감물염색을 이용한 뉴 실버세대의 웰빙의류 개발

장애란(Ae Ran Jang),황경혜(Kyung Hae Hwang),임지영(Ji Young Yim),현명관(Moung Kwan Hyun),선혜미(Hea Mi Sun),이영희(Young Hee Lee),안미화(Mi Hwa Ahn),조은주(Eun Joo Cho) 한국생활과학회 2008 한국생활과학회 학술대회 Vol.2008 No.하계

소비자 니드를 위한 한국형 SPA의 Fast Fashion

장애란(Jang, Ae Ran) 한국생활과학회 2007 한국생활과학회지 Vol.16 No.5

Jean Dubuffet의 앗상블라주(Assemblage)를 응용한 네일아트 디자인

장애란(Jang Ae-Ran) 한국복식학회 2005 服飾 Vol.55 No.4

Beauty Art is an act which makes a face beautiful using various methods such as permanent, manicure and make-up. Recently, Beauty Art is recognized as the personal culture expressing the value of beauty and spirit. Therefore, there are growing interests in the comprehensive study of Beauty Art nor only from the beauty industries but also from academia, because Beauty Art is the high value-added field and Is recognized as a style of the dress. The purpose of this study is to open a new view to understand the Nail Art as a fold of experimental plastic art. The arctic expression is added to Beauty Art to develop it from the routine technique of the make-up and hairstyling to creative art. Assemblage is adopted to provide Beauty Art with fine harmonious expression which develop Nail Art into interesting and unique art area. Assemblage meaning compounding or collection is a technique through which three-dimension is added to two-dimension paintings, and which is an expression of an art work by recollection of miscellaneous articles or waste materials. Assemblage is a term which Jean Dubuffet coioned first in order to differentiate collage used by Picaso or Braque. Here, I present Nail Art Designs which applied Jean Dubuffet's works focusing on Automaticity and Happenstantial phenomena of materials, Materialization, and Directness. These features are characteristics of Assemblage which basic frameworks are fantastic collection, accumulation, constructive collection, and object collection.

디지털 의복(Digital Clothing)에 표현된 디지털 패러다임

장애란(Ae Ran Jang),현명관(Myung Kwan Hyun) 한국복식학회 2003 服飾 Vol.53 No.4

The purpose of this study was to investigate the Digital Paradigm cords depicted on the Digital Clothing by borrowing nearby fields. Therefore, it will offer not only theoretical data but also databases for product development on functional and aesthetic views even though it is not systematically set up the idea yet. The Digital Paradigm cords of Interactivity, Nonlinearity and Combination in the Digital Clothing were determined. This study found that Interactivity Paradigm cord was expressed by the interaction of clothing and computer, the techniques of built in · attach · detach · fragment of the Digital Clothing at the external indicators, and maintained this personalizing that was pursued comprehension and the shape and silhouette of the existed clothing, that Nonlinearity Paradigm cord was able to overcome the limitation of a successively approach, in other words the discontinuous moving possibilities of time and space, that Combination Paradigm cord was contained creative concept without fixed ideas through coordination of Digital Clothing that was combination, continuous creation, changes and process between heterogeneous factors. In conclusion, introduction of the new Digital Paradigm is going to accelerate on lasting development and research.

Hussein Chalayan의 실험적 디자인

장애란(Ae Ran Jang) 한국복식학회 2002 服飾 Vol.52 No.5

The purpose of this study was to investigate the experimental design by using deconstructive design and mobile design depicted on Hussein Chalayan` works. Hussein Chalayan, the Turkish-Cypriot who is based in London, says `Challenging is the best word for me`. And so word, `radical` that has difficult connotations was chosen for this study. It implies two menainigs for the word. The first thing is extreme - something that is drastic. And `Applied to clothes`, it can probably mean experimental. He has iconoclastic ideas and his ramp shows are always high on concept, experimentation of art and utility. His approach to fashion derives from philosophical and intellectual theories of deconstruction and mobility, which he expresses through his designs. Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color. Cuts, tears, asymmetries, matching different materials are among the most evident features of the deconstructive design. And Chalayan performed the mobile design of transforming furniture into clothes. Chair covers became dresses, a coffee table became a skirt which were designed by Chalayan, with geometric and architectural references. Chalayan says he was inspired by the idea of refugees fleeing. Besides Chalayan uses clothing as an art to reinterpret and reform the human body in a continuous tour de force of body/identity conceptualism and dressmaking. He reflect the body`s function in the cultural context of architecture, science, or nature - and then attempt to translate his findings into clothing.

John Galliano 작품에 표현된 웃음의 미학

장애란(Ae Ran Jang) 한국복식학회 2006 服飾 Vol.56 No.3

펑크록이 반영된 Vivienne Westwood 작품의 기호적 해석

장애란(Ae Ran Jang) 한국복식학회 1998 服飾 Vol.39 No.-

Vivienne Westwood, the revolutionary creator of Punk fashion(ripped T-shirts, bondage clothes, fetishist accoutrements) was a streetfashion designer. Although Westwood`s clothes have frequently been described as decadent, degenerate and unwearable, they have also exerted a powerful influence on interntional fashion. Westwood became a fashion designer in the mid-1970s, when he emergence of Punk put London back on the fashion map for the first time since 1965. Just as the Mods, Rockers, and Hippies of the 1960s had embraced particular styles of dress and music, so also did the Punks create their own subculture. The Punk style in revolt was a deliberately revolting style that incorporated into fashion various offensive or threatening objects like tampons, razor blades, and lavatory chains. Vivienne Westwood and partner Malcolm McLaren articulated this youth culture, who roots lay in music. A sing is something which stands for some object or idea, while the semiotics are the external expression for an internal meaning. Semiotics can be used as a medium of communication between dress and music. A language is simply used for explicit of meaning, while the style of dress and music express the explicative and implicative signs. Peirce`s scheme among several theories of the semiotics was chosen for this study, because the Peirce`s scheme was the first non-language communication medium between external and internal stages, and readily interpreted the styles of dress and music. Punk rock was studied at first to identify the style which influenced Vivienne Westwood`s works and then Semiotics were used to apply the above results to the 1970s and 1990s for analyzing and interpreting the Vivienne Westwood`s works. Vivienne Westwood`s works were also interpreted by the symbolic characteristics of Semiotics, because the symbol of semiotics often found at Youth Cults reflected punk rock. The symbol of revolt, decadence, grungy, freedom in Vivienne Westwood`s works were determined by using Punk rock`s semiotics. This study could conclude that the style of dress and punk rock were able to be interpreted by semiotics.

제주자생 꽃 콘텐츠를 활용한 패션문화상품 개발 - 왕벚꽃, 유채꽃, 참꽃을 중심으로 -

장애란 ( Jang Ae-ran ),현명관 ( Hyun Myung-kwan ) 한국디자인트렌드학회 2015 한국디자인포럼 Vol.48 No.-

본 연구의 목적은 관광효과를 극대화하고 제주지역의 경제 활성화를 모색하고자 자원식물을 이용한 연중 축제 프로그램 중 대표적인 제주왕벚꽃축제, 제주유채꽃큰잔치와 제주참꽃나무축제를 소재로 텍스타일 패턴 디자인 및 패션문화상품을 개발하여 제시하였다. 이를 위해 일차적으로는 왕벚꽃, 유채꽃과 참꽃의 조형적 이미지와 상징적 의미를 유추한 결과를 근거로 꽃 콘텐츠를 구축한 후 표현기법에 따라 다양하게 활용할 수 있도록 양식화한 콘텐츠적 모티브를 추출하였다. 이를 토대로 사실형, 양식형, 추상형의 리피트를 구성한 후 리피트별 2가지 컬러배색을 통해 텍스타일 패턴을 개발하였다. 이차적으로는 개발한 텍스타일 패턴을 패션문화상품에 활용할 수 있는지를 규명하기 위해 가방디자인에 텍스타일 패턴의 디자인 맵핑을 추가로 실시하였고, 그 결과를 바탕으로 디자인 의도에 따라 선택한 텍스타일 패턴을 DTP로 출력한 소재(캔버스, 옥스퍼드지)로 패션문화상품을 실제로 제작하여 제시함으로써 지역문화와 지역경제의 활성화를 모색할 수 있을 것이라 기대된다. 텍스타일 패턴화 작업을 위한 제작도구로는 Adobe CS5 및 TexPro 디자인 캐드를 사용하였다. The purpose of this study was to develop the textile pattern designs and fashion cultural products using Jeju native flower contents (Cherry Blossom with Jeju Cherry Blossom Festival, Canola flower with Jeju Canola Flower Festival and Weyrichii with Jeju Rhododendron Festival), to revive regional economy and maximize tourism effects as kind of local culture strategy. To achieve this, first, it established flower contents based on the conclusion that analogized the formative image and symbolic meaning on Cherry Blossom, Canola flower and Weyrichii. Second, it abstracted the stylized motives from the flower contents so that can be used in various expressive techniques. After it composed one repeat of reality type, style type and abstract type based on content motives, developed the textile patterns as 2 color matching by each repeat. Third, by practicing additionally design mapping, it investigated whether the development of textile patterns can be used in fashion cultural products. Finally, it produced various bags with fabrics using canvas and oxford printed the textile patterns by DTP. For design manufacturing tools, Adobe CS5(Photoshop & Illustrator) and TexPro design CAD were used. In conclusion, as the study developed and suggested a textile pattern design of Jeju native flower contents to revive regional economy and maximize tourism effects. Furthermore, it is expected that textile pattern developed based on regional cultural prototype could be applied to th development of various fashion cultural products.

제주옹기 콘텐츠를 활용한 텍스타일 패턴디자인 개발

장애란(Ae Ran Jang) 한국복식학회 2018 服飾 Vol.68 No.1

몬드리안의 신조형적 특성을 응용한 도미노 니트 조직의 니트웨어 디자인

장애란 ( Jang Ae-ran ),황경혜 ( Hwang Gyung-hye ) 한국디자인트렌드학회 2013 한국디자인포럼 Vol.40 No.-

본 연구의 목적은 도미노 니트 조직이 니트웨어의 표현영역 확대 및 독창적인 디자인 개발에 활용될 수 있는지를 몬드리안의 신조형적 특성을 차용한 니트웨어 디자인에 도미노 니트 조직의 기법을 도입함으로써 규명하고자 한다. 이를 위해 몬드리안 회화에서 도출한 모티브를 신조형적 특성인 수직·수평선과 삼원색, 삼무채색에 의한 색상 대비 및 면의 분할로 재구성한 니트웨어 디자인에 도미노 니트 조직 기법으로 제작한 3 작품을 제시한다. 작품 I은 몬드리안의 `Red Tree`에서 도출한 모티브를 응용하여 도미노 니트 조직의 평면 뜨기로 제작한 네트 가방이고, 작품 II는 몬드리안의 `Composition with Red, Blue, and Yellow`에서 도출한 모티브와 재해석한 몬드리안 룩을 응용하여 가터뜨기와 도미노 뜨기를 혼합하여 제작한 H-Line 원피스이다. 작품 III은 몬드리안의 `Composition with Red and Black`과 `Lorenge composition with Red, Black, Blue and Yellow`에서 도출한 모티브와 재해석한 프라다의 몬드리안 룩을 응용하여 가터뜨기와 도미노 뜨기를 혼합하여 제작한 H-Line 원피스이다. 결론적으로, 도미노 니트 조직의 표현기법을 니트웨어 디자인에도 접목시킬 수 있음을 재 규명하기 위함이다. The purpose of study is to establish by reviewing the technique of domino-knitting stitch for knitwear design based on Mondrian`s Neo Plastic characteristics in order to establish the possible development of creative design and expand domain of expression of knitwear through domino-knitting stitch. To achieve this, 1st, to consider the Neo Plastic characteristics based on the horizontal line & vertical line and the three primary color & three achromatic color, and the concept of Domino-knitting stitch. 2nd, to present knitwear design works recreating motive derived from Mondrian`s paintings based on color contrast and division of face. Work I is the net bag knitted by domino-knitting stitch using motive derived Mondrian`s `Red Tree`. Work II is the H-line one-piece knitted by a mix of garter stitch and domino-knitting stitch using motive derived Mondrian`s `Composition with Red, Blue and Yellow` and reinterpreting Mondrian look. Work III is the H-line one-piece knitted by a mix of garter stitch and domino-knitting stitch using motive derived Mondrian`s `Composition with Red and Black` and `Lorenge composition with Red, Black, Blue and Yellow` and reinterpreting PRADA`s Mondrian look. Consequently, it is to reinterpret to add technique of domino-knitting stitch to various knitwear design.