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The recent craze for so-called skinny jeans is illustrative of the restraint of the body through dress. This phenomenon is noteworthy when considering the internalization of the corset in contemporary fashion. Grown out of the garments of soundly practical use, blue jeans have led the stream of fashion for about 150 years and now they serve as the new corset idealizing the female body in the form of skinny jeans. This study intends to examine the idealization of the body in contemporary fashion and focus on skinny jeans as an externalized corset. The struggle with corsets continues in that the real body is overwhelmed by fashion items. In the aspect of idealizing the body by constraining the body parts, skinny jeans externalize the control of the body as contemporary corsets. This study conducts literature research and content analysis as the method of investigation and focuses on women`s fashion from the 20th century. Exerting a harmful influence on health (as corsets have done) the body in skinny jeans is regarded as a modifiable entity. The thinness of the body achieved by skinny jeans suggests the controlling power over the body. Moreover, this gives access to the power presented by the contemporary ideal of thinness. Skinny jeans are modern day glass slippers.
In order to examine the influence of Anti-form in contemporary fashion focusing on ``signs of time``, which illustrates the zeitgeist effects art and fashion, this study investigates both Anti-form movement in art of 1960s and 1970s and the fashion designs since 1970s when the signs of the influence of Anti-form in fashion began to appear. This was done by conducting literary survey as well as case analysis. Anti-form values the process and signs of time in that it visualizes the time and the process of making artworks. The emphasis on signs of time in Anti-form is observed in postmodernism fashion. Visualization of manufacturing process, visualization of signs of wearing, and continuation of wearing experience are all influences of the Anti-form in fashion. Visualization of manufacturing process exposes the techniques and the materials involved in garment construction such as linings, inside-out seams, interlinings, and unraveled hems, as well as the use of muslin, which is used in making garment prototypes. Signs of wearing is articulated in wrinkles caused by wearing, sings of alteration, reappeared designs of the past collections, reuse of vintage fabrics or garments, and the fabrics which assumes aged appearance. Continuous experience of a wearer is indicated in that the garment shape is not predetermined but changes continuously by the wearer`s body shape and movement, which generates new and relative silhouettes continuously.
In examining the relationship between fashion and art which are intimately interrelated, the body is a suitable subject in that it is the common object of representation. This study investigates and compares the images of the body in Francis Bacon`s paintings from 1940s to 1970s and the formative aspect and aesthetic value of the abstract body images in Rei Kawakubo`s designs since 1980s. The figures in Bacon`s paintings are confusingly and atypically deformed as well as distorted, which are the combinations of the anatomies without references, not so much represented objects as experienced sense. Kawakubo`s designs attempt to deform the body, moreover, she transforms the body; represent abstract forms without association with any other figures that exist, emphasizing sculptural or architectural shapes of garment. She suggests extensive visual language of dress by challenging the norms of beauty. The body in Bacon and Kawakubo`s works is dispersive as well as complex in that the body images are deconstructed, fragmented, and exaggerated. Respectively, they articulate the perception of the body in postmodernism era by destroying the myth of subject; furthermore establish the aesthetics that transcend conventional ideals by reevaluating as well as refusing the standards of beauty.
Yeohlee Teng``s ``Urban Nomad`` concept stresses high mobility and flexibility in ``Clothing-as-shelter`` in order to satisfy the needs of urban dwellers. Yeohlee interprets clothing as a portable environment that protects and shelters urban nomads as well as creates space of clothing as intimate architecture. This study examines Nomadism inYeohlee``s designs since 1981 when she received the attention from the fashion critics, by conducting literary survey as well as case analysis. Nomadism in Yeohlee``s work showed the following characterizes. First, ``modular system`` deals with the organized dressing system that enables interchanging and layering of separates that function in the fifth season; second, ``organic geometry`` describes the architectonic approach to clothing as wearable structure that transforms two dimensional geometry into three dimensional form; third, ``functionalism`` refers to the use of technological novel materials, ergonomic clothing construction, and the strategy of using structure as decoration; and fourth, ``reductionism`` is the economical approach for realizing Nomadism, which is composed of one-size-fits-all as well as unisex size system and ``zero waste`` strategy to maximize use of a piece of cloth.
몸에 관한 미의식은 시대와 문화 뿐 아니라 개인과 사회를 반영하면서 복식의 형태를 결정한다. 나아가 복식은 몸의 은폐, 노출, 왜곡 등을 통해 복식의 도구적기능을 초월하면서 몸의 의미를 재구성한다. 포스트 모더니즘 패션에서 몸이 변화 가능한 대상으로 변모하였음에 따라 몸에 대한 새로운 정의가 요구된다. 패션 디자이너가 구체화시킨 형상은 우리가 시각문화에서 몸을 이해하는 중심이 되므로, 본 연구는 포스트모던 패션에 나타나는 몸을 보는 시각을 바탕으로, 몸을 복식형태 분석의 근거로 삼아 신체부위의 확장을 중심으로 패션에 표현된 몸의 사실성 부재 현상을 파악하도록 한다. 연구방법은 문헌연구를 통해 포스트모던 패션의 몸에 관한 시각을 이론적으로 고찰하며, 패션 및 복식사 관련 서적, 컬렉션지와 패션 잡지에서 얻은 여성복사진 자료를 중심으로 실례들을 내용 분석하는 사례연구를 행한다. 연구범위는 21세기 전환기라 할 수 있는 1996년 S/S 컬렉션에서 2004년 F/W 컬렉션까지 발표된 여성복 디자인으로 몸의 사실성이 부재하는 사례를 추출하여 총 198점의 디자인을 토대로 한다. 연구 결과는 다음과 같다. 몸의 사실성 부재는 대량생산을 위한 이상화되고 표준화된 몸으로부터의 이탈을 의미하며, 몸의 대칭과 균형을 기반으로 하는 관습적인 가치의 수용을 거부하기 위해 신체부위를 극단적으로 과장하는 실험의 결과라 할 수 있다. 몸의 사실성 부재는 복식의 관습과 상징을 의도적으로 거부함으로써 복식의 기표와 기의 사이의 부조화로 나타난다. The aesthetic consciousness of the body determines the form of dress, reflecting the time and culture as well as the individual and society. Moreover, dress reorganizes the meaning of the body, while transcending their instrumental functions of concealing, revealing, and deforming the body. As the body in postmodernism fashion is being considered as a manipulatable object, the needs for the redefinition of the body has arisen. Using the body to analyze the clothing form, this study develops a framework by which to classify the absence of corporeality in women`s fashion focusing on the extension of the body parts. As for the research methodology this study conducts literature survey to investigate the perspectives on the body in postmodernism fashion. This study proceeds to examine subjects of the fashion collections of the turn of the twenty-first century which are from the S/S 1996 to F/W 2004 and samples the total of 198 outfits which represent corporeal absence through the case analysis. The absence of corporeality denotes the deviation from the idealized and standardized body for mass production. It tends to experiment with extreme exaggeration of the body form which refuses to subscribe to the traditional values that build on the balance and symmetry of the body. The absence of corporeality opposes the sartorial convention and symbolism which results in the discord between signifiant and signified of clothing.
This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.