• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 한국의류학회지
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• 제47권3호
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• pp.459-474
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• 2023

Contemporary fashion criticism tends to rely solely on the established art criticism process without consideration of the distinctive characteristics of fashion. Thus, this study aims to reveal the unique roles and characteristics of fashion criticism by recognizing it as an independent field in contemporary art with its own social significance. This study will first apply traditional art criticism models to analyze and explore contemporary fashion criticism's empirical content before uncovering the uniqueness of contemporary fashion criticism by content analysis. Contemporary fashion criticism discusses not just physical objects but various topics and ideas, as well. Accordingly, the existing criticism model was modified in this study to fit contemporary fashion criticism and organized into five stages: description of historical fashion, form description, external evaluation, interpretation, and internal evaluation. Commerciality, the human body, coordination, the critic's individuality, trends, and fashion-related persons were identified as key factors of contemporary fashion criticism's uniqueness. In conclusion, rather than build a single contemporary fashion model, this study found it more effective to create individual fashion criticism models suitable for detailed fields, as these enable the discussion of multifaceted topics in the fashion field. This study is expected to serve a meaningful guide for the fashion discourses.

• International Journal of Costume and Fashion
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• 제12권2호
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• pp.15-32
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• 2012

From the beginning of the twentieth century, 'Modernism' impacted and transformed art and clothing. Pablo Picasso and Gabrielle 'Coco' Chanel were two of the most central characters in Modernism working simultaneously in their disciplines. Picasso's innovations, particularly in abstract art and Chanel's fashion designs, that dramatically departed from the previous corseted and highly decorative styles, were so significant that they have left an influence on contemporary art and fashion. This study will compare their visual works and documented evidence of their motivations, within the context of their cultural backgrounds, to reveal meaning in the occurrences of overlaps. This approach has examined the historical, cultural background of the artist and designer's environment from different perspectives, adding to previous research in this area. Through this research, outcomes of the analysis have shown similarities and divergences in the wider genres of art and fashion and the practice of the artist and fashion designer. The reference list to this text, used in the survey, gives a comprehensive overview of pertinent publications disseminating Picasso and Chanel's visual works, oral perspectives and cultural impact.

• 한국의류학회지
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• 제39권6호
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• pp.789-798
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• 2015

This research analyzes trends of fashion show window displays, regarding it as a new form of installation art that has the characteristics of contemporary art. Fashion show window displays are more than a physical space for displaying and have emerged as a new space in which creative expressions of arts take place. This research presents the characteristics of contemporary fashion show window displays by analyzing the characteristics of contemporary art. First, recent show window displays have shown "decentralization": various themes, forms, and mediums that are accepted without discrimination. Recent show window displays deviate from conventional methods, constantly pursuing experimental and progressive ideas and also include categories of current art, body art, and live art. Second, show window display has "interactiveness" that enables two-way communication between audiences and art, rather than fixing audiences as receptive viewers. Third, "textuality" can be found in show window displays. Recent show windows are use "objects" to show products as well as to express the meaning and symbols of products. A new directionality and effective strategies are shown to be imperative for the future development of fashion show window displays.

• 한국의류학회지
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• 제18권4호
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• pp.460-472
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• 1994

The Purpose of this study was to find in the art the basis of originality appeared on the fashion design and investigating the erotic expression appeared on the ornaments how art surrealism, pop art, post moderninism-formularize in the modern fashion. This study about the expression of eroticism and modren costume, through the source of pictures contained in art books and mode magazine and documents investingation has resulted as follows: First, the formality and contents that related art and fashion shows us a various aspect. That based on modeled characteristic and various technique of the art. Second, the expression of eroticism in fashion expressed differently in style, material and expression method that is more strongly, sometimes metaphorically with spirit of the time's. Third, the expression of eroticism in fashion whether direct way or symbolic way has appeared as partial exposure of the body. It is appearing to the course that can display individuality of each person over the taboo of the part and the previous limitation of fashion.

• 한국의류학회지
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• 제26권6호
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• pp.911-922
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• 2002

This research aims to study comparatively on the aesthetic characteristics of the Technology Art and Technology Fashion Images in the 20th century. For this purpose, literature survey and demonstrative study were undertaken. The results were as follows ; As the concept of the art in the 20th century has been broadened by the development of technology and the creative application of it in the art, the relationship of the art and fashion has been much closer. The Technology Art and Technology Fashion Images in the 20th century have been developed by using technology itself and its artifacts directly or indirectly to express their attitude on the advancement of technology of the time. The plasticity of the Technology Art and Technology Fashion Images in the 20th century was identified as geometrical forms, high-tech materials, futuristic colors and lights and dynamic expression. The internal meanings of the Technology Art and Technology Fashion Images in the 20th century were identified as functionality, arrant-garde, utopian future orientation to improve human's life.

• 한국의상디자인학회지
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• 제10권3호
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• pp.89-100
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• 2008

This article aims to research and analyze expressional characteristics of media art in Hussein Chalayan's fashion works. Media technology has made rapid progress over every society, in which it enables multi-dimensional communication. Under this social background, media art can use a multiplicity of technologies and go public. Media art had great influences in fashion with the leading designer as Hussein Chalayan. His works has been selected from the 90s up until 2008 focusing on expressional characteristics of media art by a professional group of fashion design. By classifying and analyzing of Hussein Chalayan's fashion works, expressional characteristics of media art displayed from works of the late 90s, and in recent years, the use of various technologies has increased. Expressional characteristics of media art in his works have been re-classified as interactivity, transfonnation, visualization, and transparency. First, interactivity by the wearer's action and emotional change is effective on emotional express, body protection and the causing of interest. Second, transfonnation by the wearer's action, functioning, and emotional change is influenced by convenience, body protection, and causing concern. Third, immateriality in media art is divided into visualization and transparency, and in fashion structural and material characteristics. Visualization by internal luminous source and digital images influences immersion and expression on fantasy images. Fourth, transparency by immaterial characteristics and piled up images affects openness and camouflage. Development of material and technology paves the way for expressional characteristics of media art in fashion. The trend of Hussein Chalayan's works moves towards emotional high-tech design with technology.

• 복식
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• 제50권
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• pp.183-196
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• 2000

Andy Warhol is one of the great artists in the modern history of art who compares favorably with Picasso. His activities had his object on pervasion of a pop art and profit of the art industry. Many previous studies on his activities have attracted and held the attention of his works of art after 1960s. However in spite of his working as publisher of a fashion magazine fashion illustrator fashion model displayer and etc. in 1950s. there are few studies on his activities of 1950s. Hence this study investigates his works of art in 1950s. and intensively analyzes his effect on modern fashion. In 1950s, Andy Warhol had already been distinguished in works of art from other commercial designers through the illustration for advertising design window display of stores and usage of Hollywood stars as anessential element in his works for whom he had sighed when he was young His works were also characterized by a rejection of they originality of commercial arts. He had an great effect on youth's fashion in 1950s and has activities in 1950s had influence on the diffusion of the public punk fashion in 1970s and the street fashion in 1980s.

• 복식
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• 제57권7호
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• pp.70-83
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• 2007

Contemporary fashion design has been made a new attempt to extend restricted expressions through fusion with other genres in art. The recognition of fashion has recently been changed not only product but as a piece of work in specific value, concept and meaning created by fashion designer. It is observed that the contemporary fashion design has a notion to persue formative intentions and manners of Conceptual Art in Post-modern era. This study is to define this region of fashion design represented in cultural phenomena as 'Conceptual Fashion', also analyze the formative feature of this from a point of view in Conceptual art. The results which are analyzed according to outward techniques and forms, meanings and elements immanent in aesthetic contemplation of conceptual fashion lead to four distinctive things in such as anti-form, intervention and appropriation, metaphor and detour, process and series. The intrinsic values in conceptual fashion through aesthetic contemplation are indicated the four significant values in the following: the pluralistic interpretation, the parody and amusement, the pursuit of essence and truth and the participation and interaction. Conceptual fashion design is appeared complex not doing separate through classified formative features previously. And It has been evolved as a indeterminate concept which is able to variable elucidation by a non-player, as a instrument for communication on fashion culture which is aggrandized. The purpose of this study is to present of theoretical foundation about Conceptual fashion design and also to make proper understanding about interrelationship between contemporary fashion and art.

• 복식
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• 제57권6호
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• pp.122-134
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• 2007

Fine art and fashion have influences on each other since both of them are the part of a culture. The similar patterns of fine art and fashion can be found either in the same period or in the different time. To find out this fact in the forms or content, this study researched into the fine art and fashion of 1960s and into recent year's fashion to see the revivals. In 1960s, fine art and fashion laid emphasis on the materiality of material itself, therefore both fine art and fashion have the tendency of formlessness and disorder in form. It ran be said that the socio-cultural background of this phenomenon in 1960s was mainly caused by the young generation called Hippies. They became a large influential social group that has a huge impact on overall culture in 1960s. As a result, this study firstly found that the fine art and fashion had common formative features and content in 1960s. Secondly, fashion since 1990 repeats the similar features in form like the Post-minimal tendency in fine art in 1960s. The similar features can be described as: artworks have the tendency of the formlessness and disorder in appearances; various materials were newly used to form a work, which had never been used in traditional artworks; new methods such as hanging, layering and knotting were applied to show the maximum expression of the materiality. However, unlike the fashion of 1960s, the Post-minimal tendency in fashion since 1990s doesn't symbolized freedom or peace, or opposition to the war anymore. Instead, only the formative elements were revived and reproduced and the formless tendency became one of the recent fashion trends.