In modern society, due to the radical development of industry and science, as the framework maintaining the existing society was dismantled and meanwhile, the ugly reality which has been settled at the base of society has been ostensibly revealed, the... In modern society, due to the radical development of industry and science, as the framework maintaining the existing society was dismantled and meanwhile, the ugly reality which has been settled at the base of society has been ostensibly revealed, the individual's identity as well as the social framework is causing the conflict. The subjects became to accept such realities today as the beings in the change process affected by the various societies and cultures, which also appears in the fashion, the media expressing the individual's identity with the design elements, such as materials, silhouettes, etc. In fashion, embodying directly the ‘abject’, the ugly and disgusting object, is refused, but the ‘abjection’ becomes induced, which plays a role like a ventilating opening for modern people tired of their living. The purpose of this study lies in playing a rule of tools making the fashion design applying the attributes of abjection to help the modern people to feel the sense of freedom in their lives. In addition, it has the meaning of presenting the possibility to experience the installation art even in the impoverished daily life and the sensible design in which the ugly and disgusting abject could match appropriately with trends, by overthrowing the existing unified criteria of symbolic world due to the combination of the concept of abjection and the fashion design. In the methods of this study, it was conducted by referring to the home and foreign literatures, materials of preceding research, art works, and internet materials, which were related to the concept of abjection. For the fashion design analysis, I observed the home and foreign fashion designers’ works, visited their exhibitions, and analyzed the Internet articles and data which were related to fashion and arts, and fashion campaigns and special offer products. In the material used in the fashion design works which applied these features, the shrinkable tube was utilized which would be high in the sensuous shape variations and the body adhesion. The shrinkable tube may be appropriate in expressing the concept of abjection highlighting the different and disgusting feelings by making use of the materials similar to the human body. Stressing the advantage that it would be proper in creating the individuals’ diverse identities in the area of fashion with the free skin expressions, I produced 8 works of original fashion design based on the attributes of abjection concept. For the case analysis of art and fashion, in the attributes drawn based on the theoretical study of abjection concept, after the aesthetics of ugliness and disgust was divided from the feminine sublime and liberation into ‘the liberation from the suppression inscribed in women’s body’, and from the unfamiliar beauty into ‘the unfamiliar beauty in dually-excluded abject’; and the unbearable fascination was reestablished from the monster standing in border to ‘the monster overturning the border’, and from the living death-being to ‘the embodiment of the body without spirit’, and the cases were analyzed. The results of fashion cases in this study are as follows: First, ‘the liberation from the suppression inscribed in women’s body’ was represented as the broad expressions on female genitals and desire. The bold usage of intense materials and abject appeared as the form showing that the female is one dignified subject as the member of society. Second, the dually-excluded abject appeared as the means overlaying the disgusting materials on the female’s body and dismantling prejudices through its own specificity of female’s body. The unfamiliar beauty could be the regression of dually excluded abject in the woman, that is, abject, who has been excluded by the reason of ugliness through the discipline of symbol world. Third, ‘the monster overturning the border’ was shown as the form granting the freedom to the abjects who have the abnormal bodies and identities. It appeared as the silhouette and materials which might grant the body or exaggerate it to express boldly the identity, via the fashion overthrowing the border of body. Fourth, the cases of the ‘body without spirit’ may appear as the expression for the being and process embodying the abject on death. Zombies, vampires, skulls and the putrid bodies would induce the sublimation of abjection facing the abject of death. In introducing such abjection concepts to designs, the emphasis was placed on the material expression focusing on the abnormal silhouette and body expression. With regard to the works, 2 works in which the liberation attribute of the suppression inscribed in female’s body was reflected, 2 works where the characteristics on the unfamiliar beauty of dually-excluded abject were reflected, 2 works in which the attribute of the monsters overturning the border was reflected, and 2 works where the characteristics on the embodiment of body without the sprit were reflected were produced. In Work Ⅰ, the woman’s body which had been the taboo in the past was expressed openly. In order to convey the message that it was extricated from suppression, the collapsed breast lines and dress were represented asymmetrically on the corset dress. Freud said that the fur symbolizes women's pubic hair. By utilizing such characteristics, I styled furs, making the sublimation work of abjection inscribed in woman’s body experienced. In Work Ⅱ, the liberation of women's sexual desire and the silhouettes of pregnant women were applied. As the shrinkable tube is similar to the leather which stimulates the sexual fetish, I highlighted the women’s erotic images by representing the silhouette of X-line with the exaggerated asymmetry. It was produced as the work having the message which represents that the women are the active subjects. In Work Ⅲ, even though the modern women are obsessed about the beautiful body in order not to be dual-excluded, as just showing the unfamiliar appearances with the grotesque materials could dissolute the diseased and aged body was expressed with the jacket. In Works Ⅳ, mixing the feminine silhouette with the vest of menswear item, as a whole, it was represented asymmetrically. I expressed the abnormally protruded scapula due to anorexia. The regression of abjects excluded even from the women who are the representative of abject was expressed. In Work Ⅴ, embodying the abnormal being going beyond the physical boundary, it was expressed as the being in the myth. The figure of mythical being having the scapula in the form of horn was embodied, and the tension having the aggression was represented by expressing the sharp cuffs and the spring-like elbow. The design characteristics overthrowing the border could be reflected through the monster, the third being. In Work Ⅵ, the specificity of epicene sex and the attribute going beyond the physical boundary were represented. Before worn, it looks like a balloon skirt, but after worn, it would become the culottes-pants. The appearance in which the clothes are likely to be striped was expressed, and in the styling items, the muscle meaning the inner part of body was represented in the scratch technique. Combining the design elements which have been excluded as the abject, the monster overturning the border was embodied. In Work Ⅶ, the skeleton, symbolizing the biological death of body in art and fashion, was expressed. The rear part of work embodied from the spine means that the human being would always live, bearing the abject of death. In other words, it was shown that the visually disturbing abject could be sublimated into an aesthetic element. In Work Ⅷ, the zombie, the representative being without spirit which is always threatening the living things, was portrayed. In this work, the spoiling skin in which the death is in progress was embodied, inducing the tension just like facing death. I could recognize that despite the abject the human being would exclude most powerfully, it could be sublimated into the design element. As such, the fashion works where the concept of abjection was applied show the possibility as the media which may induce the abjection, caused by the plain description, to the modern people confronting the abject, and would make them feel the psychological freedom. The combination of abjection concept and fashion design shows the possibility that although it might be the disgusting and humble material, it would be enabled to be applied as the design element and could be matched with the modern sense. It is expected that through this study, the continuous studies would be conducted on the fashion design elements reflecting the sensibility of modern people revealing the identity in the diverse expressive styles.
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