드레이퍼리 의상의 미적 특성과 패턴 연구

Abstract

Costume design of the modern fashion is part of the formative art, recognized as artistic work that lays an emphasis on the formativeness of live movement in three-dimensional (3-D) form since individuals make movements with their clothes. The 3-D form is produced as either three-dimension or flat depending on the formation method, and constituted with costume details and decorations. Drapery, one of the concepts of costume design, can analyze the costume from an aesthetic point of view, and also produce it with draping techniques. Drapery costume started with using one fabric to loosely wrap around one’s body without using technical skills or needlework. Such costume pursues overall harmonious beauty with proportion and balance as it reveals one’s beauty of the body and the movements through cloth. Furthermore, to overcome the simplicity of flat composition, one can express the aesthetic effects using the pleated decorations of drapery with abundant textures of cloth. Therefore, drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. This study aims to examine the aesthetic characteristics of drapery costume using literature review, and further to originate drapery fashion design by applying cowls, flounces, and flares which come into forms through bias cutting, developing draping patterns. The study methods include considerations of the formation process of drapery costume with a focus on literatures regarding western costume history from ancient times to the present, and the analysis of costume in different eras with pictures. For modern costume designs, the study analyzed items by designer with a focus on drapery forms, which appeared in the collections from 2001 to 2007. Based on the analyzed materials, nine(9) drapery costume design patterns were produced in the forms of cowl, flounce, and flare, and their real prototypes were produced. The following depicts the findings of studying the formative characteristics of the drapery costume. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of aesthetic form and are characterized by various changes depending on the way in which one puts cloth on the drapes. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicality and regular or irregular direction effects by line. Depending on the varying lines expressed by the pleats, the appearance of drapery changes, revealing flexible rhythmicality that expresses the soft curves in a beautiful way. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric in squares, triangles, or circles, or fitting it by bias cutting. The following expounds on the conclusion after producing drapery patterns. First, when the 3 items of the cowl neckline used the sagging of the frontal bias for deep pleats around the frontal neckline, the curvatures of the breasts prevented the formation of the formative pleats from being formative. Calibration was required due to the errors in neckline depth. Back neckline was given deep lining to create abundant drape pleats that cascaded to the waist. Second, the 3 items of flounce skirt and one-piece dress were given a form of drape by overlapped lines connected from the original fabric without cutting. These Items required calibration during the bias cutting process. In other words, from the starting point of the flounce to the end, it needed to be a semi-circle in order to appropriately angle the overlapping. Through this overlapping, flounce pleats were created and this was accomplished after several times of calibration. Third, the 3 items of flare were composed of many overlapping layers for sagging effects, which are gained only by draping, and aesthetic flares were created using thin fabric in bias direction. More specifically, when the fabric was cut at the starting point of the flare, the angle of flare became different depending on the amount of sagging and the length of sagging time. Along with this, formative flares were gained with the rhythmicality of the lower edges, which were created according to the cutting direction of the lower edges. This study was able to produce 3-D aesthetic items of drapery in the direction of the bias by using the technique of directly draping the fabric on the dress form that was created. There is a need for further study on draping techniques which have the advantage of creating desired forms by using flat fabrics on 3-D human bodies while personally viewing the pleats. It is considered that such studies will help fashion designers realize creative ideas in costume formativeness.