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1 한국패션디자인학회지제 16 권 2 호 Journal of the Korean Society of Fashion Design Vol. 16 No.2 (2016) pp 현대패션디자인에나타난비정형에관한연구 조윤수 + ㆍ박선희 이화여자대학교패션디자인전공박사과정 + 이화여자대학교패션디자인전공부교수 요약 본연구는현대패션디자인에새로운디자인표현도구로나타난비정형에관한논문이다. 연구의목적은첫째, 디자인에새로운형태언어를생성시키고과거와는다른다양하고역동적인공간, 비기하학적인다양한형태를창출하고있는비정형의개념을정의하고, 둘째, 비정형에관한유형별특성분석을통해디자인표현도구로서의그특징과가치를규명하고자한다. 마지막으로비정형디자인을개념화하고유형별특성을분석함으로써비정형디자인의활용과비정형형태의체계를구축하고효율적인디자인도구의적용을위한정보체계연구의기초가되는데그목적이있다. 본연구는문헌고찰을통한이론적연구와사례분석을통한실증적연구를병행하였다. 패션디자인에서의비정형의개념을정의하기에앞서조형예술, 건축및공간에서의비정형을살펴보고그개념과특징을정의하였으며, 연구의분석으로얻어진비정형의개념을토대로현대패션에표현된비정형디자인의유형과특성을규명하였다. 이론적배경과사례를토대로얻어진비정형의개념은기하학적질서, 비례, 대칭등동질적요소의질서로일컫는정형에대한반대적의미로서일종의자유형태를말하며, 부조화, 균형의파괴로고정관념에서탈피되어작가의표현방식에따라극적이며자유로운분위기를연출한다. 비정형은현대디자인에서새로운접근방식으로실현되고있다. 건축에서는새로운소재의사용과요소들간에자유로운배치방식으로순수기하학적구조에서벗어나유연한공간구성을보여주고있으며제품에서는순수미술가에가까운디자인프로세스로자연적인조형미를이루고있다. 현대패션에서의비정형은형태에있어서의상이라는기본개념과조형미를허물고있으며소재에있어서도재료의고정됨이없이사용되고있으며디테일에있어서새로운이미지로감성을불러일으키는역할을하며움직임과착장자에의해다양하게표현되고있음이발견되었다. 비정형은유형별로분석한결과로비대칭, 비예측, 왜곡성, 유희성이라는특성이있었으며기본구성원리에서벗어나비대칭으로정형적인미에서탈피함으로서긴장감을표현하고착장방식과이질적인소재도입으로비예측적인결과를연출하였다. 디자인에있어서부분적으로또는전체적으로확대하거나왜곡한형태로표현되거나기존의이미지를새로운이미지로전환시켜즐거움과미적인유희를유발하는결과를가져왔다. 주제어 : 비정형, 비대칭, 비예측성, 왜곡성, 유희성 + 교신저자 : 조윤수, yunsue@hanmail.net 접수일 : 2016 년 4 월 20 일, 수정논문접수일 : 2016 년 5 월 22 일, 게재확정일 : 2016 년 6 월 2 일

2 한국패션디자인학회지제 16 권 2 호 (2016.6) Ⅰ. 서론 패러다임의변화로범주의파괴와미적가치가다원화되고있으며디지털기술과시스템의발달로인하여건축및공간, 제품뿐만아니라패션디자인에있어서매우다양한형태의이미지가표현되고있다. 이러한현대패션디자인에서의형태와표현기술의진보는다양한비정형의형태연출에대한다각적인분석을통하여이루어질수있다. 연구의목적은첫째, 디자인에새로운형태언어를생성시키고과거와는다른다양하고역동적인공간, 비기하학적인다양한형태를창출하고있는비정형의개념을정의하고, 둘째, 패션디자인에서의비정형에관한유형별특성분석을통해디자인표현도구로서의그특징과가치를규명하고자한다. 마지막으로비정형디자인을개념화하고유형별특성을분석함으로써비정형디자인의활용과비정형형태의체계를구축하고효율적인디자인도구의적용을위한정보체계연구의기초가되는데그목적이있다. 본연구를진행하기위한방법으로는문헌고찰을통한이론적연구와사례분석을통한실증적연구를병행하였다. 우선이론적배경이되는비정형의개념과특징을관련서적및선행연구의분석으로진행하였으며, 연구의중심이되는패션디자인에서의비정형사례는관련연구의분포와배경을기준으로비정형을적용한구체적사례를선정하여진행하였다. 본연구는비정형적작품형태의패션디자인을연구의대상으로한다. 비정형패션을분석하기에앞서비정형의개념과특징을정의하고건축및공간, 제품에있어서의비정형디자인의전개양상을살펴보았다. 우선비정형의개념과함께그배경을논문과문헌고찰을통해분석하고관련분야선행연구의분석을통하여비정형의개념및특성을분석하였다. 비정형디자인의유형에따른사례를선정함에있어서의기준은비 정형, 앵포르멜 (Informel) 을주제어로하는관련문헌과학위논문, 학술지, 단행본, 인터넷검색등을통하여선정하였으며, 관련문헌과함께현대패션에나타난비정형디자인을분석하기위해파리, 밀라노, 뉴욕, 런던의 4대컬렉션을조사하였으며그외에도비정형성이보이는컬렉션을선보인주요디자이너의퍼포먼스와다른예술분야와의협업사례를분석하였다. Ⅱ. 비정형에관한이론적고찰 1. 비정형의개념과정의사전적인의미로풀이할때 비정형 (Informel) 이라는말은 일정한형태나형식이정하여지지아니한것 이란뜻으로일종의형태의해소를의미한다. 프랑스어앵포르멜은일정한형태나형식이정하여지지아니한것을뜻하며, 1952년개최된 Significants de l Informel 전시에서처음으로사용되었으며미셸타피에 (Michel Tapié), 장뒤뷔페 (Jean Dubuffet), 장포트리에 (Jean Fautrier), 알프레드오토볼프강슐체 (Alfred Otto Wolfgang Schulze) 등이보여주는운동의새로운방향을앵포르멜이라했다. Foster et al.(2012) 는앵포르멜미술을제2 차세계대전후에정형화되고아카데미즘화한추상, 특히기하학적추상에대해반발하여일어난것으로서, 미리계획된구성을거부하고자발적이며주관적으로표현하는경향으로정의하였다. Paulhan(1962) 에따르면앵포르멜은모든규칙과이미형성된모든형태, 즉스스로그렇다고생각하는모든형태들을기피하는것에서부터시작하는화가의행동을가장명백하게드러내는장점이있다고하였다 (as cited in Lee, 2016). 이와같이비정형은부정형또는무정형의뜻으로혼용되어사용되고있으며형태와의관련에있어서부정적양

3 현대패션디자인에나타난비정형에관한연구 상을띠고있는것이나실제로는많은앵포르멜작품들이형태를완전히배제하고있지는않고형태의구성에근거하거나구조적조형에반대하는의미인형식주의형태관을거부하고화면에서불규칙적형태를용납하고있다. 즉비정형은형태의움직임을포함하는추상표현주의양식으로기존질서에대한격렬한도전으로시작되었으며표현형식에있어이성적사고로부터의거부라는사상적배경을가지고있고전통적인형태나형식의부정을의미한다. 본연구에서는회화와조형예술, 건축공간조형및패션분야에있어서비정형을다음과같이정의하였다. 우선회화와조형예술에서의비정형은다음과같이전개되었다. Emerling(2015) 에따르면초현실주의운동에참여했던프랑스의문학, 정치, 철학, 사회학, 예술학자인조르주바타이유 (Georges Bataille) 는비정형을특정한의미를가진형용사일뿐아니라, 모든것이형태를가지고있어야한다는일반적요구를암시하면서비판하는데사용되는용어로정의하였다. Kim(2005) 에의하면앵포르멜이의미하는비정형은형식주의적형태관의거부에있으며자아나의식의세계에대한표현으로일체의기하학적환상에서떠나동태적인운동 (action), 이전의것 (prefiguration) 을추구한다고하였다. 이와같이회화, 조형예술분야에서비정형은미리계획된구성을거부하고자발적이며주관적으로표현하는경향을말하며기하학적추상의차가운면에대응하여추상의서정적인측면을강조하는흐름에서형성되었다. 표현방법에있어전통적미학의정해진형상을부정하고일그러진형상과질감의효과를살려우연적인새로운이미지를생성하였다. 건축디자인에있어서의비정형은기존차원의규칙과질서를뛰어넘어새로운차원의개념을창출하고있다. Park and Hong(2013) 의연구에서는건축공간조형에있어서비정형이라고하는것은 형태에있어서고착된정형인형태를벗어나서자유곡선과사선, 그리고정형인순수기하학인형태파괴를나타내는것으로개념지었다. 건축및공간에서의비정형은기하학적질서에입각한정형의형태에서벗어나곡선과사선같은고정관념에서탈피한일종의자유형태를의미한다. Kim and Kim(2003) 의연구에서는건축물에서나타나는비정형은기하학적질서, 비례, 대칭및등질적요소의질서로일컫는정형에대한반대적의미인물리적형태와건축물의지각에있어서기존의사고질서를깨는관념적개념을통틀어말할수있다고하였다. 건축및공간조형에있어서의비정형은정형적인형태를벗어나자유곡선과사선, 그리고정형적인순수기하학적인형태파괴를나타내는것으로볼수있다. 조형적특이점은표현주의적자유형태를추구하는것으로서왜곡된원, 중심을인지할수없는원호, 다양한곡률을가지고있는곡선, 평행하지않은선등이서로독립성을유지하며중첩되거나우연적으로종합되어나타난다. 또한구성에있어서평면뿐만아니라단면을통하여건축물의외부형태와내부공간을통하여입체적으로표현되며이러한것들을포괄하여비정형적이라개념지을수있다. 패션디자인에있어서의비정형은디자이너의정신세계와활동을반영하여무한정기법을통해기존의미적가치를파괴하고새로운형태미에대한시도로나타나고있다. Seo(2010) 에따르면패션에서의비정형은내면적표현양상으로논리적인합리구조와규율적질서를거부하며그대안으로예술가의직감에의해제시되는즉흥적조형성과다양성을추구한다고하였다. 비정형작품은구상과비구상을초월하여모든정형을부정하고새로운세계의반 ( 反 ) 추상적주관주의의자유조형형태를무정형의기법으로새롭게표현한다. 현대패션에표현된앵포르멜이미지는정신과분리되지않은존재자체를대신하는미적주체로서

4 한국패션디자인학회지제 16 권 2 호 (2016.6) 고정관념을거부하며합리적인주체로인식하던이미지를변형하거나해체하여비정형화된이미지의내면적표현양상을제시한다. 즉패션에서의비정형은디자이너의상상력에의해표현되는새로운양식으로왜곡과변형의의미를포함한자유조형형태로볼수있다. 이러한주장들을토대로본연구에서는비정형을다음과같이정의하였다. 일반적으로정형은형태의통일성과대칭적구조의조화로움으로설명할수있으며일정한형식과질서를의미한다. 반면, 비정형은기하학의결정론적선형구조에서벗어나복합적이고무질서한현상과내면을비선형적개념을바탕으로작가의자유로운표현방식에따라새로운형태와다양성, 의외성을표현하고자하는것으로정의할수있다. 패션디자인에있어서의비정형은의상이라는기본개념과조형미를허물고기존의의상형태에서벗어나새로운형태를제시하는반 ( 反 ) 형태의패션으로, 표면적인이미지와심층적인본질사이의차이를내포하는새로운규정을만들어내고불확정적인경향을보이는자유조형형태로개념지을수있다. 2. 현대디자인에나타난비정형의사례최근급격히발달하고있는디지털장비와시스템의출현으로인하여패션뿐만아니라건축및공간의표현과제품디자인은매우다양하고자유로운형태를띠고있다. 이러한건축, 공간형태, 제품표현기술의진보는다양한비정형의형태연출에대한다각적인분석을통하여이루어질수있다. 이에본연구에서는패션디자인에나타난비정형을분석하기에앞서비정형의개념과특성을정의하였으며, 건축및공간, 제품의현대디자인에나타난비정형의전개양상을살펴보았다. 건축디자인에있어서의비정형은기존의정형적인형태에서벗어나순수입체에서일탈되는경 향을가지고있다. 비정형적공간은디자이너의창조적상상력에의해공간의전개와형태가형성되기때문에예측불가능한공간을형성하게된다. 형태에있어서는순수기하학적형태파괴가이루어지며자연적형태에서얻어지는유선형의자유로운형태를보이고있으며새로운소재의사용과구조로기존의순수입체에서일탈되는경향을가지고있다. 대표적인비정형건축가로프랭크게리 (Frank Gehry) 는종이, 헝겊, 비닐등에서나타나는순간적구겨짐에서포착되는형태들을디자인에반영하여순간적인동적변화속에서그전에존재하지않았던독자적인형태를창조하였다. 대표작으로 Experience Music Project Museum, Walt Disney Concert Hall 등이있으며구김과비틀림으로인한변형된공간구성과불협화음을이루는이질적인티타늄소재의결합을통해공간의유연성을보여주고있다 (Figure 1), (Figure 2). 자하하디드 (Zaha Hadid) 는성장하는유기체적인형태로무한한역동성을표현하였다. 대표작으로 Heydar Aliyev Center, The Abu Dhabi Performing Arts Centre 등이있으며공간이이어져나갈수록복잡성이더해지는비선형적움직임을보여주었다 (Figure 3), (Figure 4). 시게루반 (Shigeru Ban) 은건축자재로쓰일수없고사용되지않았던유약한물성을가진종이를소재로사용한데서현실질서의일반적인분류체계와위계질서를뒤집는비정형성을보여주었다. 대표작으로 Amsterdam Paper Dome, Cardboard Cathedral 등이있다 (Figure 5), (Figure 6). 이와같이건축및공간조형에서의비정형은고착된정형적인형태에서벗어나자유형태를가지고있으며, 새로운소재의사용과요소들간에자유로운배치방식으로기존의체계와다른새로운공간구성을보여주고있다. 제품디자인에있어서의비정형은정신적과정에의한작품창조를고집하는순수미술가에가까운디자인프로세스를거쳐기하학적이고정형

5 현대패션디자인에나타난비정형에관한연구 Figure 1. Experience Music Project Museum. From Wikipedia. (n.d.). Figure 2. Walt Disney Concert Hall. From Wikiarquitectura. (2008). Figure 3. Heydar Aliyev Center. From dezeen. (2014). Figure 4. The Abu Dhabi Arts Centre. From Butterfield. (2012). Figure 5. Amsterdam Paper Dome. From Shigerubanarchitects. (n.d.). Figure 6. Cardboard Cathedral. From Silloway. (2004). Figure 7. Bodyguard. From DeTnk. (2016). Figure 8. Voido Rocking Chair. From Arad. (2006). Figure 9. Lockheed Lounge. From Marc-newson. (2016). Figure 10. The Cloud. From Clarkson. (2016a). Figure 11. Blossom. From Clarkson. (2016b). Figure 12. JUICY SALIF. From Starck. (2016). 적인형태에서벗어난유기적인디자인으로표현되고있다. 또한컴퓨터를주된도구로사용하여독창적인조형미를이룬디자인이나일반적이지않은재료를사용하여표면적재질감을달리한새로운스타일로나타나고있다. 대표작가로론아라드 (Ron Arad) 는알루미늄판을사용하여수공예적인마감처리로가구와조각작품의경계를허 물었으며대표작으로 Bodyguard, Voido Rocking Chair 등이있다 (Figure 7), (Figure 8). 마크뉴슨 (Marc Newson) 은수은 ( 水銀 ) 의표면적질감과연결부위의경계가없는부드러운양감으로독창적인조형미를보여주었으며대표작으로 Lockheed Lounge 와 Kelvin 40 Concept Jet 등이있다 (Figure 9). 리처드클락슨 (Richard Clarkson) 은 LED

6 한국패션디자인학회지제 16 권 2 호 (2016.6) 테크놀로지와 3D프린팅을사용하여자연물과동일한형태미를보여주었다. 대표작 The Cloud, Rain Lamp, Blossom 은구름과비, 꽃의형태와움직임, 표면의재질감을살려내현실속의자연현상을재현하였다 (Figure 10), (Figure 11). 필립스탁 (Philippe Starck) 은곡선을사용하여자연물에유머를더하여표현하였으며대표작인 Juicy Salif 는 <Figure 12> 와같이오징어형상을하고있어그외형을보는것만으로도시각적즐거움을주는심미적디자인이다. 이와같이제품디자인에서의비정형은디자이너의상상력을기초로하여하이테크놀로지와수공예적인제작방법으로순수기하학적인형태에서벗어나자연적인곡선의유연성과조형미를보여주었다. Ⅲ. 현대패션디자인에나타난비정형의유형 현대패션에나타난비정형은의상이라는고정된관념에재고를요구하는공격적인구조로서형태, 소재, 색상, 조화와통일을추구하는패션체계를부정하고이미지와본질사이의차이를내포하는새로운양식을만들어내고있다. 또한전통적인기능과경계가모호해지고착장방식이나요소들간에자유로운배치방식에따라외형이결정되는유동적인흐름이보이고있다. 패션디자인에있어서의비정형은형태에있어서비례, 대칭, 균형의기본개념과조형미를허물고있으며소재에있어서도재료의고정됨이없이사용되고있으며움직임과착장 ( 着裝 ) 자에의해다양하게표현되기도하고, 비형식적인오브제를접목하여새로운감성을불러일으키는상징적인역할을하기도한다. 이를근거로현대패션디자인에나타난비정형을유형별로형태의비정형, 소재의비정형, 디테일의비정형, 착장의비정형으로나누어살펴보았다. 1. 형태의비정형현대패션에는인체에대한의미가새롭게재발견되어나타나고있다. 인체를왜곡하며과장하거나불규칙적인실루엣으로표현하여인체의재현으로써의의상이아닌무정형또는새로운모습의해체, 즉반형태성을표현하고있다. Kim(2008) 에따르면통일성의개념을부인하고기하학적인형태의역설적구성을취하며형태의왜곡과과장이나타난다고하였다. 의상의기본적인형태에서벗어나인체를왜곡한대표적인컬렉션으로레이가와쿠보 (Rei Kawakubo) 의꼼데가르송 (Comme des Garçons) 이있다. 2014년 S/S 컬렉션에서 <Figure 13> 과같이상의에솜을넣어인체의형태를크게부풀려여러개의무정형의덩어리를형성하고있다. 정돈된형태가아닌왜곡과과장으로인하여이상적인미를벗어나고있다. 알렉산더맥퀸 (Alexander McQueen) 은 2012년 F/W 컬렉션에서 <Figure 14> 과같이과도하게중첩된단위형태를사용하여인체의형태를파괴하고비균형적이며비구조적으로표현하였다. 가레스퓨 (Gareth Pugh) 는 2015년 S/S 컬렉션에서기형적인모습으로비정형성을표현하였다. 인체를해체하고형태를바꿔줌으로써규범을파괴하고기대와예상을깨며시각적인강조를주었다 (Figure 15). 빅터앤롤프 (Viktor & Rolf) 는 2010년 S/S 컬렉션에서총에맞거나단칼에벤듯한디자인이충격적으로다가오는드레스로외적형태가파괴되어표현되고있다 (Figure 16). 2015년 S/S 컬렉션의액자형태의드레스는의상의형태와구조를해체시킴으로써기존의패션체계를부정하였다 (Figure 17). 후세인샬라얀 (Hussein Chalayan) 은 2000년 S/S 컬렉션에서드레스를타원형형태로과장하여표현함으로써인체의실루엣을변형하고추와미의개념을해체시켰다 (Figure 18). 존갈리아노 (John Galliano) 는 2004년 F/W 크리스찬디오르 (Christian Dior) 컬렉

7 현대패션디자인에나타난비정형에관한연구 Figure 13. Comme des Garçons 2014 S/S. From Furniss. (2013). Figure 14. Alexander McQueen 2012 F/W. From Blanks. (2012a). Figure 15. Gareth Pugh 2015 S/S. From Blanks. (2014b). Figure 16. Viktor & Rolf 2010 S/S. From Phelps. (2009a). Figure 17. Viktor & Rolf 2015 F/W. From Verner. (2015b). Figure 18. Hussein Chalayan 2000 S/S. From Before Minus Now, Hussein Chalayan S/S (n.d.). Figure 19. Christian Dior 2006 F/W. From Mower. (2006). Figure 20. Saint Laurent 2002 S/S. From Todd. (2002). 션에서불안정한구성으로반형태적비정형을보여주었다. 인체를단위형태로반복적으로포장하여연출함으로써하나의무정형덩어리를형성하고있다 (Figure 19). 불규칙하게결합된낯선위치의반복현상은부분의단순한복제가아니라반복에의한풍자적인양상을갖고있으며확장된색다른시각경험을제공해주고있다. 이브생로랑 (Yves Saint Laurent) 은단순히인체를감싸는무형식성의디자인을사용하여전통적인소매와스커트의구성원리를무시한채의도적으로삭제하여과장된유머와입체감을주고있다 (Figure 20). 이와같이외적형태의논리를부정하고형태의변형으로인한비정형은의상의구성원리를벗어나서전통적시각으로보는미학적질서를파괴하고왜곡되어기이하거나유머스러운시각적이미지를주고있다. 2. 소재의비정형현대패션에나타난비정형디자인의유형으로소재에의한비정형을들수있다. 기존의패션소재로사용되지않던무관한일상생활용품이나자연물, 또는이질적인사물을본래의용도에서분리하여의상에활용하고있다. 동판, 스틸, 비닐, 종이, 석고, 파이프, 병따개, 거울, 장갑, 진주등이예이며폴리우레탄비닐소재, 플라스틱신소재등의특수소재와미디어테크놀로지를사용하여패션에서볼수없었던표면효과를내고있다. 패션소재로사용하지않던일상용품을사용한대표디자이너로메종마틴마르지엘라 (Maison Martin Margiela) 가있다. 그는빗이나가발, 플라스틱같은기존에사용하지않던소재를사용하여컬렉션을발표하였다. 2009년 S/S 컬렉션에서 <Figure 21> 과같이일상용품인빗을사용하였으며 <Figure 22> 과같이

8 한국패션디자인학회지제 16 권 2 호 (2016.6) Figure 21. Maison Margiela 2009 S/S. From Maison Martin Margiela Artisanal. (2009). et Figure 22. Maison Margiela 2009 F/W. From Mower. (2009a). Figure 23. Hussein Chalayan 2007 S/S. From dezeen. (2009). Figure 24. Hussein Chalayan 2001 S/S. From Vogue. (2001). Figure 25. Hussein Chalayan 2008 F/W. From dezeen. (2012). Figure 26. Hussein Chalayan 2016 S/S. From Hussein Chalayan Stuns With Dissolvable Clothing. (2015). Figure 27. Thom Browne 2015 S/S. From Blanks. (2015). Figure 28. Viktor & Rolf 2015 S/S. From Verner. (2015a). 빛에반응하는특수소재를사용하여구름과같은형상을연출하며일시적인표면효과로인한비형식적인작품을발표하였다. 발달된현대과학을패션에사용하여비정형성을보여준대표디자이너로샬라얀이있다. 의상에사용하지않았던미디어를의상전체에사용하여실험과패션의경계를모호하게만들었다. 2007년 S/S 컬렉션에서는작품표면에 LED 판을입혀컬러와빛의움직임효과를주어한개의드레스로여러개로의활용을높였다 (Figure 23). 그외에도리모컨으로스커트의폭과길이를조정할수있는드레스와유리소재를떼어내어청각적효과와함께형태에변화를주는작품도선보였다 (Figure 24). 2008년 F/W 컬렉션에서는스와로브스키드레스에레이저를사용하여역동적인효과를주었으며 <Figure 25>, 최근에는수용성소재를사용하여재킷이물에녹 아사라지는퍼포먼스를보여주었다 (Figure 26). 톰브라운 (Thom Browne) 은 2015년 S/S 컬렉션에서플라스틱단위형태를꽃잎이날리듯연출하여이질적인소재도입으로인한비정형성을보여주었다 (Figure 27). 빅터앤롤프는 2015년 S/S 컬렉션에서자연물인짚, 꽃잎을사용하여헤어와드레스로표현하여비형식적인소재를사용한컬렉션을선보였다 (Figure 28). 이와같이소재의비정형화된작품들은재료가가진형태와행위, 과정을통해의상이지니는목적중의하나인지속적인착장을무시하고재료가가진성분에따라일시적인착장형태를갖고있기도한다. 또한시각과청각, 촉각적경험을유발시켜재미를더하기도하며, 이는디자이너의창조적인사고와기획적인의도에서결과된것이고정형화된패션이아닌소재영역의확대를가져온획기적인구성을보인다

9 현대패션디자인에나타난비정형에관한연구 3. 디테일의비정형현대패션에나타난디테일에따른비정형으로크게비형식적인오브제를접목한데페이망 (Dépaysement) 기법을사용한경우와주름, 중첩을반복적으로사용한경우를들수있다. 비형식적인오브제의접목이란통상적으로패션디자인을위해사용되어온소재가아닌전혀무관한일상생활용품이나자연물또는이질적인사물을본래의용도에서분리하여작품에사용함으로써새로운감성을불러일으키는상징적역할의사물을활용함을의미한다. 이와같은적용은초현실주의의예술사조에서데페이즈망이라는기법으로활용되었는데데페이즈망이란, A dictionary for art terms(1999) 에따르면 전치, 전위법 의뜻으로 나라나정든고장을떠나는것 을의미하며초현실주의에서는어떤물체를본래있던곳에서떼어내는것을가리킨다. 즉, 현실적인사물들을뜻하지않는낯선장소에 조합하거나이질적인사물들끼리비합리적으로조합하여일상적인관계속에서그본래의사물이갖는맥락을일탈시킴으로써초현실적인환상을창조해내는기법을말한다. 디테일에의한비정형을표현한대표디자이너로빅터앤롤프가있다. 그는 2005년 F/W 컬렉션에서베개와이불을의상으로전환한형태로구성하여마치모델이잠자리를위해침구류를덮고누워있는듯한시각적착시를불러일으켰으며현대생활속필수품인침구류를의상으로전환시킴으로써그자체의기능을변화시켰다 (Figure 29). 2008년컬렉션에서는 NO 라는레터와바이올린을연상시키는비형식적오브제를부착하여의상과사물의역설적결합을통해낯설게만들고이미지의변화를가져왔다 (Figure 30), (Figure 31). 마르지엘라는 2009년 S/S 컬렉션에서모델을보석함속의사물로연출하여감상자에게시각적충격을주었으며지각하고있는경험적이미지를상실시켰다 (Figure 32). 아가타루이즈델라프 Figure 29. Viktor & Rolf 2005 F/W. From Mower. (2005). Figure 30. Viktor & Rolf 2008 F/W. From Phelps. (2008). Figure 31. Viktor & Rolf 2008 S/S. From Phelps. (2007). Figure 32. Martin Margiela 2009 S/S. From Mower. (2008b). Figure 33. Agatha Ruizdela Prada 2009 F/W. From CHINA DAILY. (2009). Figure 34. Agatha Ruizdela Prada 2009 F/W. From Zimbio. (n.d.). Figure 35. Alexander McQueen 2001 S/S. From Alexander McQueen. (n.d.). Figure 36. Alexander McQueen 2010 S/S. From Mower. (2009b)

10 한국패션디자인학회지제 16 권 2 호 (2016.6) 라다 (Agatha Ruiz de la Prada) 는현실세계에서친근한사물들을의상에다수활용하였는데, 2009년 F/W 컬렉션에서는철제구조물로제작된새장의오브제를차용하였으며, 동일한컬렉션에서단위형태를중첩하여새로운이미지로표현하였다 (Figure 33), (Figure 34). 이는일상생활에흔히사용되고있는사물들의고유의미가디자이너의실험정신을함양한표출수단으로전환됨을의미하며감상자는이를통해낯설고새로운감성을체험할수있다. 이외에도맥퀸은의상과관계없는이질적인오브제의부착과기이하고의외적인효과를통해비정형성을표현하였다. 2001년 S/S 컬렉션에서새의깃털을의상에접목하였으며 2010년 S/S 컬렉션에서는금속소재를사용하여기이한이미지를표현하였다 (Figure 35), (Figure 36). 디테일에의한비정형디자인은생활용품같은패션소재가아닌비형식적오브제를접목하여기능을변화시키거나착용위치의전환을통해표현되었다. 동물의외형에서표출된형상을입체적이고구체적인형태로오브제화하여접목시키기도하였다. 이와같이디테일에의한비정형디자인은일상적사물이내포하는기존의의미를상쇄시킴과동시에연 장선상에서착시나시각적당혹감을일으켜감상자로하여금예상할수없는효과를주었다. 4. 착장의비정형현대패션에나타난비정형의가장큰특징은기존의패션에서보여주는변형될수없는고정방식이아니라움직임과착장자에의해다양하게표현되기도하고, 인체의재현으로써의의상이아닌공간의조형미를표출시킴으로써기존의이성적사도의패션형태가아니라새로운모습의해체를표현하는것이다. 이러한특징은실험과예술의경계를넘나드는디자이너샬라얀의컬렉션에서많이찾아볼수있다. 그는 2000년애프터워즈 (Afterwords) 컬렉션에서착장방식에따라테이블이치마로, 의자덮개가드레스로, 의자가가방으로변형하는디자인을선보이며착용가능한휴대가능한건축이라는개념을패션에구현하였다 (Figure 37). 이세이미야케 (Issey Miyake) 는 1985년 S/S컬렉션에서건축적인구조의패턴과반복된주름텍스타일로착장방식에따라다른형태로연출할수있는디자인을시작으로 1993년 S/S 컬렉 Figure 37. Hussein Chalayan 2000 F/W. From chalayantableskirt. (2015). Figure 38. Issey Miyake 2010 F/W. From dezeen. (2010). Figure 39. Issey Miyake 2010 F/W. From dezeen. (2010). Figure 40. Issey Miyake 2011 F/W. From issey miyake 2011/12. (n.d.). Figure 41. Martin Margiela 2009 S/S. From Mower. (2008c). Figure 42. Vivien Westwood 2009 S/S. From Inspired.NET. (2008)

11 현대패션디자인에나타난비정형에관한연구 션에서는현재의시그니처스타일인변형되는플리츠기본형태의드레스를, 2010년 F/W 컬렉션에서는접는방식에따라여러착장이가능한올가미패턴을선보였다 (Figure 38), (Figure 39). 이후 2011년 F/W 컬렉션에서기하학적인형태의디자인으로착장방식에따라재킷도되고스커트로도연출되는퍼포먼스를보여주었다 (Figure 40). 마르지엘라는 2009년 S/S 컬렉션에서일반적인구성원리에서벗어나소매를넣는방식에따라변형되는디자인을가져왔다 (Figure 41). 비비안웨스트우드 (Vivien Westwood) 는 2009년 S/S 컬렉션에서재단과봉제를거의하지않은하나의가먼트로착장방식에따라다르게연출가능한디자인을선보였다 (Figure 42). 이와같이착장의비정형은기존의상에서볼수없었던패션공간의조형미와용도에따른형태변형으로인한다기능적인디자인을가능하게하였으며착장자의의도와움직임에따라, 사용자에의해결정되는디자인을실현시켰다. Ⅳ. 현대비정형디자인의특성 패션디자인에있어서의비정형은형태에있어서비례, 대칭, 균형의기본개념과조형미를허물고있으며소재에있어서도재료의고정됨이없이사용되고있으며움직임과착장자에의해다양하게표현되기도하고, 디테일에있어서비형식적인오브제를접목하여새로운감성을불러일으키는상징적역할을하기도한다. 패션디자인에나타난비정형을형태, 소재, 디테일, 착장의유형으로나누어분석한결과다음과같이비대칭, 비예측, 왜곡성, 유희성의특성을도출할수있었다. 1. 비대칭패션디자인에있어서의비정형은형태에있어서비례, 균형의기본개념과조형미를허물고있으며전통적인구성원리에서벗어나비대칭적형태의디자인이보인다. Lee(2011) 의연구에서는디자인분야에서의비대칭을 좌우를불균형하게배치한부조화적인미적구성 을의미하며패션분야에서는 asymmetry fashion 이라는단어를 비대칭 불균형을기초로한패션 으로정의하였다. Rosenkranz(1853/2010) 는비대칭은단순한무형이아니라분명한기형이며존재하지않는대칭에서는그어떤코믹도존재하지못하지만, 혼란속에서대칭은하나의형태가다른형태를밀어내거나소멸시키기때문에아름답게태동한다고말하였다. 현대패션에나타난비 ( 非 ) 대칭은일치해야할부분에서일치하지않고부분들의동일함에서도동일하지않은형태로나타나고있으며개념에따르면반드시있어야할현실간의모순이생성되고있다. 또한좌우비대칭, 색상대비, 이질적인소재의조합을통해정형적인미에서탈피함으로써긴장감을표현하였으며디자인표현도구로써디자이너에게영감을주고새로운형태를제시하였다. 비정형패션에나타난비대칭적경향은기존구성방식의탈피로새로운시각을제시하는열린사고를반영하며 1960년대이후부터억압된것의복귀현상으로탈중심화현상에서두드러지게나타나기시작하였다. Yoon(2010) 에따르면탈중심적양상은디자인의원리에입각하여인체를기준으로복식의수직선과수평선의위치를파악하는기준으로절대적질서로부터해체된무질서한디자인을말하며, 이와같은현상들은기존의형태를재배치하여새롭게재인식하려는과정이라할수있다고하였다. 비대칭은비구조적인표현기법으로중심의부재, 공간의개방성을중시하며의상이갖춰야할기본구성을벗어난형태로표현된다. 대표

12 한국패션디자인학회지제 16 권 2 호 (2016.6) Table 1. Examples of asymmetry. Designer Year Analysis Image Yohji Yamamoto 2015 The design of the jacket is divided and matched with contrasting materials and colors, and the difference in hemlines expresses the image of asymmetry and unbalance. Figure 43. Yohji Yamamoto 2015 S/S. From Verner. (2014). Thom Browne 2014 The top is divided into two in design, and its asymmetrical line creates a heterogeneous form as it expresses the unstable image through the destruction of balance. Figure 44. Thom Browne 2014 F/W. From Blanks. (2014a). Christian Dior 2004 The dress is embellished with a hugely magnified bow on one side only, covering the body s curvy line. The unstable construction gives away asymmetrical, unstable feelings. Figure 45. Christian Dior 2004 S/S. From S/S (n.d.). Viktor & Rolf 2010 A plenty of tulle fabric is tightly knitted and made into a huge form. From shoulder to skirt s hemline, it is connected diagonally to fit the asymmetrical curvature of the body. Figure 46. Viktor & Rolf 2010 S/S. From Phelps. (2009b). Armand Basi One 2009 One part is knitted with an opaque structure in stripe patterns, and the other side is made with see-through fabric. It expresses asymmetry through the destruction of balance from the contrast of two different materials. Figure 47. Armand Basi One 2009 S/S. From Mower. (2008a)

13 현대패션디자인에나타난비정형에관한연구 Andrea Crews 2009 Matching the contrasting image of the dress and pants with colored items is to express the bizarreness of asymmetry. Figure 48. Andrea Crews 2009 F/W. From Davis. (2009). 디자이너로요지야마모토 (Yohji Yamamoto), 브라운, 갈리아노, 빅터앤롤프등이있다. 야마모토는컬러와소재의매치, 기장의차이로인한불균형한비대칭이미지를표현하였고 <Figure 43>, 브라운은이질적인형태감으로인한비대칭이미지를 <Figure 44>, 갈리아노는과장과균형의파괴로인한불안정한이미지를구성하였으며 <Figure 45>, 빅터앤롤프는비대칭적인인체의돌출을구현하였다 (Figure 46). 이외에도알망바시원 (Armand Basi One) 과안드레아크루즈 (Andrea Crews) 가상반된이미지와아이템의매치로인한비대칭이미지를표현하였다 (Figure 47), (Figure 48). 이와같이비대칭적디자인은패션의중심요소와관습적구성을탈피하여자유로운사고에의한새로운구성을갖게하며주체와중심을벗어나는불규칙, 불균형적인배치로새로운디자인의가능성을제시하고있다 (Table 1). 2. 비예측성비정형패션은디자이너의창의력으로역동적인공간과다양한형태를창출하고있으며예측불가능하고불확정적인경향이있다. Brigg and Peat(as cited in Lee & Jang, 2008) 에따르면우리가속한비선형세계에서는다양성과복잡성으로인해실제로나이론적으로정확한예측이불가능하며두개이상의형태가서로맞물려서연속성과다양함등이부여되고이전의감각과다른새로운형태, 감각이창출된다고한다. 비정형패션에표현된비 예측성이란의도하지않은새로운조형미를표현하는것으로완성된형태를예측할수없는우연과착장방식, 역동적인표면효과와디자인의변형으로말할수있다. 한개이상의활용도가있어착장자에의해결정되는디자인이나패션소재로사용되지않던생활용품같은이질적인사물을의상에도입하여비예측적인결과를연출하기도한다. 또한기술의발달로본래의용도에서분리하여작품에활용되고있는플라스틱특수소재와미디어테크놀로지를사용하여전통패션과구분되는표면효과와새로운공간을만들어내고있다. 이러한작품들은의상이지니는목적중의하나인지속적인착장을무시하고재료가가진성분에따라일시적인착장형태를갖고있기도한다. 이는디자이너의창조적인사고와기획적인의도에서결과된것이고정형화된패션이아닌소재영역의확대를가져온획기적인구성을보인다. 비예측적인비정형패션을표현한대표디자이너로샬라얀, 맥퀸, 미야케, 마르지엘라등이있다. 샬라얀은하이테크놀로지에의한특수소재를의상에접목하여디자인변형이가능한의상형태와예측불가능한역동성을보여주었으며 <Figure 49>, <Figure 28>, 맥퀸은 <Figure 50> 와같이잭슨폴록 (Jackson Pollock) 의액션페인팅 (action painting) 을연상시키는퍼포먼스로, 미야케는고유의올가미패턴으로여러가지착장이가능한의상으로비예측적인퍼포먼스를보여주었다 (Figure 38). 이외에도마르지엘라는생활용품을패션소재로도입하여 <Figure 21>, 프랭크소비에 (Franck Sorbier) 는미디어 (media) 를의

14 한국패션디자인학회지제 16 권 2 호 (2016.6) Table 2. Examples of unpredictability. Designer Year Analysis Image Hussein Chalayan 2007 The use of a design mechanism in which the user can remote-control the width and length of the skirt generated an unpredicted result. Figure 49. Hussein Chalayan 2007 S/S. From Dazed Digital. (2012). Hussein Chalayan 2016 The dress is made with special fabric melted in the water, and so the dress came to look like it is embellished with crystal beads that were not visible at the beginning. Figure 26. Hussein Chalayan 2016 S/S. Alexander McQueen 1999 Evocative of Jackson Pollock s action painting, the performance featured in machines on both sides spraying fabric dyes as paint onto the model to create an unpredictable design in fashion. Figure 50. Alexander McQueen 1999 S/S. From Dress, No. 13, spring/summer (n.d.). Issey Miyake 2011 The item is designed to be worn on the wearer in various ways with the noose-patterned design, which ended with an unpredictable outcome. Figure 40. Issey Miyake 2011 F/W. Maison Martin Margiela 2009 The introduction of household commodities like combs and plastic tags, which are rarely used in fashion design created an unpredictable, atypical fashion. Figure 21. Maison Margiela 2009 S/S

15 현대패션디자인에나타난비정형에관한연구 Franck Sorbier 2011 High technology media was introduced to clothing to expand the scope of materials and created an unpredictable result. Figure 51. Franck Sorbier 2011 S/S. From EVDL. (2012). 상에도입하여소재영역의확대와비예측적인결과를가져왔다 (Figure 51). 이와같이비정형패션은착장방식에따라형태가변형되는디자인과일상용품과하이테크놀로지를도입하여비형식적인소재로인한가상세계와비예측적인디자인을보여주었다 (Table 2). 3. 왜곡성비정형패션에서가장많이나타나는특성중의하나가왜곡이다. 왜곡은사실과다르게해석하거나그릇되게한다는뜻으로, 회화에있어서의왜곡은원형과그표상간에의도적이거나비의도적으로나타나는차이를가리키는용어로사용되어왔으며정형적형태와비례로부터이탈하여만들어진것으로정의할수있다. Jung(2002) 에따르면왜곡 (distortion) 이란 사실과다르게곱새김, 즉모양을찌그러뜨리거나뒤트는것으로왜곡된대상은정형화된것의탈선상태로보이며회화에있어서의왜곡은어떠한의도를갖고그영상을고의로왜곡시켜특별한효과를나타내는표현기법을의미한다고하였다. 패션에서의왜곡이란인체를왜곡하거나과장하여실루엣을해체하고형태를바꿔줌으로써규범을파괴하고기대와예상을깨는시각적인강조를이루고있는것으로말할수있다. Kim and Kim(2013) 의연구에서는왜곡은신체본래의형태와비례로부터탈선하여강조, 과장, 확대, 은폐등의방법으로신체내부적요소나외부적요소들을돌출하거나균형의파괴로표현되 는데전체를과장, 왜곡하지않고부분적왜곡을통해충격을극대화시킨다고하였다. 왜곡으로인한비정형은패션체계의기본개념인인체의재현으로서의의상이아닌형태의파괴로인한해체, 즉반 ( 反 ) 형태성을띄고있으며과장되거나자유로운형태또는기형적인모습으로나타나고있다. 대표디자이너로가와쿠보, 퓨, 웨스트우드, 브라운등이있다 (Table 3). 가와쿠보는거대한무정형덩어리로왜곡적인형태를보여주었고 <Figure 52>, 퓨는조형물을부착하여인체의재현으로서의의상이아닌왜곡을표현하였다 (Figure 53). 웨스트우드는부착물로기존의조형미를파괴하였으며 <Figure 54>, 브라운은자연적비례와형태의미를파괴한왜곡을보여주었다 (Figure 55). 이외에도샬라얀은부분적과장으로인한반형태적인디자인으로 <Figure 56>, 이브생로랑은이상적인미를벗어난왜곡을보여주고있다 (Figure 20). 이와같이왜곡은디자인에있어서부분적으로또는전체적으로확대하거나변형한형태로주제를강조하여표현되고있다. 그표현적특성으로파괴, 분해, 과장, 삭제, 불균형, 부조화, 변형등이있다 (Table 3). 4. 유희성비정형디자인은비형식적인오브제를접목하여새로운감성을불러일으키는상징적역할을하기도한다. 디자이너의창조적인발상으로기존의이미지를새로운이미지로전환시켜즐거움과미적인유희를주는동시에현실세계에서불가능한

16 한국패션디자인학회지제 16 권 2 호 (2016.6) Table 3. Examples of distortion. Designer Year Analysis Image Comme des Garçons 2015 Parts of the human body are distorted with padded shapes to form atypical lumps, as it destroyed the existing silhouette and broke away from aesthetic standards. Figure 52. Comme des Garçons 2015 F/W. From Furniss. (2015). Gareth Pugh 2014 A decorative bull s horn is attached to hide the facial contour and deform the body shape to express distortion not fashion. It reproduced a new body type. Figure 53. Gareth Pugh 2015 S/S. From Blanks. (2014c). Vivien Westwood 2016 A coat hanger and a coat are attached to the hair, which destroyed the existing aesthetic value. It showed an atypical fashion design of distortion. Figure 54. Vivien Westwood 2016 S/S. From Play loud. (n.d.). Thom Browne 2013 By expanding shoulders, the square-shouldered jacket ignores the body s natural proportion. It is an atypical design of distortion that destroyed preconceived beauty of forms. Figure 55. Thom Browne 2013 F/W. From Blanks. (2013). Hussein Chalayan 2007 By expanding the neckline, the design shows anti-formality, not organized but partially exaggerated. It shows distortion away from ideal beauty. Figure 56. Hussein Chalayan 2007 S/S. From Jurek. (2011)

17 현대패션디자인에나타난비정형에관한연구 Yves Saint Laurent 2002 The form was blown large to cover up the contour of the body. The distorted form, causing enormously exaggerated atypical lump, is made to ignore the body s silhouette and natural proportion. Figure 20. Saint Laurent 2002 S/S. 일의재현이라는재미를유발하였다. 네덜란드역사가인요한하위징아 (Johan Huizinga) 는놀이는문화보다더오래된것이며예술적창조의과정에서아곤적충동으로강력하게작용한다고하였다. 예술이나문화의본질로보았을때유희는하나의본능으로창조과정의중요한부분과결부되어창조적사고의기초를형성시켜준다. Ha(1994) 에따르면유희의개념은예술가가자신의내면세계를표현하는행위로인간의유희성표현은순수한실체의표현이자진정한창의라고할수있으며, 유희는 일상적인, 실제의 것이아니며 허구 이고유희의중요한특징은바로자유라고하였다. 즐겁고행복한느낌을주는일상적인유희가자유로움을그성격으로하고있다면, 미적인유희는그자유로움속에서특수한미감을불러일으키는것이다. 이러한미학적자율성에기인하는독창적이며예술적인행위의근본개념인유희는현대패션의비정형디자인에서잘나타나고있으며, 표현방법으로데페이즈망기법이다수사용되었다. Huh (2010) 에따르면일상사물과의혼합적이미지는일상사물이직접의상으로확대되어표현되어지기도하고, 흔히볼수있는일상용품들의재료나부속물들이전체적으로혹은부분적으로의상에도입되어기존의전형적인이미지를대신하는위치에놓인다고하였다. 유희로인한비정형패션은기존이미지에서탈피함으로써해학적인아이디어를샘솟게하는긍정적인현상을내포하고있으며재미와즐거움을본질로하여생명력을유지시키는동시에웃음으로감상자를자극하는속성을가지고 있다. 대표디자이너로프라다, 릭오웬스 (Rick Owens), 맥퀸, 빅터앤롤프등이있다 (Table 4). 프라다는과장된크기의조형물을의상에차용하여현실세계에서벗어난동화적이고유희적인이미지를표현하였으며 <Figure 57>, 오웬스는형상의겹침으로인한부조화적이고기이한유머를유발하였고 <Figure 58>, 맥퀸은이질적인소재를접목한연출로해학적인웃음을자아내었다 (Figure 59). 이외에도빅터앤롤프는침구류를의상으로전환시킴으로서본래의의미와기능을변화시키고즐거운허구를제공하였으며 <Figure 31>, 갈리아노는단위형태를중첩하여자유성을띈유머를제공하였고 <Figure 19>, 브라운은외적형태의논리를부정하고카톨릭교회의엄숙함을풍자함으로써희극적인웃음을자아내었다 (Figure 60). 이와같이유희로인한비정형패션은의상과관계없는이질적인소재를접목하거나오브제를과도하게부착하여아이러니하고부조화적인웃음을자아내었다 (Table 4). Ⅴ. 결론및제언 패러다임의변화, 디자인도구의발전은형태를재현하는방법에서부터개념의생성, 형태구축방식, 형태구성에이르기까지많은변화를가져왔으며디자이너에게도다양한디자인의가능성을부여하였다. 기존의방식으로는해결할수없었던표현들이비정형디자인을통해가능해졌으며비정

18 한국패션디자인학회지제 16 권 2 호 (2016.6) Table 4. Examples of playfulness. Designer Year Analysis Images Agatha Ruiz de la Prada 2009 Giant fried eggs as embellishment are used in clothing to generate humor or evoke a fairy-taleish image and playfulness. Figure 57. Agatha Ruiz de la Prada 2009 F/W. From fun eggs. (2015). Rick Owens 2016 Images of two models bound with a baby strap are overlapped to create a great image. They were to generate incongruous and bizarre humor. Figure 58. Rick Owens 2016 S/S. From Singer. (2015). Alexander McQueen 2009 A model, made up as a clown, is fixed at the bodice which is heavily decorated with disparate materials like feathers, intended to generate witty humor. Figure 59. Alexander McQueen 2009 F/W. From Holmes. (2009). Viktor & Rolf 2005 Bedding is transformed into clothing, thus its original meaning and functions are changed. Tangled hair attached to the pillow is to express a funny fiction in itself. Figure 29. Viktor & Rolf 2005 F/W. Christian Dior 2004 On the skirt, units of non-formal materials are excessively overlapped and blown up like balloons. The theatrical expression generated quite liberating humor. Figure 19. Christian Dior 2006 F/W

19 현대패션디자인에나타난비정형에관한연구 Thom Browne 2011 The outfit, from shoulder to waist and down to skirt, is exaggerated to deny the logic of external forms and to satirize the seriousness of Catholic Churches for the sake of humor. Figure 60. Thom Browne 2011 F/W. From New York Fashion Week: F/W 2011: Thom Browne. (2011). 형은다양한방식의디자인프로세스와형태를만들어가고있다. 디자이너의상상력을자극시켜표현하기에충분한디자인표현도구로서의비정형에관한유형분석이필요하다. 본연구는비정형의개념과정의에관한이론적고찰과현대패션디자인에나타난비정형의유형및특성을연구, 분석하였으며이를토대로얻은결론은다음과같다. 첫째, 비정형은기하학적질서, 비례, 대칭등동질적요소의질서로일컫는정형에대한반대적의미로서일종의자유형태를말하며, 부조화, 균형의파괴로고정관념에서탈피되어작가의표현방식에따라극적이며자유로운분위기를연출한다. 둘째, 비정형은현대디자인에서새로운접근방식으로실현되고있다. 건축에서는새로운소재의사용과요소들간에자유로운배치방식으로순수기하학적구조에서벗어나유연한공간구성을보여주고있으며제품에서는순수미술가에가까운디자인프로세스로자연적인조형미를이루고있다. 셋째, 패션디자인에서의비정형은패션의기본개념을허물고새로운형태를제시하는자유조형형태의불확정적인것으로정의할수있으며형태, 소재, 디테일, 착장에따라그유형을구분지을수있었다. 비정형은형태에있어서비례, 대칭, 균형의기본개념과조형미를허물고있으며소재에있어서도재료의고정됨이없이사용되고있으며디테일에있어서도새로운감성을불러일으키는상징적역할을하며움직임과착장자에의해다양 하게표현되고있음이발견되었다. 넷째, 비정형디자인을유형별로분석한결과비대칭, 비예측성, 왜곡성, 유희성이발견되었다. 전통적인구성원리에서벗어난비대칭은반미학적인새로운조형미를생성하였으며, 비예측적인디자인은역동적인표면효과와사용자에의해결정되는디자인을가능하게하였다. 형태를변형, 확대, 과장하여왜곡한디자인은작가의상상력을표현하고새로운감성을전달할수있었으며비형식적인오브제의접목으로유희적이미지로전환시킨비정형은디자이너에게는창조적발상법과감상자에게는현실세계에서불가능한일의재현이라는미적인유희를주는결과를가져왔다. 본연구를통해현대패션디자인에서비정형이새로운디자인표현도구로자리잡아대중과의소통을유도하고다양한연출을가능하게함으로서디자인발상법에대한무한한가능성과잠재력을확장시킬수있다고본다. Reference A dictionary for art terms (1999). Seoul: Monthlyart. Alexander McQueen. (n.d.). Pinterest. Retrieved June 14, 2016, from Arad, R. (2006). voido rocking chair. hive. Retrieved June 1, 2016, from Before Minus Now, Hussein Chalayan S/S (n.d.)

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23 현대패션디자인에나타난비정형에관한연구 A Study on Informality in Modern Fashion Design Cho, Yun Su + ㆍ Park, Sun Hee Doctoral course, Dept. of Fashion Design, Ewha Woman s University + Associate Professor, Dept. of Fashion Design, Ewha Woman s University Abstract This study has objectives as follows. First, to formulate the new formative language and define the concept of informality which generates a diverse, dynamic space and non-geometric forms; second, to find its characteristics and values through analyses on informality by type; and lastly, to conceptualize informal design and establish the system of informal designs and forms, thus to provide the foundation of researches on information systems to be used as an efficient design tool. For the study, a theoretical research via studies of literature and an empirical research via analyses of cases were simultaneously conducted. The study first examines informality of art, architecture and industrial design and defines the concept and characteristics; and based on the concept of informality, this study finds the type and characteristics of informal design expressed in modern fashion. The concept of informality is opposite of formality referred by geometric rules, proportion and symmetry, as it produces a dramatic and free ambiance. Informality is being materialized as a new approach in modern design. In modern fashion, informality breaks down the fundamental concept and formative arts of clothing, there is no fixture, and in details new images inspire a new emotion as they are freely and diversely expressed through movements and the wearer. As a result of analyzing informality by type, it is characterized by asymmetry, non-predictability, distortion and playfulness. Its results are unpredictable productions through the introduction of different modes of wearing and foreign materials. Design-wise, while it is expressed through transformation, exaggeration and distortion, partial or whole, informal design created by connecting informal objects generates aesthetic playfulness as it materializes what s deemed impossible in reality and results in new images. Key words : informality, asymmetry, unpredictability, distortion, playfulness

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