밀접한 관계가 있다. 이 이론들은 건축에도 영향을 주었다. 본 연구에서는 물리학의 사고가 건축 디자인에 영향을 준 내용을 고찰하고, 상호 연관성을 확인하고자 한다. 연구 내용을 보면 입자 중심의 사고인 고전물리학은 19세기 초반의 건축에서 균질공간으로 나타나고, 건축의 특징은 절대 공간 속에서 장소와 관계없이 기하학적이고 건물에 제한된 내용으로 이해하고 세워졌다. 반면 현대 건축은 현대물리학의 장이론과 양자역학, 그리고 상대성 이론 등의 사고와 관계가 있다. 따라서 건축을 바라보는 관점이 영역성, 상호성 및 시간성 등으로 이해하게 되었으며, 이것의 영향으로 다양하고 비정형 등의 내용으로 건축이 세워지고 있다. 연구를 통해 건축과 물리학의 사고는 상호 연관이 있으며, 현대건축의 디자인에 나타나는 건축적 사고는 현대물리학의 이론에서 보여 지고 있는 패러다임 내용이 적용된 것을 알 수 있다.

• 복식문화연구
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• 제17권6호
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• pp.1083-1098
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• 2009

The purpose of the study is to revaluate the new artistic values of Suprematism that immensely influenced the Russian culture in the beginning of the 20th century. Also through studying the relationship between people and costume within works of Malevich, who wanted to portray humanity through his art works, this study will research on how Suprematism not just stood as Russian Avant-garde art but significantly contributed to art and costume expression. The study methods are as follows. First, consider the formative background of Suprematism style of arts. Second, study of the development of Suprematism art through both Suprematism art and Non-objective art. Third, study how Suprematism style of arts is portrayed in art costume through works of Malevich. The results of the study are as follows. The Russian Suprematism art costume strictly originated from the Russian Suprematism style of arts. Suprematism simplified any reproductive element of fine art with a creative energy, which reflects the statement of Malevich that said, "The object does not exist, it only stands as a symbol." In other words, Suprematism abolished ordinary response to basic environment, and created a much more serious reality than the innate reality of the environment. When applied to art costume, such style sought after geometrical simplicity in shape and Neo-Premitivism trait in color. This trend is also expressed in 21st century fashion in new forms of Minimalism or Futurism. In this respect, Suprematism still holds an artistic value in a novel form even after a century since the beginning of 20th century when Malevich first presented Suprematism.

• 자연과학논문집
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• 제7권
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• pp.121-131
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• 1995

오리엔탈리즘은 20세기 초에 스타일의 변화에서 시작되었다. 현대성은 역사적 개념이전의 거대한 변화의 흐름을 통해 이해될 수 있다. 서양에 있어 스타일의 변화는 동양적, 이국적 취미를 가진 예술가에 의해 시작되었다. 이것은 외형적으로 일본, 모로코, 북아프리카에 대한 외형의 재현이었다. 20세기 양식의 흐름은 표현주의, 큐비즘, 쉬르 뤼얼리즘, 팝아트로 이어진다. 그러나 오리엔탈리즘은 후에 원시주의로 보여지는 에그조티즘 이후 20세기 변화의 원천이 되었다. 현대복식에서는 신체의식을 변화시킨 뽈 뿌와레의 작품과 관련지어 본다. 그는 이브 생 로랑, 샤넬, 발렌시아가와 같은 이미지 창조자였다. 당시 러시아 발레, 야수파, 생생한 색상은 일련의 현대복식의 배경이 되었다. 부드럽고 유연한 신체, 비치는 스타킹, 미나레 튜닉, 터번 등은 오리엔탈 이미지의 시작이었다. 현대복식과 현대 조형은 역사적 개념이전에 미적 기초의 변화에서 비롯된 것이다.

• 복식문화연구
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• 제6권3호
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• pp.126-156
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• 1998

The purpose of this study was intended to analyze mechanical beauty of the art style represented on the second half of the 20th century fashion. From the early 20th century, when the mechanical civilization began to develop in full scale, various distinctive styles of art began to emerge by the denial of the traditional artistic style, which is said to be an inevitable consequence fo the 20th century's spirit. That is, the diversified styles of modern art, which has developed in line with the rapid growth of civilizations, experienced environmental pollution, non-humanization and un-individualization. Those phenomena became mental anguish for artists and designers, they have come to meet with changes, by their efforts to find new way. SO, the mechanical beauty is becoming a very important factor arts. Especially, the collage of the Cubism have used as art techniques of positive mechanical beauty. And in the transition from Dada to Surrealism, the objects provided an important harmony, suggesting that all things, even those achieved by chance or presented in new associations or radical dissociations, could be said to have meaning. Pop Art that expressed daily living of spending culture in the post industrial society, scaled up the induction of mass media which was much more realistic than Dada or Surrealism. According to the results of this study, the second half of the 20th century fashion has generated mechanical beauty was examined and plundered by modern art styles. The mechanical beauty of modern art was represented in the modern fashion as the positive and negative formativeness. Above all, the best way that the fashion design should take in the future, is in the search of ways how to restore humanity that was lost due to use of machine, how t develop its merits and how to harmonized with mechanical civilization.

• 복식문화연구
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• 제10권6호
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• pp.763-780
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• 2002

The aim of this research is to analyze Vionnet´s geometric features, which can be regarded as the key formative beauty among the external characteristics of her works. and to thereby establish the theory that her works emitted a time-transcending life force because they were patterns designed based on a geometrical frame of mind. To prove such argument, studies to understand the basic geometrical aspects appearing in her works will be made by taking a look at the general features of geometry, viewing Vionnet´s philosophy for designing, and examining the geometric cutting methods. The period covered in this paper will center mainly on dresses Vionnet made from her very active days in the fashion sector, 1919. till when she retired from the fashion industry, around 1939. What's outstanding about Vionnet´s geometric principle expressed in her works is the unique cutting method that acknowledges the silhouette of the human body as a cubic or three-dimensions concept, through insight of the human body, the mechanics of the materials, and geometry. Vionnet introduced a simple and elegant design by combining geometric figure cuts, such as rectan히es. quadrants, and triangles. Moreover, she created a new sewing structure that plans everything about the materials to the tiniest detail, resulting in producing a softer style With this, Vionnet showed the geometrical correlation can bring about harmony and the beauty of ideal proportion, forming the source of eternal beauty. As discussed so fu, the geometrical characteristics appearing in Vionnet´s works are marked such as spirals, zig-zag lines, asymmetries. panels, gradation, golden proportion, and the mobius-band.

• 비교문화연구
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• 제45권
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• pp.33-54
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• 2016

본 연구는 프랑스의 시인 기욤 아폴리네르, 폴 엘뤼아르와 한국의 이상의 시에 나타나는 상형적인 시어들에 대한 비교 분석이다. 그들은 글꼴이나 문장의 모양과 행간을 회화적으로 배열하는 타이포그라피 기법을 응용하고, 알파벳의 철자, 수학적 기호, 원이나 점, 선 등의 도형적 요소들을 혼용하여 특징적인 시화를 펼쳐 보인다. 시각적인 서정으로 평가되는 그들의 작품은 반시어들이 조화를 이루고 있으며, 기존의 시어나 문법의 규범을 벗어난 글자와 기호들의 자유로운 구사는 병렬적이고 대립적인 특성을 보여준다. 그들의 상형적 시어들은 공간의 확장과 같은 역동적인 이미지를 불러오고, 이상의 기하학적인 기호들을 응용한 상형적 시어들은 형이상학적이고 추상적인 그림시로 형상화된다. 결과적으로, 우리가 분석한 세 시인들의 상형적인 시어들은 조형의 미학으로 귀결된다. 변형된 글자와 암호와 같은 기호의 회화적 구성은 시적공간의 확장이 불러오는 입체적 미학을 구현하고 있다. 나아가 세 시인의 상형적인 시어들은 프랑스와 한국의 현대 시문학에 파격적인 표현기법으로 당대의 새로운 예술정신과 해방정신을 실현한 전위적인 시적 언어들로 평가할 수 있다.

• 복식문화연구
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• 제31권6호
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• pp.720-737
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• 2023

This study aims to merge Picasso's expressive elements and deconstructive fashion's formative traits, proposing an upcycle fashion design that fuses artistic and philoso-phical aspects. The analysis of Picasso's Cubism identified qualities like liberating revolution, fluidity of vision, geometric reducibility, complex symbolism, and creative imitation. The analysis of Derrida's deconstructionism revealed expressive traits: uncertainty, intertextuality, différance, and dis-de phenomenon. An upscale fashion design was developed based on six Picasso works featuring women. The design was created using the fashion design software CLO 3D and integrated clothing waste and scrap fabrics as materials.The results are as follows. First, upcycle fashion was viewed from a new perspective based on Picasso and Derrida's values. This perspective suggested creating better ethical values by upholding environmental protection in novel ways that overcome limitations rather than destroy existing values indiscriminately. Second, upcycle fashion design methodologies were derived from various perspectives utilizing formative features of Picasso's works and specific expressive features of deconstructed fashion. Third, the direction of mitigating waste and pollution from clothing production and transportation was revealed by making clothes in a virtual space using the CLO 3D program. This study contributed to obtaining various methods for developing upcycle fashion designs using own methods of Picasso and Derrida to diversify the approaches of upcycling, which is relatively stagnant in disassembling.

• 한국의상디자인학회지
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• 제26권1호
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• pp.61-76
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• 2024

The purpose of this study is the development of an experimental design that aims to implement three-dimensional fashion design by observing the human body, extracting and combining geometric shapes and forms, and focusing on attempts to decompose the geometry of the human body in art history. Considering the characteristics of fashion design, which inevitably reflect human images visually, this study considered works by deriving geometric shapes and forms of the human body and focusing on decomposition and combination to apply them to fashion design. The results obtained through the development of fashion design through decomposition and combination based on geometric human body analysis are as follows. First, geometric analysis of the human body as an object of expression continues from the history of Cubism to modern fashion design. Second, the geometric shapes of the human body that appear in contemporary fashion design maximize visual effects through three-dimensional composition, emphasizing simplicity while showing originality through various expressions. Third, when exploring the geometric shapes of a moving human body, it was possible to extract a wide variety of shapes and forms through drawing and simplifying the human body's movements. Fourth, the formative method of fashion design was introduced and used for the aesthetic combination of objects for fashion design through decomposition and combination. This study was able to show unique and diverse combinations of visually concise and ordered geometric shapes in the expression of fashion design by decomposing and combining them. The significance of these geometric forms is that they can diversify formative informativeness in the expression of fashion design with modern compositional beauty.

• 한국의류학회지
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• 제18권1호
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• pp.65-80
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• 1994

In the 20th century, The artistic world was constantly producing new ideas and movements and the world of fashion responded to and reflected them all in greater of lesser degree. Dress designers have always been aware of what is happening In the arts and have always been able to use the discoveries and ideas of the artist to help them solve design problems and create fashion which are new, inventive and reflective of thier time. Up to the present, other researchers have investigated the connections between the fine arts and the Modern Fashion. In this respect, the objective of this research was to clarify the characteristics of painting of the Impressionism on the Modern Fashion. In order to investigate the relationship between the trend of painting and Modern Fashion. Especially, Impressionism's light and color affected both 20th's painting and other sorts of art. That is, the trend of the modern painting, Fauvism, Cubism, Surrealism, Abstract art, Abstract Expressionism, was influenced by Impressionism painting. Similarly, in the sihouette, line, color, fabric pattern of the Modem Fashion was represented characteristics of the Impressionism Painting. The fashion's Fauve, Paul Poiret was excited by the power of color in the same intense way as the 'wild beasts' of art. The color of his clothes during that period was bold and brilliant. Gabrielle Chanel simplified the shape of women's clothes to a square cardigan and rectangular skirt. This was a cubist concept. Art and fashion probably held hands closest in the 1930s, when Elsa Schiaparelli was creating clothes directly influenced by the Surrealist thinking of Salvador Dali. And she burst upon the fashion world with a sweater that had a trompe I'oeil bow. Soma Delaunay was one of great pioneers of Abstract in. She proceeded to mix strong and bright colors into her art and created the geometric and abstract patterns of the clothes and fabrics with her strong color. The influence of Abstract Expressionism was expressed the fabrics of the Modern Fashion. Some fabrics used in Modern Fashion are printed in a dripping pouring and splashing style. For the future, some futher research to investigate the art-fashion connection might involve establishing systematic classifications for silhouette, line, texture, color of the fashion. Moreover, in order to study the influence of fine art on the fashion, a broader approach might wish to analyze the relationship between painting and other plastic arts.

• 복식문화연구
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• 제19권2호
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.