현대 여성복에 나타난 중국풍 특성 - 2005년~2014년 파리 컬렉션을 중심으로 - The Characteristics of Chinoiserie in Contemporary Women's Wear - Focused on Paris Collection from 2005 to 2014 -원문보기
The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period ...
The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.
The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.
중국풍(Chinoiserie)이란 ‘중국에서 영감을 받은 모든 유럽 스타일’을 뜻하며(J. Dawn, 1993), 동방 무역을 통해 유입된 ‘중국 유물 또는 중국에 대한 이국적 취향과 중국풍 장식예술품’을 동시에 지칭한 용어이다(신상철, 2011). 또한 중국풍이란 유럽과 아시아 간의 교역을 통해 중국풍이나 유사 중국(Pseudo-Chinese)의 디자인 모티프가 17세기 후반부터 19세기 초까지 유럽의 예술양식에 나타난 것을 칭한다(이춘희, 신상옥, 2000).
19세기에 접어들어 중국양식이 잠시 퇴색한 이유는 무엇인가?
19세기에 접어들어 중국양식이 잠시 퇴색했는데, 그 이유는 중국과 동아시아의 매력이 터키, 이집트, 고딕, 그리스 양식과 같은 다른 이국적인 취향과 경쟁되었기 때문이었다(박은경, 이제정, 2004). 그러나 신흥중산층 계급이 중국풍 스타일을 다시 활성화시키면서 중국풍의 유행은 계속되었고, 일상 제품의 디자인에서 지속적이고 반복적으로 나타났다(Dawn, J.
17세기부터 18세기에 걸쳐, 서양의 회와, 건축과 자재, 텍스타일 등에 중국풍은 어떻게 나타났는가?
17세기부터 18세기에 걸쳐 서양의 회화, 건축과 가구, 도자기, 텍스타일에 나타난 중국풍을 분석해보면 다음과 같다. 회화에서는 중국 전통 복식을 착장한 사람들의 모습, 건축과 가구에서는 중국의 건축물과 중국 사람들의 일상적인 모습, 중국의 자연 풍경, 문양 등이 특징으로 나타났다. 도자기에서도 중국 사람들의 일상적인 모습과 중국의 나무나 숲 등 자연 풍경이 나타났으며, 사람들의 일상적인 모습 속에서 중국의 전통복식과 실내 풍경 및 가구 등이 보여졌다. 텍스타일에서는 중국의 전통적인 건축물과 식물, 동물, 꽃 등이 다양하게 나타났다.
참고문헌 (22)
교단. (2012). 중국풍 패션디자인의 조형적 특성 연구. 중앙대학교 대학원 박사학위논문.
김선영. (2006). 현대패션에 나타난 차이니즘에 관한 연구. 복식문화연구, 14(2), 220-233.
김연. (2012). 현대 남성 재킷에 나타난 중국풍 디자인 특성. 한양대학교 대학원 석사학위논문.
남미령. (2011). 현대 중국적 패션 디자인의 미적 특성 연구. 인천대학교 대학원 박사학위논문.
※ AI-Helper는 부적절한 답변을 할 수 있습니다.