• 패션비즈니스
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• 제13권4호
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• pp.163-177
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• 2009

In this study, the characteristics of headwear design by John Galliano's collections had been placed under the interpreting the immanent characteristics of presented in external things. His headwear design was found to have following characteristics; ethnic forms, historical forms, natural modeling forms, artifical forms, false hair forms and abstract forms. And his headwear design was found to have folling immanent characteristics; expaned exaggeration, introduced into existing form and reconstruction, mixed with different motives, change of texture, introducing and parody by natural and artifical form, pure abstacted construction. Furthermore, it can be identified that immanent characteristics and external things are mutually linked.

• 복식
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• 제57권6호
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• pp.71-86
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• 2007

Affinity between a creative and experimental fashion design and a Fashion Make-up expressed in John Galliano's Collection was analysed to examine the harmony between Beauty and Fashion. This approach may establish the link between the Fashion Make-up analysed in view of Aesthetics and aesthetic characteristics of a fashion design that a fashion designer pursues. The Fashion Make-up plays a significant role to express a relevance to a design spirit because it is a visual text that a audience faces easily in a collection leading the style. Under the proposition that collection is understood as a popular culture as the fashion is preferential and popular, the Fashion Make-up can be analysed in the aspect of aesthetics. The characteristics reflecting the popularity of popular culture, such as the comic, the erotic, the fantastic and the sentimental are used to analyse and interpret the Fashion Make-up. The fashion design and Fashion Make-up with one characteristics or combined ones showing uniqueness in the popular culture are compared and analyzed.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 International Costume Conference:Exploring Global Costume Culture
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• pp.93-93
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• 2001

• 복식
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• 제67권2호
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• pp.68-87
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• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• 한국의류산업학회지
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• 제16권1호
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• pp.13-25
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• 2014

The purpose of this study is to investigate the concept and characteristics of 'grotesque,' examine the aesthetic characteristics of grotesque reflected in arts and dress, and modern fashion. The findings are as follows: 1) Grotesque indicates unnatural, unpleasant, and exaggerated that it upsets or shocks person. The characteristics of grotesque include terror, abnormality, unreality, amusement, disgust. 2) The grotesque art represented terror, abnormality, unreality, amusement, disgust by disordered form, nonnatural things, evil world, unorthodox methods, unrealistic image, strange dreamland. 3) The grotesque dress represented terror, abnormality, unreality, amusement, disgust by exaggerated silhouette, exaggerated adornment, excessive decoration, incroyables, using exaggerated silhouette, crinoline silhouette, bustle silhouette, surrealist style, extraordinary materials, glam rock style, unique silhouette, cyber look. 3) Terror was implied in the punk look suits of Junya Watanabe, and exaggerated outers of Viktor & Rolf. Abnormality was shown in the atypical suit of John Galliano, Junya Watanabe's dress decorated with the extreme ruff, Thom Browne's suit of abnormal proportion. Unreality was reflected in the architectural dress of Gareth Pugh, Mermaid dress of Giles, the surreal suit of Jean-Charles de Castelbajac. Amusement was represented in the amusing suit of Gareth Pugh, John Galliano's dress of sexual perversion. Disgust was reflected in the decadent dress of Thierry Mugler, Undercove's suit, and the ensemble of shocking details.

• 대한가정학회지
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• 제46권10호
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• pp.37-48
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• 2008

This study re-examines new aesthetic values pursued by Givenchy, analyzing by the Haute Couture line's chief designers. The following conclusions have been reached: Hubert de Givenchy pursued modernity, infused with simplicity and structured stability. In particular, Audrey Hepburn, who was a loyal client and used his line in several movies, provided him the platform for international exposure which he used to further develop what became known as the "Hepburn" style. The subsequent brief tenure of John Galliano did yield the fantastic and magnificent "Galliano-style", but with irregularity. Based on romanticism, it redefined fashion using a wide range of colors, subjects and decoration. His successor, Alexander McQueen, applied opposite elements using a hybrid technique of pastiche, parody and collage. With innovative inspiration he compromised the concepts of gender, time, space and cultures and recreated futuristic forms of nature, animals, insects and mythical images. Julien Macdonald, who was appointed in 2001 as the Artistic Director for the women's collections, minimized his individual style and preferred feminine, graceful and sexy silhouettes. He breathed fresh life in to Givenchy Haute Couture, reinterpreting the Hepburn style in a modernistic mode. Being passed on the responsibility for both collections (i.e., haute couture and ready-to-wear) in 2005, Riccardo Tisci redefined elegance, combining his unique and tailored gothic style with Givenchy's grace. He is developing the future of Givenchy, experimenting with volume, silhouettes, new kinds of fabric and techniques.

• 복식
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• 제53권2호
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• pp.57-70
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• 2003

Modern Haute Couture represents artistic views through its image. symbol, and originality. Haute Couture's original art has been kept as a design technics which is the fusion of timely, original Maison's concept, plastic beauty as designer's personality. Christian Dior's maison continued by Yves Saint Laurent, Marc Bohan, Gianfranco Ferr'e and John Galliano who emphasize elegant image which has avant-garde trends came from post modernism. Christian Dior Haute Couture's design which can be symbolized by the feature of timely variation and new feeling of continuing designers has the following originalities. 1. Christian Dior Haute Couture's design has been affected by the timely art-trends. 2. Christian Dior Haute Couture's design concept is represented as Nobly Chic Elegance. Feminine Elegance. Sophisticately Chic Elegance, Fantastically humourous Elegance therfore, the traditional concept of Elegance are maintained. 3. Christian Dior Haute Couture's design technic not only emphasizes the details of collars and up side of clothes or trimming but also persuits the total beauty of balanceness with the harmony of the evenness between other factors.

• 복식
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• 제32권
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• pp.293-312
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• 1997

Deconstructionism is a philosophical stream in the latter half of 20'th century which goes against western metaphysics and tries to deconstruct the dualism e.g. eastern/west-ern man/woman. Its main concepts are 'indi-vidual' 'other' 'difference' 'restoration of the repressed' 'decentralization' 'Today it shows strong influences in literature art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida's theory in order to re-search modes of deconstruction in is. And it compared clothing with architecture among other genres of art in order to discover similarities between through and modes of art in a certain period. For illuminating concept of deconstruction I referred to the literatures of preceding studies and for deconstruction's characteristics in both clothing and architec-ture I referred work's collection book $\ulcorner$collec-tions$\lrcorner$ and other related books dealing from 1960's to this point. As a rsult there are four modes of decons-truction in both clothing and architecture as follows; 1) Differenance which is a concept of the dif-ference in time and space as being trace. 2) In termeaning of meanings which is not present in reality but re-interpreted a new in the future. 3) Interxtuality in which a texte is not alone but with others 4) Dis.De phenomenon in which distortion and fragmentation forms occur as the result of the denial of perfection and reson. There are characteristics of modes of de-construction in clothing as follows; 1) Differance; R.Gigli, P. Rabanne. G.Bersace, V.Westwood are representatives of the cloth-ing which is combined with the past the pres-ent and the future or is re-viewed as the clothing of the past in the present point of view. J. Watanabe R. Dawakubo I miyake are representatives of the clothing which is out-date but re-viewed in the sense of recollec-tion and re-usage. 2) Intermeaning of meanings: R. kawakubo I, Miyake Y,Yamamoto are representatives of the clothing which is incomplete but re-interpreted in the future and appears to be new-fashioned according to ways of bnding wearing throwing on and tying J.C. Castel-bajac K.Hamnett S.Sprouse are representa-tives of the clothing which is made up of ab -stract forms scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ;J.P.Gaultier K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the 여-ality of man/woman J.P Gaultier G,Versace J. galliano are representatives of the intertex-tuality of time place and occasion which mixes temporality extensity and purposiveness. J.P Gaultier G,Versace are representatives of the intertextuality of coordination which combines items different in image purpose and use. P.Rabanne A,Courr ges R,Gernreic I,Miyake are representatives of the intertextuality of mat-ter which uses heterogeneous matter different from cloth. 4) Dis.De-phenomenon: R, Kawakubo I.Mi-yake J.P.Gaultier are representatives of the de-composition which discloses distortion and exag-geration of form through destructing the estab-lished way of construction J.Galliano R.Kawa-kubo Devota Y Lomba arte representatives of the decentring which restores the repressed and the alienated on the one hane and shows front-centrality on the other. Comme des Gar ones is representative of the discontinuity because of which right and left up and down are not in har-mony with one another. J,Galliano J.P,Gaultier T,Mugler are representatives of the disruption by way of which one makes one's body exposed through intentional slashes or holes. As a consequence deconstructionism enabled us to investigate similarities between through of deconstruction and modes of art interms of diffrance Intermeaning of meanings intertextuality and Dis De-phenomenon. And we found that deconstruction was a phase of development in that it as a all-comprising and multiple concept tries to pursue the new through deconstruction.

• 패션비즈니스
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• 제14권2호
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• 복식
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• 제53권8호
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• pp.137-148
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• 2003

The culture interest regarding the new area causes an effect even in change of fashion and that result Mongol area where it is area other than Japan, China and India and it is having compromised beauty raised it's head. Mongol is in Noin-ula area which is a it's former self of the Hun's. There is to a textile pattern which was used not only the textile pattern which has the feature of Scythian system but also the textile pattern which has the feature of China was used. The feature of Noin-ula's the textile pattern is as follows. Noin-ula's textiles used Scythian system of animal pattern, vine pattern, palmette pattern, thunder pattern, spiral pattern, shape of diamond pattern. Scythian system of animal pattern and vine pattern proves the interchange with the countries to the west of China. Noin-ula's textile pattern is applied to the designer's work of art. The designers are John Galliano, Etro, Chloe, Emmanuel Ungaro and so on, who express the modern ethnic style design. Because the more developed the modern society is the more embossed feature of intention for the race and the fork art, I think that Ethnic style design is applied to modern sensitive and ethnic style in the future.