이세이 미야케(三宅 一生)의 디자인 세계에 나타난 전통적 미의식 -유현미(幽玄美)를 중심으로-

김영선 ( Yon Son Kim ),강병석 ( Byoung Suk Gaang ) 한국기초조형학회 2009 기초조형학연구 Vol.10 No.2

현대 패션에 나타나는 봄과 보임에 관한 연구

김영선(Yon Son Kim),강병석(Byoung Suk Gaang) 한국복식학회 2008 服飾 Vol.58 No.2

보들레르의 미적 관점에 의한 예술과 패션디자인

김영선(Yon Son Kim),금기숙(Key Sook Geum) 한국복식학회 2008 服飾 Vol.58 No.1

현대패션에 나타난 이질적 융합 디자인과 지각(知覺)작용

김영선(Yon Son Kim),금기숙(Key Sook Geum) 한국복식학회 2008 服飾 Vol.58 No.10

Rei Kawakubo의 디자인에 내재된 일본의 미의식에 관한 연구

김영선 ( Yon Son Kim ) 한국패션비즈니스학회 2014 패션 비즈니스 Vol.18 No.2

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan’s traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of herdesign defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

현대패션에 나타나는 데페이즈망의 조형적 특성

김영선 ( Yon Son Kim ) 한국기초조형학회 2012 기초조형학연구 Vol.13 No.3

‘데페이즈망’은 20세기 초엽 산업혁명으로 격변하였던 환경 속에서, 사물을 낯설게 병치하여 다양한 의미를 파생시키는 다다이즘이 확산되던 시기에 등장하였다. ‘데페이즈망’에 의한 디자인에는 양립되면 이상한 사물이 병치되거나 또는 비정상적인 요소가 전위되어 익숙하지 않은 형태로 나타나는 특성을 갖고 있다. 그리고 ‘데페이즈망’은 사물이 전위되거나 낯설게 병치되면서 발생하는 여러 의미에로의 우연성에 의해 지각적 부조화가 인지되는 것으로, 학습에 의해 형성된 논리나 인식의 자동화로부터 탈피하여 낯섦 속에서 지적 자유를 추구하려는 의도로 시도되었다. 현대패션에 나타나는 ‘데페이즈망’의 조형적 특성은 사물이 갖는 본래의 용도에 적합하지 않게 다른 장소에 차용되어 부조화를 인지하도록 이끄는 ‘전위’, 그리고 일반적 범주를 벗어나는 모양과 크기 등을 통하여 시각적 충격을 주는 ‘과장’의 성격을 띠고 있다. 또한 비정상적 요소를 차용하여 사회적 인식을 고발하는 의도로 사실과 다르거나 그릇되게 만드는 ‘왜곡’과, 있어야 할 곳에 반드시 있어야 할 대상을 고의로 누락하거나 은폐하여 의미를 부각시키는 ‘부재’로도 나타났다. ‘데페이즈망’에 의한 조형적 특성의 내적 의미는, 하나의 디자인이 갖는 기존의 용도로부터 벗어나 낯섦을 추구하는 ‘변성’, 기존의 일반적인 디자인 형태와 비율에 대한 인식의 자동화로부터 탈피하려는 ‘변형’, 그리고 익숙해져 일반화된 시대적 실루엣을 거부하고 새로운 용모나 형태를 제시하는 ‘변용’, 인식된 통념에 지각적 부조화를 조장하여 일반화된 격식에서 벗어나 새로움을 지각하게 하는 ‘변격’ 등으로 나타났다. Depaysement emerged at the time when Dadaism, in which mismatched objects are juxtaposed to derive new meanings, was expanding as a movement in art as the Industrial Revolution rapidly changed the world in the early 20th century. Designs based on depaysement are characterized by the compatibility or juxtaposition of mismatched objects, or the transposition of abnormal elements to make a unfamiliar shape. In depaysement, dissonance is perceived through the contingency of diverse meanings, by transposing or juxtaposing objects in unfamiliar ways. Depaysement was attempted in order to seek intelligent liberty in the midst of unfamiliarity, as a reaction against the automation of logic or recognition, which has been formed through learning. The formative characteristics of depaysement found in contemporary fashion feature ``transposition``, in which objects are used in places that are mismatched with the usage of the objects, which forms dissonance; ``exaggeration``, in which shapes or sizes are out of general category, which gives visual shock; ``distortion``, in which the intention to report social awareness by using abnormal elements makes the facts different or wrong; and ``absence``, in which the significance is highlighted by intentionally omitting or hiding an object that should be present at the required place. In addition, the formative characteristics of depaysement have been given internal significance by featuring ``metamorphosis``, in which design seeks deviation from existing social convention regarding its use and fashion and changes and appears differently; ``deformation``, in which design varies from the ratios of general shapes and deviates from automation of awareness about the shapes of existing designs; ``transfiguration``, in which design denies the silhouettes of the ages that have been familiarized and generalized and presents new appearance and shapes; and ``irregularity``, in which design promotes perceptual dissonance with social norms, deviates from generalized formality, and enables the viewer to perceive newness.

무의식이 패션에 미치는 조형적 변화에 관한 연구

김영선 ( Yon Son Kim ),강병석 ( Byoung Suk Gaang ) 한국기초조형학회 2008 기초조형학연구 Vol.9 No.1

스타일 형성에 관한 연구 -Iris Van Herpen의 스타일을 중심으로-

김영선 ( Yon Son Kim ) 한국패션비즈니스학회 2012 패션 비즈니스 Vol.16 No.2

This study aims to identify the meaning and formation cause of a style, and the essential elements of style formation, through psychobiological research as well as an analysis of the designs of Iris Van Herpen, a fashion designer, who in just 6 years has developed into a world-renowned new designer. As a result, it has been found that the psychobiological causes to form a style stem from the action of ``long-term memory``, which is consolidated by ``selective attention``, ``perceptional subjectivity``, the principle of the ``neuron`s connection specificity and invariance``, and the principle of a ``neuronal signal`s unilateral flow``. With such action, Herpen could develop her own original composition techniques. The formative shapes created by such composition techniques are characterized by enumeration, superposition, and hanging. The study has also found that the essential elements for a designer to be able to form his/her own style include ``aesthetic originality`` in which the designer views the property of a thing from his/her inherent perspective, and finds the uniqueness from the thing that only he/she can express, ``technical differences`` that are creative and original, and ``formative specificity`` that is summarized into one property through an impressive shape.

패션디자인에 나타나는 자기유사성에 관한 연구

김영선(Yon Son Kim) 한국복식학회 2014 服飾 Vol.64 No.7

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/ juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer’s creative world, the formation of styles and the expression of a fashion designer’s identity.

패션연구 및 패션디자인,미학,복식사 분야 관련 연구동향 -2004~2013년 <Fashion Theory> 및 <복식문화연구>를 중심으로-

한수연 ( Soo Yeon Hahn ),김영선 ( Yon Son Kim ) 복식문화학회 2014 服飾文化硏究 Vol.22 No.4

The areas of fashion research and fashion design aesthetics & fashion history have been studied under a common research heading as a Humanities subject in the UK and the USA, and as Clothing and Textiles Studies in Korea. The purpose of this paper was to analyze the 2004~2013 research tendencies in terms of reporting methods and contents from 181 world-renowned Fashion Theory research papers within the UK and USA fashion research corpus, and 359 Korean research papers from The Research Journal of Costume Culture related to fashion design aesthetics & costume history field. The subject areas, periods, methodologies, and differences in the topics of the studies were examined. The results of the research are as follows. Regarding the research authorship and length of the research papers, in Fashion Theory most papers were written by a single English-speaking or other foreign language-speaking author and were on average longer than 21 pages, while in The Research Journal of Costume Culture, many papers were jointly written by two Korean researchers and were between 11 and 20 pages. Regarding the content, Fashion Theory was connected to relatively wide and diverse periodical and regional boundaries including the body, clothing, the fashion media, and the overall fashion system, while The Research Journal of Costume Culture revolved around the body and clothing, textiles, the fashion media, and costumes. In addition, since the late 20th century, the studies appeared to be related to the current Western world overall or to the country of the author. Regarding the research methodology, Fashion Theory used diverse research subjects and methodologies, and research was conducted on topics relating to fashion culture or fashion aesthetics. On the other hand, The Research Journal of Costume Culture featured relatively more dynamic studies aimed at suggesting developments or solutions to problems. It was found that a large share of that research focused on detailed style analyses and suggestions for aspects such as design elements and design developments. Such differences are considered to be caused by the inherent differences between the academic departments for the Humanities, and the Human Ecology. The above research results are expected to provide fundamental information in setting a direction for future research to assist the globalization of domestic research.