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헨릭 빕스코브 컬렉션에 나타난 패션 인스톨레이션의 표현 특성
고현진(Hyunzin Ko) 한국복식학회 2015 服飾 Vol.65 No.6
The aim of this study is to review the creative fashion installation of Henrik Vibskov, Danish designer. Its intention is to contribute useful information for more innovative fashion presentation. As a research method, document and case study were performed and his collections from 2004 F/W to 2016 S/S were analyzed. In fashion installation, the designer puts objects in meaningful spaces in order to convey a certain message, to make an integrated artwork, and to interact with spectator. It has been used in fashion exhibitions, as well as in the set design of fashion performance and fashion show. The results were as follows. Henrik Vibskov``s fashion installation has three features, which are 1)conceptual theme approach that communicates a twisted and metaphoric message, with a poetic and interesting show title, 2) surrealistic scenography that plays with fragmentation of the human body, clustering of plastic and symbolic objects, innovative color transformations, and visual trickery between figures and the background, and 3) setting for multisensory performance that makes spectators interact by making artistic objects and surroundings, which stimulates the five senses. Henrik Vibskov``s fashion installation can exist as an independent artwork, and not just as a supporting piece for a fashion show. It has both artistic and fashionable values, and can be an effective fashion presentation communicating his conceptual fashion themes.
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김정혜 ( Junghye Kim ),고현진 ( Hyunzin Ko ) 한국미용학회 2019 한국미용학회지 Vol.25 No.3
The face reflects the unique trends of the ages and be rated by the people who have specific spirit of that specific times. This study researched make-up which is used to create an ideal face by artificial methods to analysis the ideal facial beauty of the ages, and additionally focused on the facial ratio, which is the standards of facial beauty. This study researched the ideal beauty of each period from the Renaissance to Romanticism. The study proceeded by analysing portraits well-expressed in the aesthetic, and measured them by setting 13 standard tool, when front is 0 degree, sides are sophistical 5~30 degrees each left and right, and substituted portraits adequate to this standard degree tools. The result which is aesthetical comparative analysis between facial ratio and make-up can be summarized as follows. For overall characteristics of the facial ratio, 66.6% of the research subjects reflected the Venus ratio(1:1.6) as measuring the width to length ratios of the face, and the representative standard of beauty of the ideal beauty of the ages prefers slender facial shape, high and small nose, and small lips. Furthermore, the characteristic of overall make-up is based on the white face color, and eyebrow color is expressed same with hair color, and small, red, incurve lip is preferred. The change of the chick and lip make-up is bigger than change of eye-shadow. As a result of this study, the ideal facial beauty of the ages is considered to be well-followed aesthetics of the times.
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김주희 ( Kim Juhee ),고현진 ( Ko Hyunzin ) 한국패션디자인학회 2021 한국패션디자인학회지 Vol.21 No.3
한국과 중국의 포와 저고리의 깃, 수구, 도련, 트임, 대의 둘레에서 검은색 선 장식을 볼 수 있다. 검은색 선은 한국과 중국의 고대에 성별과 신분의 구분 없이 자유롭게 사용되다가 후대에 유복과 왕실의 조복, 제복으로 남게 된다. 본 연구는 한국과 중국의 복식문화에 나타나는 검은색 선 장식의 모습을 살펴보고, 검은색 선 장식의 조형과 의미 분석을 통해 한·중 전통복식의 형, 색 관련 세부 조형 요소에 관한 학문적 기초자료를 마련하고자 한다. 이를 위해 한국과 중국의 복식, 문화, 철학, 종교와 관련된 문헌 연구와 회화, 벽화, 유물자료를 함께 살펴보았다. 복식에서 선이란 옷의 가장자리나 옷단을 뜻하며, 가선은 가장자리에 붙인, 몸판 원단과 같거나 다른 천을 의미한다. 동양에서의 검은색은 하늘과 우주, 도와 관련하여 그 상징이 이어져 왔는데, 유교에서는 우주 본연의 개념으로 하늘을 의미했으며, 도교에서는 만물의 도리나 이치를 의미하는 도를 의미한다. 이러한 검은색 선 장식은 의복의 개방된 모든 가장자리에 두름으로써 우주와 인간, 비물질과 물질을 연결하는 시작점이자 마지막을 상징하고, 물질로서 존재하는 인간이 비물질인 우주와 유기적으로 연결되어 있음을 의미한다. 검은색 선 장식은 유교의 우주와 하늘, 도교의 만물의 이치나 도에 해당하는 검은색의 개념이 분화되고 발전하는 과정에서 불교의 연의 개념과 어우러져 선으로 쓰인 것이다. 또한 검은색 선 장식은 우주와 인간의 유기적 연결성을 이해하여 천지만물을 대하는 왕실의 조복과 제복, 그리고 정신과 육체의 수련합일의 의미를 담는 실천적 예법으로서 유복에 남아있게 된다. 본 연구는 한·중 전통문화의 공유된 사상을 담은 검은색 선 장식의 역사적 흐름과 그 상징적 의미를 고찰함으로써 전통복식 중 하나의 조형 요소를 집중적으로 분석한 기초자료를 제공함에 의의를 둔다. You can see the black line decoration around the collar, sleeve, trimming, slitting, and belt of Korean and Chinese Po and Jeogori. During ancient times, the black line was used for everyone without distinction of gender or status in Korea and China, and later it remains as Confucian or royal court’s uniforms. This study aims to examine the appearance of the black lines in Korean and Chinese costumes, and to prepare academic basic data about detailed elements of Korean and Chinese traditional costumes through analyzing the shapes and meanings of the black lines. For this purpose, literature studies related to Korean and Chinese clothing, culture, philosophy, and religion were examined together with paintings, murals, and relics. In clothing, the line refers to the edge or hem of a garment, and the hem refers to a fabric that is the same as or different from the body fabric attached to the edge. For the East culture, the symbol of the color, black, has been passed down in relation to the sky, the universe, and the Tao. In Confucianism, it means the sky as the original concept of the universe, and in Taoism, it means the Tao, which means the morality or principle of all things. These kinds of black lines decorations symbolize the beginning and end of the connection between the universe and man, and the immaterial and material by wrapping it around all open edges of the garment, and symbolize the close relationship between human beings, who exist as matter, and the universe that exists as non-material. The decorations with the black lines were used as a line in harmony with the Buddhist concept of the relationship in the process of differentiation and development of the concept of black, which corresponds to the universe and sky of Confucianism, the principle of all creations in Taoism. Furthermore, the black line decorations remain as the royal robes and clothes that understand the close connection between the universe and human beings for dealing with heaven and earth, and they remain as the royal uniform for a practical ritual that contains the meaning of training for the unity of mind and body. The value of this study lies in providing basic data that intensively analyzes the formative elements of traditional clothing by examining the historical movement and symbolic meaning of black line decorations containing the shared ideas of the Korean-Chinese worldview.
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