• 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.

• 복식
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• 제24권
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• pp.121-142
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• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• Archives of Plastic Surgery
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• 제42권2호
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• pp.226-231
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• 2015

The aim of this study is to consider breast imagery in art as depicted through western painting. Twenty western art paintings were collated. Most of the sample paintings were created from the mid-nineteenth century to the late twentieth century and some are from the Renaissance period. Ten anthropometric items were used to measure 15 distances between two landmarks and 3 angles between three points. The distance from the nipple to the sternal notch and to the midclavicular point was the same and they were 0.46 of the distance from the sternal notch to the umbilicus. The shape of the projection of the breast was almost an isosceles triangle and the altitude of the triangle was at a proportion of 0.45 of the bottom length and 0.16 of the distance from the sternal notch to the umbilicus. The distance between the lateral ends of the breasts was 2.14 times the facial width and the distance between nipples was 1.36 times the facial width. Proportions from works of art are more ideal and attractive than clinically measured proportions. The desirable ratios measured from historical paintings might be useful in planning breast surgeries.

• 한국의류산업학회지
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• 제9권6호
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• pp.595-602
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• 2007

This study examined the aesthetic characteristics of Grecian style which is being considered as the representative classic of Western fashion and the transformations of those Grecian styles on the fashion of the twentieth century. This study used positive research method using literatures on art history and clothing history, fashion related publications, and magazines and websites to understand the trend of fashion designer's collections. The study results are as follows. The aesthetic characteristics of Grecian style was considered to be the ideal beauty combined with symmetry, the functional beauty combined with non-construction, and the sensual beauty combined with natural body. The ideal beauty combined with symmetry appears as a style that shows idealistic proportion of a body emphasizing high-waist based on the golden ratio and the body as a whole rather than details. The functional beauty combined with non-construction appears as perfect recreation a body in its original and natural form. The clothing takes a form that does not have any structural design and has simplified cutting and sewing. It uses pins and strings to fix up the form of clothing which is flexible and naturally draped. The sensual beauty combined with natural body is found in natural silhouette dress alluding naked body in connection with Rousseau' naturalism in neoclassic period. Throughout the twentieth century, the desire for Grecian style was conveyed by a single detail or through an array of allusive effects.

• 대한가정학회지
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• 제34권2호
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• pp.5-30
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• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• 패션비즈니스
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• 제1권1호
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• 조형예술학연구
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• 제3권
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• pp.178-224
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• 2001

This thesis aims to suggest the notion of the sublime as one of the common elements of contemporary plastic arts, as a new key for the reading of our visual environment. The concept of sublimity has been one of important categories in traditional aesthetics since the eighteenth century; beyond the domain of this tradition, however, it is rigorously investigated in sociology, literary criticism, visual art theory and post-structuralist philosophy, especially the investigation of post-modern conditions by Jean-Fran cois Lyotard. Jean-Fran cois Lyotard defines sublimity as the elemental feature of the late twentieth century visual arts based on post-structuralism and suggests the feeling of the sublime as dominant sensibility in post-modern society. According to Lyotard, the sublime is a contradictory feeling of pleasure mixed with suffering as in the theory of experimental avant-gardes; the post-modern sublimity is the feeling of suffering or agony when we feel in confronting the new and the unknown. The investigation of the sublime based on Lyotard's perspectives, therefore, is meaningful in decoding contemporary visual arts. This investigation, therefore, mainly deals with the post-modern concept of the sublime and contemporary visual arts viewed in the sublime.

• KIEAE Journal
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• 제9권2호
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• pp.73-80
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• 2009

In the early twentieth century, many architects still practised eclectic design elements. Emergence of new building materials such as steel, concrete and glass were not yet found fresh roles in architectural design. It was Brussels that the use of modern materials gave rise to their new forms and gave influence to not only building skins but also spatial organization. Art Nouveau architecture is often seen as revolutionary and pioneering modern architecture against eclectic classicism prevalent in the 18th and 19th centuries. Despite the fact that some scholars point out that Art Nouveau is more a transient phenomenon than modern architecture proper, no one would deny that Art Nouveau carries a good deal of modern characteristics. This paper intends to show rather ambivalent perspectives upon Art Nouveau architecture. Although it insinuates overly dynamic nature in architectural languages, it does not hamper us from reading Art Nouveau as a vital component of modern architecture. Through a careful analysis of the early domestic designs of Victor Horta, it becomes evident that his work can provide modern architecture a meaningful alibi for its growth. Victor Horta's house design is well known to the public, both for his classical tastes and for its changing implementation. Horta's modern quality is never adequately recognized, partly due to his eye catching modern iron properties and sinuous ornamentation. This paper tries to offer an insight into the complicated stage set of the fin-de-$si{\grave{e}}cle$ through the work of Victor Horta whose influence has been immense in the making of modern architecture.

• 한국실내디자인학회논문집
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• 제29호
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• pp.35-42
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• 2001

As a part of Avant-Garde movement centered in Russia before and after the Revolution in 1917, Russian Constructivism was born as most experimental and avant-garde modernity artistic movement. Russian Constructivism played a significant part in relative to Avant-Garde in the beginning of twentieth century and has contributed to a series of artistic movement, it deserves a status befitting its contribution to modem abstract art. Noticing the fact that Constructivist approaches are being attempted in modern architecture with the new rise of Constructivist design theory and increased interest in Constructivism, this thesis explores the design elements characterizing Constructivism in art and architecture To be specific, it suggests the relation of Plastic paradigm in formalistic, elemental and technical aspects and categories into Plastic characteristics. Thereby, the thesis aims to categorize the elements in terms of contradicting two trends of pure plastic and scientific expressions, and to analyze comparatively the related Plastic trends represented in modern space design. The thesis recolonizes that attempts to break out from stereotypes of Constructivism to reinvent itself constantly have contributed to an unconventional forms and new aesthetic standards and have a great impact on idealistic forms in many genres.

• 한국가구학회지
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• 제15권2호
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.