건축작품을 응용한 구두, 핸드백 디자인 연구 : 라파엘 비뇰리(Rafael Vin`oly)의 건축작품을 중심으로 Focusing on Works of Rafael Vin`oly

양취경,김진형 誠信女子大學校 生活文化硏究所 2003 生活文化硏究 Vol.17 No.-

Fashion and architecture are the practical figurative arts of people that have been reflecting the spiritual and phenomenal aspects from the past to modern times, which are the expressions of artistic recognition. The elements of architecture that have limitless possibilities for figurative characteristics provide artists with numerous motives and may well provoke infinite inspiration in the forms and details as the source of ideas. Also, in modern fashion that is represented by individuality and diversity, the formative elements of architecture may act as a stimulating elements that may bring change and accent. Cosequently, in this study, we tried to give shape to the figurative/symbolic aspects of architeture through images and then to use them as the inspirational motive for our works. The objective of our study lies in expanding the expressive range of design though shoes and handbag production that utilizes architectural works. Our study considered the origin, history and types of shoes and handbags for model production and looked through the figurative aspects of architecture shown in fashion from the past until modern times. To consider the architectural arts of Rafael Vin~oly, which is the objective of our ideas in our study, we analyzed his cultural background and the figurative characteristics of his architectural works by their shapes, decorative elements, textile materials, and colors. Based on such a theoretical background, we restructured the figurative image of architecture of 16 model works and then we designed and produced them. In the course of design, to express the images of architecture, we used expressional methods such as padding, stitching, tucks, patchwork, etc. and pursued decorative effects. As for materials, we used bovine leather, sheepskin, snakeskin, the skins of unborn calves, and printed leather. We also used Crystal Hot Fix, and Rhine Stone to design the products that focused on their utility. The following are our conclusions reached through design and production of shoes and handbags based of Rafael Vin~oly's architectural works as our inspiration. First, architecture as a practical formative art consisted of decorative shape elements, materials, and colors in their formative aspects. Further, the architecture expressed artistic/aesthetic concepts in their content. It is an area of limitless artistic inspiration. Second, the architectural works of Rafael vin~oly focused on connectivity. We, therefore, drew our suitable architectural work in concern for the given situation and "realization of publicity". They have a high-degree of detailed expression through the use of exaggerated materials and combined wonderful structural creativity, thus creating excellent figurative beauty. Third, by using the figurative elements of architecture as the basic "material" in designing shoes and handbags, we found that the shapes, decorative details and the figurative aspects of the architecture could be the inspiration for design production. Fourth, the expressional methods such as padding, stitching, tucks, and patchwork used in model work production were quite suitable for expressing the figurative images. The materials and decorations such as bovine leather, sheepskin, snakeskin, the skins of unborn calves, and printed leather and, Crystal Hot Fix and Rhine Stone clearly brought out the formative images in shoes and handbags. Thus, we concluded that the expression of the formative elements of architecture will improve practicality and artistic expression and wil enable design development to transcend the existing uniformity, thus helping to create new active ideas.

디자이너와 그들의 교육

양취경 이화여자대학교 미술대학 장식미술학과 1973 裝美 Vol.- No.1

모든 인간은 디자이너이다. 이러한 의미로 볼때 이 책은 광범위한 독자층에 추천할만 하다고 언뜻 생각할 수도 있다. 많은 사람들이 또한 디자인에 의해서 생계를 이어가고 있다. 이들은 실상 생각할 여유를 갖고 어떤 행동인가 실행할 것을 생각하고 수행할 수단을 마련하여 나아가 거기에서 나온 결과를 평가하는 모든 사람을 말한다. 그러나 이 책은 다수의 전문직에 종사하는 사람들을 위하여 쓰여진 것이다. 특히 디자이너를 위한 것이다. 이들은 강한 시각적 동기를 지닌 작업을 하며 그들이 내린 결정은 생의 안락함을 위하여 그 형태와 질서를 주며 또한 제조과정과 일상적인 관련을 맺고 있다. 위에서 본 디자인이란 말의 정의에서 보듯이 하나의 단어가 본질적으로는 공통성이 없는 광범위한 분야에 쓰일 때는 그 막연한 뜻은 모호성을 더해가는 것이다. 여기서는 디자인 결정에서 나오는 결과와 디자인하는 행동 자체에 있어서 그것을 실감할 수 있다. 물론 위에서 참조한 사전의 어휘는 소수의 선택된 말들이다. 실제로는 이 말들은 일단의 묘사나 지시 뿐 아니라 제조 후에 벌어지는 궁극적인 결과로서의 생산품에 대해서 "마음먹은 계획"에 적용되고 있다.

현대 서구디자인 발달소고

양취경 이화여자대학교 미술대학 장식미술학과 1973 裝美 Vol.- No.1

Comme des Garc¸ons 작품에 나타난 미적 소외에 관한 연구 : Focused on the Rei Kawakubo's Works

양취경,이건희 誠信女子大學校 生活文化硏究所 2002 生活文化硏究 Vol.16 No.-

At the beginning of 20C, the world was skeptical about the conventional western ideas. So they began to be concerned about the Asian world that was alicnated from western. It provide a monentum for the change from 'closed world' to 'open world'. With a tendency of the current of the time, Japan advance into the world with their fashion based on their economical development. I studied Rei Kawakubo's work in a category of an esthetic alienation as an open concept. He exerted an influence to world fashion and showed destruction and unfamiliar design. An esthetic alienation in the fashion dismantle the meaning of existing fashion and show experimental shapes which is broken off convention of western fashion. It is a denying of conventional western ideas and also recognize transpositional and confrontational elements equally so it recognize subjective and relative values; an aestheties alienation involve imperfect, paradoxical and inaccurate beauty as dismantlement of the perfect and accurate things. There are some characteristics, in esthetic alienation of Kawakubo's works. First, destruction of functions. She dismantle of basic functions of costume and then them with new value. Second, destruction of shapes. The shape is a most basic element to constitue the clothes. This destruction is the style of experession for deviation in the destruction, the beauty of poverty in the Zen Aesthetics, the beauty of emptiness, and formless in the aesthetics of the ugly. And it convert the existing ideas about 'good'. It express imperfect world through asymmetrical and shapes and forms. Third, destruction of the material. Using of various materials is based on experimentalism and it is expression style of mutual text, beauty of duskiness and inaccuracy in the aesthetics of the ugly. Heterogeneous characters bring about inharmoniousness and it can be felt a catharsis through beauty of paradox in ugly beauty. And also inner wear is expressed softly by overlapping of costume. Forth, destruction of time & space. It appeared in combination of the eastern and the western design elements and a reactionary tendency or future oriented design. For example, it is various using of black: black was an the eastern color or it is a reappearance of a medieval silhouette. Fifth, destruction of arrangement. the destruction of arrangement is the expression for dissolution concept itself of being dressed. It convert the fixed idea about ordering of being clothed and how to be clothed to variety of costume. It is based on subjective beauty rather than the ?? value, to be standardized. Zen in the castern world and the aesthetics of the ugly into her works. and she make good use of alienated design that regard relativity rather than absolutism and subjectivity rather than objectivity. And so she showed beauty of art in the costume and a broad-mindedness for the world.

테크놀로지를 응용한 하이브리드와 패션

양취경,오나령 복식문화학회 2005 춘계학술대회 Vol.2005 No.-

노리개 小考

양취경 이화여자대학교 미술대학 장식미술학과 1975 裝美 Vol.- No.2

노리개의 형태와 거기에 나타나는 문양의 소재는 이조시대 다른 공예품이나 장신구에서 보여지는 것과 거의 같아 일상생활에서 흔히 볼 수 있는 것, 장수복부자귀다남자와 벽사를 뜻하는 것, 여인의 장식이었기 때문에 절개를 의미하는 것이 많다. 또한 향집, 바늘집, 장도 등 장식적이면서 실용적인 것도 있다. 복의 의미를 지닌 편복이 애용되었고 자손 창성을 뜻하는 당초문과 절개를 뜻하는 매죽문이 많이 쓰였는데 작은 형태 안에 모든 염원을 함축시켜 직접, 간접으로 표현하였다. 이러한 노리개는 한 가문에서 대대로 물려져 사용 되었으므로 형태에 있어서 급격한 변화는 없었다. 대량생산이 아니고 수공으로 되어 어떤 제약 속에서도 조금씩 변화를 가지고 있고 구석구석 정성들여 만들어졌으며 전후형태가 같은 경우가 많고 좌우 대칭을 이루고 있다. 주체의 색조는 옥석보구의 색 자체가 아름답고 금속제는 도금되거나 파란이 올려져 있고 산호, 유리구슬 등으로 장식되어 화려하다. 또 노리개 전체로 볼 때는 술과 매듭의 색과 조화되어 한층 화려하게 보인다. 이렇게 다양하고 호화롭고 아름다운 노리개가 한국 공예사에서 장신구로서의 차지하는 위치와 그 가치가 중요하다고 생각되며 앞으로 주체와 술과의 비례 등 여러 각도에서 더욱 많은 연구가 있어야 할 것이다. 그리고 현재 만들어지고 있는 노리개는 옛 것을 어설프게 모방하고 있는 것들인데 좀 더 새로운 각도에 연구해 볼 필요가 있다고 생각된다.

현대 패션 디자인에 표현된 느리게 살기 경향 연구

양취경,김미경 誠信女子大學校 生活文化硏究所 2004 生活文化硏究 Vol.18 No.-

There is a tendency to be slow as an alternative life style in the modern society in which the fastness is being valued above everything else. 'Be slow movement' is revealed in our everyday life which include food, clothing, housing. education, politics, etc. The study has the aim of analyzing 'be slow movement' which is expressed in the formative feature of contemporary fashion. The ideas, contained in the movement, was analyzed as follows. The sublation of fastness first, the refusal of being unify, giving a great value to handmade object, the refusal of blind faith about technology, environment friendly, the pursuit of natural texture, the respect of regional tradition, the precautions against material civilization and hedonism and the interests on oriental philosophy. The results of this study can be summarized as follows. First, in the ecology style fashion, the 'be slow movement' was founded as a silhouette and color of nature or ecological print. That represents the pursuit of natural texture, which is the one of the maintenance of the 'be slow movement'. The style which avoid expansion or contraction of human body shows returning to nature and the cozy texture and structure show relaxation and healing with nature. In addition, using ecru color and natural fiber are related to environment friendly and the refusal of blind faith about technology. Secondly, the primitivism style fashion emphasize roughness and crudeness of nature, which support environment friendly and the pursuit of natural texture of the 'be slow movement'. Fur and leather put around or tied to the body express uncivilized and unprocessed natural beauty, which shows the refusal of blind faith about technology. The accessaries made of wood, ivory, born or feather were related to the 'be slow movement' with giving a great value to handmade object. Thirdly, the ethnic and folklore style fashion represent 'be slow movement' which emphasize the respect of regional tradition with adapting traditional pattern or style. Embroidery, hand weaving, hand knitting and traditional dying are using as ornaments or detail, which represents the respect of regional tradition and the sublation of fastness first. Fourthly, the Zen style fashion have not focused on exotic taste about orient, but focused on the spiritual world of orient. That represent the 'be slow movement' which emphasizes oriental mind as an alternative paradigm. The graceful and temperance feature of the Zen style fashion expresses the precautions against material civilization and hedonism. And fifthly, in the vintage style fashion, wearing out dated clothing and accessary shows the sublation of fastness first. In addition, vintage style could be interpreted as expressing one's individuality. That represents the refusal of being unify The maintenance which is contained in the movement was analyzed as the sublation of fastness first, the refusal of being unify, giving a great value to handmade object, the refusal blind faith about technology, environment friendly, the pursuit of natural texture, the respect of regional tradition, the precautions against material civilization and hedonism and interests on oriental philosophy. According the results above, factors of the 'be slow movement' have been founded in the comtemporary fashion.

최근 캐포츠 경쟁브랜드 디자인 동향분석

양취경,김연정 복식문화학회 2005 춘계학술대회 Vol.2005 No.-

전통 미의식적 관점에서 본 요지 야마모토의 작품세계 연구

양취경,김효진 성신여자대학교 생활문화연구소 2001 生活文化硏究 Vol.15 No.-

At the turn of the 20th century the Western world felt skeptical of its traditional Occidental thoughts and began to show open curiosity toward the Orient, which had long remained an alienated stranger. Japan, growing into an economic power, however, belatedly caught up with the west and drew the world's fashion designing art to her insular culture and fashion the so-called third current a new trend of the 1980's overall social, cultural, and art activities. Some such Japanese fashion designers as Yohji Yamamoto destroyed the Occidental's fixed idea of clothing at Paris, the world's center of fashion designing, with Japan's culture and taste of fashion, and thus seemed to create a new trend. Yohhi Yamamoto, among the else, has built up a world of his original fashion designing, and for his revolutionary expermentalism which felled the tradition and principles of the Western dress and ornaments he was elected the greatest designer of the world for 1996. He has introduced a non-constructive design art, which was an eclecticism of the Oriental lines and other particular elements with the western style. Based on the features of Japanese traditional aestheticism indeterminacy, formlessness, inperfection, colorless he has been a fresh stimulation to the Western world. Japan's traditional features of beauty which appear in Yohj Yamamoto's design works may be summed up as follows : First, under the influence of the beauty of non-dualism of Buddhism, transcendental of dichotomy, and also of the concept of emptiness(空) he seems to bring in an indefinite me tood of creation by adoption of those strange ways of knotting, hanging, stitching-around and the like, and to depart from the restraints of time the restraints of time and space by making a daring use in a modren way of the linear silhouette and patterns of kimmno, all this simply to produce a style of fashion for co-existence of east west on a principle yet of the fundamental rule of uncertainty inherent in deconstructionism and intertextuality. Secondly, starting with the zen thoughts, and influenced by a queer respect foramorphism refusing forms and procedures and destroying existing formalities, he seems to expresse unsymmetry, imbalance, de-centering, exaggeration, transfiguration, disharmony, and inversion of details in clothing and accessories, which contain the disorder of details in clothing and accessories, which contain the disorder of deconstructionism and the features of decomposition. Thirdly, he expresse grunge look and also poor look through the zesthetics of poverty originated from wabi which appears in association with povety and desolation, the signs of decomposition from outside. And under the influence of the incomplete world of sabi, he expresses the rule of imperfection by the exaggerated hem lines and the exposed finishing stitches. And fourthly, he seems inclined to express embelishments in black and an economy of colors oddly though the beauty of hidden profundity influenced by Buddhism and the nun-color traits originated in the spirit of samurai

동양영향을 받은 서양의 직조예술과 복식

양취경 성신여자대학교 생활문화연구소 1997 生活文化硏究 Vol.11 No.-