• Journal of the Korean Society of Costume
• /
• v.55 no.7 s.98
• /
• pp.1-21
• /
• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

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

• The International Journal of Costume Culture
• /
• v.3 no.3
• /
• pp.212-222
• /
• 2000

This study intends to observe how the essential elements of art have changed Human's sense of beauty extending over the whole lives as well as fashion through the investigation of Light and Rays which have played a important role in giving birthe to the new trend of art within the upheaval age of various cultures. The peculiarities of which Futurism of Italy and Rayonism of Russia including Impressionism have a great role in giving birth to a new trend of art by means of the development of science technology are like these. Impressionists looked for the origin of the subtle harmony in nature within changes of sun-rays. The special feature of Impressionism paintings was to express the line of vision diversely according to changes of light rather than to focus on the line of vision with clear outlines. Henceforth, Neo-Impressionism which developed Impressionism more systematically leaded changes of Light and Rays more systematically and scientifically and maintained Divisionnisme techniques which extends to lead towards color and light through dividing and juxtaposing color. In the early 20th century Futurists tried to express dynamism through the interpenetration of light and revive color and light through the division techniques of color and persist an artificial light like eletricity rather than a natural light. Rayonism of Russia which was ifluenced from Impressionism and Futurism maintained intersection of reflecting rays which emerges from an object of things more deeply. This pursuit of light and rays also light and rays also appears as it is in modern fashion. First, it is the fashion which applied sun-rays persisted by Impressionists and expressed colors which show differently according to direction of light. Second, it is the fashion design which re-analyzed what Futurists expressed artificial light and rays. Third, it is the design which expressed Divisionnisme theory persisted by Impressionists and Futurists into fashion as it is and was made of being divided the form of glittering light into small dots. Fourth, it is the fashion design which applied Rayonists'work which applied intersection of reflected rays. Like this, it is aproved that the pursuit of light and rays expresses as it is in modern fashion of the 21st.

• Proceedings of the Costume Culture Conference
• /
• 2000.09b
• /
• pp.33-35
• /
• 2000

• Proceedings of the Costume Culture Conference
• /
• 2000.09a
• /
• pp.46-48
• /
• 2000

• Proceedings of the Korea Society of Costume Conference
• /
• 2004.10a
• /
• pp.54-55
• /
• 2004

• Journal of the Korean Society of Clothing and Textiles
• /
• v.17 no.1
• /
• pp.89-101
• /
• 1993

The Russian revolution and the successive "art into production" atmosphere provided a unique model of a strict inter-relation between social process and innovative process in the taste. Influenced by CUBISM, RAYONISM and SUPREMATISM emerged in Russia around the time of Russian revolution and gave way to CONSTRUCTIVISM, based on Tatlin's theory, which played a vital role to combine art with social committment. One of the first question to be established after the revolution was the function of art within the new society. First, it should be propagandistic and empahsise the benefit of the new state. Secondly, art could take on an affirmatory role putting foward ideal views of the society as example to be disscussed and followed. Thirdly, the Constructivists' view, "Death to Art" was their slogan. Their view was that the artists' work in the new society was to be based on the material value and beauty in fuction as this alone could be consistent with the aesthetics of Marx and Lenin. It sould be pointed out that among the various applied arts, textiles and clothing design were considered one of the most important role in propaganda and in support of the new socialst ideas. Traditionl handicrafts provided a repository of popular images and folk art continued to assert an influence on the textiles and clothing design after the revolution. Constructivists, such as Stepanova and Popova, went to the factory as direct answer to the invitation for the art-industry rapport. Thematic or propagandistic designs were directly connected to the daily life and national transformation.

• The Research Journal of the Costume Culture
• /
• v.6 no.2
• /
• pp.109-126
• /
• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• Journal of the Korean Society of Costume
• /
• v.36
• /
• pp.183-203
• /
• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.