패션슈즈에 나타난 오브제의 조형적 형태 분석 및 미적 특성

Abstract

The objet of modern society is establishing itself as a genre of art which can express multidimensional meanings that reflect social issues and the ideology of individuals, etc. Object’s influence has extended beyond art to design in its many forms, ranging from architecture to fashion shoes, in particular, has adopted ‘objet’ in a variety of ways. Today’s fashion shoes, in conjunction with art, are being expressed in various forms and eliminating stereotypes along the way. These forms enable fashion shoes to be perceived as an independent creation satisfying aesthetic and lifestyle needs rather than being a functional necessity. This study is significant in expanding the field of fashion shoes in two ways. The first is perceiving objet as a means of expression with unlimited potential in its expression. The second is in applying the formative analysis and aesthetic characteristics of objet to fashion shoes design. The subjects of this study are 694 pairs of fashion shoes from the Paris, Milan, London, and New York collection from 2014 S/S to 2018 F/W. These pairs were used to analyze the form of objet in fashion shoes. The categories of analysis are types and expressions of objet such as materials, patterns and details. The units of analysis consist of a total of 33 sections and are analyzed by dividing into periods. The result of the formative analysis of the objet in fashion shoes is as follows. In the types of the objet, similar numbers surfaced generally as the formative objet 50.1% and the objet as a symbol of image 49.9%. But after determining the distribution by year, the research found that there were differences between years. The formative object was used more than the object as a symbol of image as 62.5% in 2014 and 61.2% in 2015 and the object as a symbol of image was more used than the formative object as 64.6% in 2016, 56.2% in 2017, 55.5% in 2018. In the expressions of the objet, borrowing and imitation was most common with 29.8%, followed by composition and combination with 26.9%. For the rest of them, position exchange was 16.7%, distortion and transformation was 14.8% and the others was 11.7%. As a result of analyzing annually, borrowing and imitation in 2014 with 31.9%, compose and combination in 2015 with 37.2%, borrowing and imitation in 2016 with 34.5%, borrowing and imitation in 2017 with 32.2% and compose and combination in 2018 with 27.4% was the highest. Even though the highest expression and percentage by year were different, borrowing and imitation as well as composition and combination were used more frequently. For materials, similar numbers were observed among fabrics 23.8%, industrial products 21.0%, ready-made articles 19.9%. metals 19.3% and natural objects 14.3% with the remaining materials at 1.7%. As a result of determining the distribution by year, industrial products in 2014 with 25.6%, fabrics in 2015 with 29.5%, in 2016 with 26.5%, in 2017 with 25.3% and ready-made articles in 2018 with 27.4% was the highest. Even though the most used meterial and percentage by year were different, the research found fabric, industrial products and ready-made articles were the highest in the entire distribution. For the patterns, plain was the highest with 41.2%, followed by plant with 19.5% and geometric with 15.0%. On a year-on-year basis, plain was always the highest, followed by plant and geometric except in 2014 and the others were barely used with almost within 10.0%. The distribution found that objet in fashion shoes does not place importance on the patterns of objet instead putting greater weight on the types of itself and materials. For the details, sequin including beading and facing cubics was the highest with 16.6%, followed by no details with 12.1% and applique with 12.0% and the others were barely used. The research found that sequin and applique was usually used for expressing the objet as it is when designers borrow and imitate some forms or shapes as a object in its original form by borrowing and imitating forms and shapes. The objet in fashion shoes doee not often use details but does place an importance on form, materials, as well as patterns. The aesthetic characteristics of objet in fashion shoes based on formative analysis are playfulness, symbolism, sarcasm and decentralization. First, playfulness was expressed by situating the object in un unrealistic place, so that the objet would have a new function or role. This novelty made observers feel surprise and enjoyment. Second, the expressive characteristic of symbolism was shown by introducing daily objets we can easily access with the purpose of expressing their ideas and internal working. Designers regard the objet as a medium of inner communication and so the public can look at them in a new way. Third, the characteristic of sarcasm was expressed by using the objet of materials which designers barely use in fashion shoes to satirize consumerist society as well as the illogical system and customs of modern society. Fourth, there is the expressive characteristic of decentration using a non-aesthetic thing beyond a traditional concept of beauty as a objet by accidental choice, so that various types of fashion shoes different from the concept of existing shoes appear. In this conclusion, fashion shoes and the objet have a close relationship with each other and are expressed in various forms due to the fact that the objet in fashion shoes is not only complementary but independent and unique as well. This study concludes that a growing understanding of oject’s various forms has led to their continued growth. During this period of time, fashion shoes’ aesthetic has become increasingly inter woven with the vocabulary of art and design to greater creative heights.