• 한국의상디자인학회지
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• 제25권3호
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• pp.97-111
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• 2023

Dynamic orphism images expressed with abstraction and construction in color are often found in modern fashion. Orphism stressing color is one of the many art trends that influence fashion. This work aims to examin its expressive effects and characteristics that appear in fashion and provide basic materials for fashion design study. This study proceeds with the following steps. First, the study takes on a theoretical examination of the orphism trend using a literature review. Second, based on its results, modern fashion's expressive features influenced by orphism are analyzed. Third, the study draws expression effects in modern fashion from these characteristics. The study coverage is confined to domestic and foreign collections released in the 21st century. The study contents come from an Internet-base domestic and international database and published material, including dissertations and books. Orphism expression effects are found in the following ways in modern fashion. First, it lies in the abstraction effect of color. This feature arrays flat geometric figure on the clothing surface and applies a strong sense of color inside it, as if color has an abstractive structured design. Second, it gives a dynamic sense visually to the clothes all at once by stressing the relation among and between the colors with powerful contrast. Third, it has a collage effect of color. This effect develops into an organic combination composed of geometric plane figures with intense complementary colors in a single piece of clothing. Expression types that presents the orphism effect in fashion are divided into clothing showing traditional orphism characteristics faithfully and clothing expressing conventional orphism characteristics mixed with modern trends. Further developed orphism fashion can be classified by the playful type, with graffiti added onto an orphism color structure, and the destructive type, where traditional orphism color orders are taken apart and reformed into a new color order.

• 복식
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• 제55권2호
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• pp.18-32
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• 2005

The purpose of this study is to find out the origin of perpetuity in the fashion design of Soma Delaunay, who was recognized as a unique designer in the 20th century. Her characteristics of fashion design appeared as dynamism in the incline of op-art using geometric pattern designed on the basis of abstract painting, color contrast between strong original colors, and repeated geometric patterns. The modern image can be explained as modernity in modern fashion and is continued in these days. The origins of modernity analyzed as follows. First, Soma Delaunay developed textile design, considering the use of clothing on the basis of scientific idea. Furthermore, she evolved traditional textile design and making process into a practical and rational way through developing new needlework technique. Second, she tried a new style through a straight silhouette in contrast to Art Nouveau style and the test and mixture of different genres. Third, she expressed the simultaneity of Orphism through the parallel structure of various colors. In particular, she used the contrast of strong and clear original colors to express a rhythm of dynamism and give visual interest through color. Finally, Soma Delaunay attempted to approach the public using clothing, furniture, and curtains with the focus on textiles. It may represent her intention to remove a gap between art and life by understanding the public and their life. As examined above, it can be sad that Soma Delaunay's scientific idea with the flow of industrialization, an open attitude not bound by a rule as an artist, an idea of Avant-garde, the comprehension of various colors and the understanding of the public. These factors lie at the bottom of her fashion design.

• 한국의류학회지
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• 제10권1호
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• pp.85-95
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• 1986

Sonia Delaunay(1885$\~$1979) was one of great pioneers of abstract art, who looked at clothes and fabrics with a plastics eyes. In Association with her husband Robert Delaunay, they were instrumental in founding the movement of Orphism, she proceeded to mix strong and bright colors into her art and had a brilliant influence on the decoration and women's fashion of the 1920's. Having a strong sense for dramatic and decorative color derived in part from childhood remembrances of Russian folk art she initiated a total revolution in which she created her first simultaneous dress with multi-colored samples of materials. She extended the principle of color's simultaneity to the field of fashion, fabric design and applied art. She was interested in the dress for ballet and opera. Fashion designer Paul Poiret asked her to design the fabrics and she created the geometric and abstract patterns with her strong color. It seemed that her design was revolutionary and avant-garde. Always she desired not only art of seeing but also art of living. The purpose of this study is to recognize the influence she had upon the history of modern fashion and fabric design. It was remarked that her paintings served as a basis for later developments in Kinetics Art and had influences on 1980' s abstract patterns for silk dress. Finally, the concept 'simultaneity' of her art signifies endless rhythmes in space and time.

• 생물정신의학
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• 제14권3호
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• pp.167-176
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• 2007

항정신병 약물의 치료 반응을 예측해 줄 수 있는 유전자 지표를 찾기 위한 최근의 많은 약물유전학 연구들은 일관된 결과를 보고하지 못하고 있다. 본 연구는 항정신병 약물의 치료 반응과 도파민 D2, D3 및 D4 수용체 유전자 다형성과 관련성을 조사하였다. 연구 대상은 18~60세에 해당되면서 정신분열병의 DSM-IV 진단기준을 만족하고 본 연구에 대해 서면 동의한 국립부곡병원의 입원 환자 200명이었다. 연구는 대상자들의 입원 당시 병록지를 검토하여 후향적으로 이루어졌다. 대상자들은 퇴원할 당시를 기준으로 약물치료 반응 정도에 따라'반응군'과'비반응군'으로 구분되었으며 양군 사이의 도파민 수용체 유전자 다형성 차이를 비교하였다. 대상자 200명 중에서 188명(94%)이 비전형 항정신병 약물을 사용하였고 반응군은 141명(70.5%)이었다. 도파민 D2 수용체 유전자 Ser311Cys 다형성, 도파민 D3 수용체 유전자 Ser9Gly 다형성, 도파민 D4 수용체 유전자 exon III의 48개 염기반복 다형성에서 반응군과 비반응군 사이의 대립유전자 및 유전자형 빈도의 차이를 보이지 않았다. 결론적으로 본 연구에서는 항정신병 약물의 치료 반응과 도파민 D2 수용체 유전자 Ser311Cys 다형성, 도파민 D3 수용체 유전자 Ser9Gly 다형성, 그리고 도파민 D4 수용체 유전자 exon III의 48개 염기반복 다형 성과는 연관성이 없었다. 향후에는 단일의 항정신병 약물에 대한 전향적인 방법의 통제된 연구가 필요하다.