복식에 나타난 엘레강스 스타일의 조형적 특성과 미적 가치

고현진(Hyun Zin Ko) 한국복식학회 2004 服飾 Vol.54 No.6

The purpose of this study is to find the historical identity of elegance expressed on dress as both good taste and refined beauty of dress by means of stylistic approach and to grasp the plastic features and aesthetic values of each periodic style. For this, the documentary study and practical analysis have been executed. Though elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed `studied elegance` for the first time. On the grounds of both the classification of periodic styles and the periodic values, elegant styles can be defined and categorized as Salon Elegance, Victorian Elegance, Aestheticism Elegance, Modernism Elegance since Mannerism. Although each of elegant style differed depending on periodic aesthetic values, it proved that the common plastic features appeared as soft shapes, subtle colors and delicate fabrics which were modulated with exquisiteness. In addition, well-adorned appearance, graceful behavior made elegance style perfect. All of elegance styles had in common with refinement, harmony. As a result of this study, in fashion from the 16th century to the first half of 20th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society throughout this period. Even since the end of 20th century, elegance seems to continue as timeless aesthetic beauty of dress in modern fashion practice, on the accounts of its value of high class as well as its conservative stability on the basis of moderation.

윤리적 패션 디자인

고현진(Hyun Zin Ko) 한국복식학회 2010 服飾 Vol.60 No.8

소비자 중심의 현대 패션제품 디자인 개발에 대한 연구

고현진(Hyun Zin Ko) 한국복식학회 2008 服飾 Vol.58 No.3

현대패션에 나타난 쿠튀르적 디자인

고현진(Hyun Zin Ko) 한국복식학회 2008 服飾 Vol.58 No.7

컨버전스 트렌드에 의한 패션 디자인

고현진(Hyun Zin Ko) 한국복식학회 2006 服飾 Vol.56 No.7

복식에 표현된 미적 개념으로서의 엘레강스

고현진(Hyun Zin Ko),김민자(Min Ja Kim) 한국복식학회 2004 服飾 Vol.54 No.5

Elegance in dress has existed as one of the important archetypes of aesthetic consciousness through the times. Nevertheless, there has generally been ignored the idea of analyzing it. The purpose of this study is to provide a framework for a better understanding of the beauty of dress by constructing the concept of elegance in dress as both one of aesthetic categories in dress and refined taste in the sociocultural contexts. For the purpose, the documentary study in sociocultural and aesthetic contexts has been executed. Considering from the holistic viewpoint, elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body - a combination of appearance, behavior, attitude, manner etc.- with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony, Luxury means rarity and opulence of materials, craftsmanship for excellent qualities, genuineness. Nobility, related to the lady and the gentleman, can be explained as neatness, decency, modesty, and appropriateness for formal occasions. Refinement involves artifice, sophistication, maturity, and subtleness. Femininity reflects the characteristic of feminine attractiveness such as the dainty, the florid, the sweet. Harmony means organic unity, matching with body, moderation in opposition to exaggeration. These values has rather interactivity than exclusion. It is refinement and harmony that are centered on of all values.

현대 패션에 나타난 패러디 (Parody) 에 관한 연구

고현진(Hyun Zin Ko),김민자(Min Ja Kim) 한국복식학회 1995 服飾 Vol.25 No.-

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the position of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of parody. For these purposes, documentary studies about parody in lterature and art which had been discussed more often were preceded as a framework of this research. Based upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind of critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal meaning and the shift from its place (i.e. displacement). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer`s will and expression is necessarily required. Fisrt, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mockery, satire, irony, paradox by changing the form of the original throught imitation with similarity, transformation, exaggeration, emphasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unexpectedness by applying the original to inappropriate subject through its substitution, inversion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other contex. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL , Yamamoto, Castelbajac, Gaultier, Mugler, Westsood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of orginality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus if differenciates from copy which is uncritical mimicry.

패션 디자인을 통한 정치·사회적 발언

고현진(Hyun Zin Ko) 한국복식학회 2012 服飾 Vol.62 No.5

The purpose of this study is to examine the political and social statements through fashion design, by comparing with more activated statements in the general design area. To achieve this, the documentary study and practical case study have been executed. First of all, the meaning of design politics was defined and the cases of design practice of political and social statements were reviewed and classified historically. Traditionally, designs have been inextricably linked with political authorities and ideologies. As propaganda, it has been used for power authority to seize power and maintain dominance. On the contrary, they could be an instrument to resist and criticize against contemporary power authority and dominant. Next, the political and social statements were traced historically through fashion design on the basis of the two previously reviewed categories. And then, comparing political and social statements between design and fashion design, the contents and ways of their expressions were similar. In design, there were more various ways when the designers were leading collective behavior, but in fashion design, there were more leading voices of socio-political organizations and resistant counter culture groups. Now, new trends are rising constantly where individual designers`` creations express many different socio-political beliefs. This study which inquires designers`` political and social involvement will be helpful in making people rethink the social role of fashion design and encouraging conscious fashion design activism.

연구논문 : 패션시스템의 사적 고찰을 통한 매스패션의 사치 특성

고현진 ( Hyun Zin Ko ) 한국의류산업학회 2008 한국의류산업학회지 Vol.10 No.5

핀란드 브랜드 마리메꼬의 디자인 미학

고현진 ( Hyun Zin Ko ) 한국패션디자인학회 2013 한국패션디자인학회지 Vol.13 No.3

본 연구는 최근 북유럽 디자인에 대한 관심의 급부상과 더불어 국제적으로 호평을 받고 있는 핀란드 브랜드 마리메꼬 디자인의 조형적 특성을 고찰하고 그 디자인 미학을 이해하는 것을 목적으로 하며 이를 통해 북유럽 디자인의 특성을 이해하는데 도움이 되고자 한다. 이를 위해 북유럽 디자인 관련 서적과 선행연구, 브랜드 홈페이지, 인터넷 자료 등을 통한 문헌 연구를 진행하였다. 마리메꼬는 1950년대 핀란드 디자인 발전시기에 설립된 이후, 핀란드의 패션·텍스타일 산업의 현대화와 국제화에 핵심적인 역할을 한 브랜드로 독특한 브랜드 정체성을 갖는 패션, 텍스타일, 생활 디자인, 더 나아가 라이프스타일을 제안하는 핀란드 디자인 브랜드이다. 마리메꼬 디자인의 조형적 특성은 디자인의 본질에 충실한 단순하고 기능적인 형태, 밝고 생동감 있는 색상 조합, 젊고 대담한 프린트 패턴의 친환경 천연 소재였으며, 따뜻하고 유쾌한 아날로그 감성의 기능주의 디자인, 핀란드 자연주의 디자인, 일상생활의 미학화를 추구하는 디자인, 모든 사람을 위한 민주적 디자인, 시간을 초월한 디자인, 젊은 감각과 혁신적 디자인 미학이 마리메꼬 디자인의 근원을 이루고 있었다. 마리메꼬의 미학은 인간과 사회, 자연 모두를 위한 디자인이라는 본질에 충실한 북유럽 디자인의 미학과 맥을 같이 하며, 지속 가능한 디자인을 지향한다. The purpose of this study is to examine the formative characteristics of the Finnish brand Marimekko, which has appealed to international consumers, and to analyze its design aesthetics, keeping in pace with the increasingly rising interest in Nordic design. This study will help to understand the characteristics of Nordic design. For this, theoretical research was executed on the basis of previous studies and relevant literature on Nordic design, the brand homepage, internet websites, etc. Marimekko is the brand that played a leading role in the modernization and the globalization of the Finnish fashion?textile industry, since it was launched in the 1950s that Finnish design was internationally well-known. It is a lifestyle brand as well as a fashion, textile, and living design brand. Its formative characteristics are represented as simple and functional forms which insist on design basics, vivid and vibrant color combinations, and nature-friendly materials with young and bold print patterns. It pursues six design aesthetic principles which aim at functional design with analog sensibility and human value, Finnish naturalism design, beautiful design for everyday life, democratic design for everybody, timeless design, and young and innovative design. Marimekko`s aesthetic is in the same context with Nordic design aesthetics which sticks to design basics for human, society and nature, and aims at sustainable design.