• Cross-Cultural Studies
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• v.44
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• pp.239-281
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• 2016

This article explores the fate of futurism not only by tracing the entire process from the birth and decline of Russian futurism in the early 20th century and the so-called "Korean futurism" in the early 21st century, but also by delving into how their characteristics were shaped. In the first chapter, we investigate four groups of Russian futurism - Ego-Futurism, Cubo-Futurism, Tsentrifuga, and the Mezzanine of poetry, which were born in the age of utopianism before the Revolution. In the opera Victory Over the Sun, which was the culmination of the Zaum project of Cubo-futurists, we can find the initial shortcomings at the levels of language (Kruchenykh), music (Matyushin) and decoration and costume design (Malevich). In the second chapter, we examine chronologically how the term 'futurism' appeared in Korean literature history. In Korea, the term 'futurism' was born following the naming and classification of critic Kwon Heok-Woong, not by the voluntary manifestation of experimental poets such as Hwang Byong-Seung, thus this specific situation provoked stormy polemics between critics for futurism and critics against futurism in the Korean literary world. These polemics on futurist poetics have led to considerations of the relation of criticism to poetry.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.839-853
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• 2016

This study proposes that Malevich's 1913 performance "Victory Over the Sun" was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. "Victory Over the Sun" did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in "Victory Over the Sun", and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on "Victory Over the Sun" from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on "Victory Over the Sun". and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

• The International Journal of Costume Culture
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• v.4 no.3
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• pp.217-228
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• 2001

This study* 1) historically considered the meaning of light which has frequently wed as the subject of artistic expression since Renaissance, in order to grasp an artistic atmosphere about light and rays before the allusion of Rayonism. non it inspected closely the course of changes of light as a result of historic circumstances and intended to understand how Rusian Rayonism of the 20th, which maintained these effects of light more rationally, had an influence on modern fashion. It was created by Mikhail Larionov and developed by his wife, N. Goncharova. The main special feature of Rayonism wag the crossing of reflected ras, emerging from various objects. Most of these things depended on line and color. Re purpose of Rayonism paintings was to create a new space from arising from which reflected rays from various selected objected crossed one another. Namely, artists maintained that they should give up various objects of visible world and express rays which were reflected objects and crossed in complex. Rayonists were affected by Cubism and Futurism and came to fake an interest in relations whose rays of parallel or convergent color made, also in expression of themes. Since that, Rayonsim affected Supermatisme and Constructivism. Re pursuit of light and rays from the 19th until the early 20th came to appear in fashion as well as in art as it was. As Rayonists created a new space from which reflected rays from selected objects crossed one another, they used line and color as the main techniques of expression. in this way the attempt which intended to express rays, using itself of the line and color, appeared as futile design of tots of designs like Donna Karan, Cianni Versace and Rococo Barocco and so on of Modem fashion. This was designed for essential elements of pure art to express the new aestheic consciousness through fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.99-112
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• 2022

This study analyzed how Kruchenikh's opera, "Victory over the Sun", performed in Saint Petersburg, Russia, in 1913, contributed to the birth of Malevich's Suprematism in 1915, and how the forms and features of the costumes were expressed in the opera's content. The results of the study are as follows: First, the theoretical background of the opera, "Victory over the Sun" was limited to Suprematism and non-objective art, which was divided into analytical cubism, cubo-futurism, and Uspensky's four-dimensional concept of space. Second, to reveal that Suprematism, appeared in the form of non-objective abstract art, was possible with the set and costume design of "Victory over the Sun," the set design was analyzed. Third, to reveal that Malevich's Suprematism was influenced by "Victory over the Sun," the study considered the characteristics of Suprematism in "Victory over the Sun". Finally, Malevich's Suprematism art costumes expressed in "Victory over the Sun" were divided into geometric spatial structures, images of black & white, mechanical human images, and images of warriors and the characteristics of each costume were considered. Malevich's "Victory over the Sun" showed a significant impact not only on the birth of Suprematism but also on the development of the non-objective art & costumes.