1990년대 fashion에 나타난 여성수트의 형식적 특성에 관한 연구

• 영문명: A study on the Formative Characteristics of the Women’s Suit in ’90s Fashion
• 발행기관: 전남대학교 생활과학연구소
• 저자명: 김차주(Cha-Joo Kim) 이선경(Sun-Gyung Lee) 김옥진(Ok-Jin Kim)
• 간행물 정보: 『生活科學硏究』家政科學硏究 第6輯, 25~38쪽, 전체 14쪽
• 주제분류: 자연과학 > 생활/식품과학
• 파일형태: PDF
• 발행일자: 1996.12.30

영문 초록

Five pairs of coordinate concept for classifying the mode by H. Wölfflin who combines the aesthetics with the history of art are adopted to understand the characteristics of the modem suit which have been appeared with the various aspects due to the effects of the post- modernism since the latter half of the 20th century and as a result of applying them to the women’s suit shown in A/W collection from 1990 to 1996, the modern suit could be divided into two; Quasi-Renaissance form and Quasi-Baroque one. While the suit of Renaissance propensity showed the typical characteristics of ‘suit’ that the components of the jacket and skirt - collar, lapel, pocket, texture, hemlines etc. - emphasize the symmetry of human body itself, open and non-constructional concept of the Baroque propensity expressed the constructional elements of human body to the incidental thing. The rising designers avoided the existing idea through the effect of natural pleates of row cloth and the use of surface decoration and gave the design a change. Such a suit form has the meaning in that it gives the sense of flexible movement to the structure of the fixed suit and it pursues the aesthetic concept of a new design by escaping from the typical suit form. Kal Lagerfeld after Chanel, Gianfranco Ferre after Christian Dior and Claude Montana after Lanvin follow their masters in the concept of painting and the trend of ambiguity and non-construction are found in the works of Jean-Paul Gaultier, Christian Lacroix. Chantal Thomas and Gianni Versace who are the experimentalist designers and the concept of openness and non-construction are in those of Issey Miyake, Vivienne Westwood. Oscar de la Lenta and Pacco Rabanne. It is found the design of the women’s suit shows the quasi-Baroque propensity based on the traditional suit design depending on the characteristics of the rising designers’ group succeeding to the existing designers’ brands. And it can be confirm through this study that formalism of Wölfflin based on the thought of formal aesthetics is the useful standard for analyzing the forms of the modern suit.

목차

Abstract

Ⅰ. 서언

Ⅱ. Heinrich Wölfflin의 형식미학

Ⅲ. 1990년대 여성suit style에 대한 H.Wölfflin의 형식론 적용 및 분석

Ⅳ. 1990년대 여성suit style의 형식적 특성

Ⅴ. 결어

참고문헌