IJCC, VoL 5, No. 2, 79〜92(2002) 1
A Study on the Functionalism Expressed in the Art to Wear
Seung-Mi Seo* and Sook-Hi Yang Lecturer, Dept, of Clothing and Textiles, Sookmyung Women's Univ, Professor, Dept, of Clothing and Textiles, Sookmyung Women's Univ.
Abstract
The first purpose of this research is to investigate the Junctionalistic concept through the general considera tion of Functionalism, and to study the art's aesthetic value ofJunctionalistic expressionist artists implication and form in terms of architecture and product design Secondly, it analyzes the implication and shape of Functionalism towards 'Art to Wear', which can be explained as a mixture of fashion and art. The results are as follows; First, 어t이fArt to Wear' of Mechanical Analogy appears to have Juturistic inclin坦ion stressing the significance of geometric shapes and machine aesthetics. It uses new materials, and reduce an unnecessary work of art to convey more accurate, concrete and effective character of form. Secondly, junctionalistic rArt to Wear* of Organic Analogy regards natural elements as important to pursue the warm human nature. Also, it appears to be free and comforting forms of Functionalism through an organic silhouette. Thirdly, functionalistic 'Art to Wear' of Moral Analogy excludes excessive ornaments, and includes the implication of appropriate and purposive purity which serves for practical function.
Key words : Art to Wear, Analogy, Functionalism.
collaborating technology with art and textile art I. Introduction began to take on functional pure form. Fashion design was taught in the stage workshops of Fashion Design, as an art form was advocated Bauhaus, Germany in 1922, moreover, Italian in England by William Morris in 1870 at the futurists and Russian Con에기 ctivists experi time when the Art & Craft Movement was mented to find new ways to capture art experi initiated. During that period, what started off as ences by transforming the image of the human a way of showing discontent towards anti-aes body into a more attractive figure by using thetic movements later on became the founda clothes as a method. However in 1933, after tion of the Bauhaus Movement. Fashion was not Bauhaus closed down, many artists and design only a pm of industrial design featuring practi- ers who were educated from Bauhaus spread cdism and Functionalism, but it also expressed around the world and made,ground for modem and emphasized the designer's inner sense of textile art. The consciousness release and liberal beauty. styles of textile artists paved the way in develo Entering the Bauhaus era, modem design sup ping plain observation, practical and decorative ported the concept of genuine Functionalism, industrial textile crafts. Third dimensional sculp
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79 2 A Study on the Functionalism Expressed in the Art to Wear IJCC tural and cubical expressions became a related tieth century. Functionalism referred to here, has aspect in dynamic avant-garde art as a func been compared and examined with the tional form of art. functionalism found in architecture and product Art to Wear is a new style of expression design. derived from textile art. Art to Wear is based upon the idea that the human body is an art H. Theoretical Background medium that enhances the liveliness of outfits and effectively bringing out the shape of cloth 1. Definition of Functionalisin ing. Generally, the term is used to emphasize Functional would be the basis in finding 曲 e* the artistic aspect of clothing. Art to Wear aesthetic foundation of design. The functional of became a new icon that combined the concept design does not only fulfill the main purpose of of art and the function of clothes, being a serving the basic needs of life, but it also is the unified genre of textiles, costumes, paintings and most important foundation in dealing with sculptures. In other words, Art to Wear is a aesthetic aspects. Herbert Read once said, 'peo form of art made for the human body. As Art to ple should not have to worry about the Wear can be referred to as clothes people wear, aesthetical value of a product if it is made out it can also be known as fonnative piece of art of a the right design and material fillfilling it's that enlightens the image of the human body. function purpose that makes it a work of art*0. What this means is that Art to Wear is an art These words insinuate how functional is the which is conscious of practicality function, most important element in aesthetic source of 시 lowing clothes to escape from its simple old design. image as clothing to newly interpreting it as an The word Functionalism was first originated art form. in 1896 by an American architect named Louis The purpose of this study is to find out more Sullivan in a statement, 'Form follows Function*, specifically about the artistic value and concept which emphasizes how the object of design can by theoretically studying functionalism. These physically carry out a realistic purpose and studies 지 lows us to analyze the inner meaning distinctively show how adequately it carries out and formation of functionalism in Art to Wear its purpose21. In other words, utility and fitness as it is a mixture of fashion and art. A method for purpose is an element of traditional meaning of the study is mainly based on inquiry and of constructional Functionalism. Like so, al analysis of documentary materials through archi though the concept of Functionalism came from tecture and arts criticism books, and it contains architecture； this word has been used ever since the historical background of the theoretical the ancient times to the modem era as a study. For documentary study, various kinds of comprehensive concept in many different fields literatures, art-related journals, fashion magazine, of design. Like Marcus Vitruvius Pollio once Art to Wear worics, and internet materi이 s are stated, this can be related to commodity, firm used for an aesthetic analysis of concrete works ness, and delight which are the three elements of major fashion designers and artists that that are essential to constructing buildings3)1 2. speared during the time of modernism in twen Functionalism rejects the substantiality concept
1 R. Kinross, "Herbert Reads Art and Industry: A History", Journal of Design History 1 (1988), 35-50. 2 R. Amheim, "From Function to Expression", in Beardsley and Schweller ed. (1967) Aesthetic to Inquiry, Belmont, C지 ., Dickenson Pub. Co., 207. 3 Lany L. Ligo, The Concept of Function in Twentieth-Century Architectural Criticism (Ann Arbor; UMI Research Press, 1984), 1. Vol. 5, No. 2 The Internationa Journal of Costume C비 time 3 and analyzes a subject matter functionally in an category7,. Written documents from the Middle inter-operational manner, influenced by Charles ages gave functionalists the basis to develop Robert Darwin's theory of evolution and had an their theories on. Roman architect, M. Vitruvius impact on philosophy, psychology, economy, gave out the three elements of architecture law, social studies, anthropology and many other (structure, function, beauty) which even until fields of study. this day have been used as an example to In overall, Functionalism of design repre explain architecture^. Bernard criticized the sented and expressed the principle on innovative useless and meaningless decoration of the designs of the 20th century and the context of church by stating, 'the decorations are not only design is defined as 'something made to be sim difficult to understand but they are also barriers plistic, honest, direct, fit for purpose, non-deco- to achieving better lives. The Church should be rative, universal and liable for mass production educational, however decorations are incom at an adequate price.' In this sense, although prehensible and contradict the theory that forms Functionalism does not fit into a precise theory carry on the idea of Functionalism，어 . that ends in ism, it is a kind of movement that In L. B. Alberti's autobiography, 'De Re has become the emblem of anything modem. Aedificatoria*, the author says, 'architecture is in That is, the tendency of leaving。이 y the es any way the closest method man can use to sence in a design can be characterized as the reach comfort. Taking Functionalism away from Spartan Attitude of Functionalism which was an edifice could make it nice to look at, but wielded in various forms for the past century4). useless in real life. Moreover, a well coordi nated and precisely finished building can fulfill 2. Functionalism Theory people's needs and bring about joy and plea Platon once stated, 'Beauty can be achieved sure*1^. Functionalism is a mechanical metaphor when each and every segment collaborates all of which uses the motto of 'Less is more* and its unique features together, and we can defi Louis Sullivans 'Form follows function'. In nitely achieve the beauty if an organic object terms of applied art function is not outside of naturally or artificially fillfills it's purpose*5* 678910). In the beauty sphere, but actually the main idea of addition to this, Socrates held a strong function beauty and the center theme. Frankly, if the alistic perspective about architecture in Xeno material and method is the same, their can 이 ily phon's 'Memorabilia of Socrates，气 which he be one form that can be obtained should it fit pointed out the connections among good, beau it's purpose well"'. tiful and useful aspects of architecture in which In 1904, Paul Souiriau related beauty with beauty and practicality was placed in the same 'Certain Perfection' in La beaute rationelle. Per
George H. Marcus, Functionalist Design On Going History, (New York; Pre아 el, 1995), p.9. 5 Platon, Hippias majeur 291 c, R^niblique X 60Id. 6 Xenophon, Memorabilia and Oeconomicus, E. C. Marchant, Vol. ID, Viii (Heinemann, 1923), 10. 7 C. W. Park, A study on the Modem Functionalism of 20th Century Architecture, Seoul National Univ, 1988, p.17. 8 Marcus Vitruvius Pollio and Morris Hicky Morgan, The Ten Books on Architecture (Cambridge: Harvard University Press, 1914), Vol. 1, HI, 2. 9 A. W. N. Pugin, True Principles of Pointed or Christian Architecture^ (London; Henry G. Bohn, 1853), 52-53. 10 Leon Battuta Alberti and James Leoni, The Architecture of Leon Battista Alberti (London: Thomas Edlin, 1485), VqL 6, I, Introduction.
81 4 A Study on the Functionalism Expressed in the Art to Wear IJCC
fection refers to a form that apply function, Functionalism. E. R de Zurko categorized the without flaw, 'Conflict cannot exist between different characteristics of Functionalism into, beauty and utility. Object stated that form is Mechanical Analogy, Organic Analogy, and Mo seen to be beautiful when it is operating it's ral Analogy141. After the 18th century, Peter function.' Ideas like these had a great impact Collins categorized Functionalism into segments during the 20th century which led on to of Biological, Gastronomic, Mechanical, and developing industrial aesthetic and influencing Linguistic Analogy15). Peter Collins used anal architects like Bauhaus. Thereafter, the Func ogy to help explain the origin of 18th centuiy tionalism theory touched the sectors of philoso functionalism whereas De Zurko used three phy and aesthetic during the ancient times and analogy to historic analyze tiinctionalism. Hence, the middle era. It also had an effect on Human this study took a deeper look at the internal idea ism (during the Renaissance era) including sci and formative features of Functionalism upon ence and skepticism (of the Baroque Era) being the E. R de Zurko's three analogies, Mechanical recorded connotatively in written documents and Analogy, Organic Analogy and Moral Analogy. thesis. Therefore, Functionalism ideology gradu ally developed throughout various different 1) Mechanical Analogy backgrounds. Formative perfection or beauty of Mechanical Analogy is something that naturally comes with 3. Aesthetic Value of FunctionaliBin the pursuit of mechanical efficiency, and a Functionalists focus on pursuing social ideol machine turns out to be an important source of ogies and moralism in designing and con inspiration16^ That is to say, Mechanical Anal structing architecture regarding it*s intention of ogy is based on machine aesthetics, and it is design. Rationality and functional is vit시 to deeply related to standardization of objects functionalists in order to express their view resulted from new types of metal goods and points and work upon philosophical of function machine mass-productions under the influence ground, valuing simplistic form and rejecting of scientific, technical development. decorationsl2)* . In terms of the characteristics of The first architecture practicing machine aes form, Functionalism describes the concepts of thetic was Crystal Pa/ace(1851) designed by nature or socially realistic factors in a lucid and Joseph Paxton and the Eiffel Tower(1887) uncomplicated manner, preferring the lineal designed by the French architect Gustave Eiffel, elements or patterns that conform with the rules who both expressed anti-traditionalism in their of simple geometrical shapes13 14). The roots of outrageous forms by wielding new materials and aesthetics Functionalism is found in the time of shapes in their woric. Crystal Palace was con Ancient Greece in the studies of philosophy and structed in a new febricated structure consisting aesthetics which helped this ideology to develop of cast iron and glass blocks being the first into a comprehensive idea in various fields. largest Proto-Functionalism building made up of Many scholars have used metaphors and ana geometrical shq)es and a repetition of machine logical inferences to state their arguments about -like modules(Fig. 1). The Eiffel Tower is a
K. Rowland, The Envelopment of Shape (London, Ginn, 1964), 66. 12 Ann Ferebee and G. J. Yho, Design History (Seoul: Chongwoo, 1983), 12.
13 W. Curtis, Jr., Modern Architecture since 1900 (Oxford, 까 ］ aidon, 1987), 174. 14 De Zurko, Edward Robert, Origin of Functionalist Theory (N. Y.: Columbia Univ. Press, 1957), 7-8. 15 Peter C이 lins, Changing Ideals in Modem Architecture, 1750~1950 (Montreal: McGill-Queen's University 뎌 ress, 1998), 159.
82 Vol. 5, No. 2 The International Journal of Costume Culture 5
1,000 feet high fabricated metal structure of presented series of open form, non-decorative modem style, which was also the focus of crit buildings, such as 'organic architecture* which icism in the past as a treacherous site. However, was directly influenced by the evolutionary this new formative style architecture based on ideology. This ideology expanded with the help mechanical aesthetic has had strong influence on of Frank Lloyd Wright who strongly cited that modem architecture and has been a renowned buildings should always develop in accordance design since the Modem Era (Fig. 2). Mies van with location and environment16 171819*. der Rohe produced a steel pipe auxiliary chair Le Corbusier, a fiinctional designer of Organ (1927) used like a cantilever, a metal frame new ic Analogy, focused on the importance of the to the area of modem furniture. A simple met자 organic relationship between human and nature, chair made by new technology had become the emphasized the rational style and functional emblem of comfortable elasticity and the mod aspects of architecture. In his work, the architect em mechanical aesthetics of Functionalism (Fig. aesthetically expressed the image and form of 3). Functionalism design of Mechanical Anal an organic substance and how it interacts with ogy obtained standardized through technological its surrounding nature. The cover of a crab was development and mass production during the the inspiration of the organically constructed and Industrial Revolution. Moreover product ration curved form of Ronchamp Chapel(\951), which ality and mechanical generalization made he chose to design unsymmetrically. He put Functionalism design realistically possible. spiritual meaning into simple streamline shaped architecture which was inspired by untouched 2) Organic Analogy nature and symbolically expressed the mental Organic Analogy is based upon the beauty elements of humans and the emotional elements and perfection of nature and nature is the basis of nature (Fig. 4). Erich Mendelsohn's Einstein for inspiration171. Therefore, supporters of or rowr(1921), an astronomical observatory is ganic architecture believed that architecture is a shaped non-orderly like that of an organism living organism and that it's structure or func raised in wildlife atmosphere also having bumps tion should follow the same rhythm'? Louis that look as if they have been ecologically dug Sullivan asserted that a building is an organism in around windows and doors with the tip of the emphasizing it's biological function. In 1892, he thumb that shows its style of freeness. He fini- 16 E. R. de Zurko, J. H. Youn and Y. S. Gee, Origin of Functionalism Theory, (Seoul: Sejin, 1997), 7. 17 E. R. de Zurko, Ibid., 18. 18 A. Lur^at, Architecture^ (Paris; Au Sana Pareil, 1929), 158. 19 J. Turner, The Dictionary of Art, Vol. 11 (Grove, 1996), 840. -83 6 A Study on the Functionalism Expressed in the Art to Wear IJCC 〈Fig. 4> L. Corbusier. shed the dynamically curved monument that ing the simplistic style of Functionalism. His carries out the functional ideology of organic architecture is divided into three di아 rict, educa form and the form and shape is composed in tional district, craft district, and residenti이 biological rhythm (Fig. 5). The leader of Fin district where they all pursue the qualities of a land Glass Design Mode, Tapio Wirickala functional building because each room is con expressed the softness and elegance of pure art structed unsymmetrically of one box ensuring in his Kantaleli Vase (1947) taking the living purposiveness (Fig. 7). Also, Louis Sullivan organism and expressing in rhythm with nature's once said, 'Fonn follows Function' which well pure aesthetic 20 E. R. de Zurko, Ibid., 19. 84 Vol. 5, No. 2 The International Journal of Costume Culture 7 JR. Functionalism Expressed in In 1917, with the development of science Art to Wear technology and machine industri히 ism a new material was created, Rayon. Latex was created 1. Background of Functional Art to Wear during the 1930s and opened up a new era of After World War 1, efficiency and Function more functional and active-style designs. At that alism was the propulsive force that constructed time, Bauhaus textile workshops manufactured structure and form. The ideology of Function new materials which were consumed by design alism was initiated during the Bauhaus era ers and then popularized to the public. The 1950 based on rationality, perfectly unifying all ideol s was a period when designers who produced ogies and promoting rationality. In the 20th fabric and designs, worked in collaboration with century, a new style of abstract art was intro formative artists. Entering the 1960s, textile arts duced which differed from realism and sup and formative arts was grouped into the s&ne ported the study of pure forms. It disclosed the categoiy, and artists used textiles like object due structure of the substance itself geometrically to this change. Classic genre began to dim away correcting and dividing pictures, being the in contrast to the expanding phenomenon of foundation of Russian Structuralism. The mate modem Art to Wear. Functional Art to Wear rials and structures of machineries were chosen with it's link to the human body, became a not from artistic perspectives but from scientific substantial field in textile art. This change in fbrm니 as and calculations, transforming rational fashion trend allowed fashion artists to go far and functional aspects into pure forms. Kasimir beyond the limits of pure arts elevating them to Malevich, Piet Mondrian, Van Doesburg, Was understand fashion as a special field that can sily Kindisnky and Moholy Nagy, pioneers of influence real life. Due to this effect, they began abstract art were invited as professors at Bau to make clothes one co니 d wear comfortably and haus and economically developed universal and at the same time express its beauty as an art functional ideas and established functional for fbrm2l\ mative aesthetic by eliminating decorations and expressing the essence of forms. 2. Functional Art to Wear and Bauhaus In the 1920s, Bauhaus was the center of me In the 20th century, art and technology joined chanism-based Functionalism entering a fashion forces with the opening of Bauhaus era when era with functional motives. With the influence textile art began to pursue pure forms. Artists of Bauhaus, fashion was simplistic in style and were intrigued by the new form of functional women wore practical and functional clothing. Art to Wear that used the human body as a link 21 J. S. Dale, Style; The Nontraditional Wearables (N.Y.: Horizen Craft, 1978), 33. 85 8 A Study on the Function히 ism Expressed in the Art to Wear IJCC of expression and made further efforts by characters each covered up in red, yellow and asserting technology and cooperation to produce blue performed by making geometrical move new practical lines of Art to Wear. Bauhaus ments within a group, not only on sta응 e but also accepted spirit of Functionalism in organizing inside of a pre-organized three dimensional and experimenting with art in theory and prac space. The human body wearing exaggerated tice wanting not only to keep the original shape, costumes becomes a moving source of power purpose and condition of objects, but to also while the human body is magnifled or covered extract new forms from these objects as well. in thick clothing, rationalized as a platonic Scientific theory was used to integrate the rela shape. The body is covered up with metal circle tionship between primary colors and disregard objects that are used like masks in an attempt to ing decorations of geometrical shapes, generally hide distortion 호 2 ) Rhythmic space carefully producing functional and simplistic aesthetic organizes to enhance visual effects influenced forms. by movement, color, form, nature, art, humans Bauhaus stage workshops art master, Oscar or machinery are unified by Art to Wear and Schlemmer, used the artistic and technological abstract movements using an absolute stage as styles of Bauhaus in his dynamically formed space for mechanical movement”〉(Fig. 10). stage Art to Wear and promoted his work by From 1917 to 1924, Pablo Picasso and m 甫 or linking abstract forms and his interests in musicians of that time designed and created geometrical shapes with machinery. He made costumes for ballets such as 'Le Tricorne, 1919', Art to Wear in the 'Treppenwitz, 1926*, 'Space 'Melequle & Pulchinela, 1920', 'Quadro Flamen Dance, 1925—1927', 'Dance of Gestures, 1926 co, 1921,24) and also designed the Art to Wear 〜1927, 'Musical Clown, 1926-1928* which fbr Serge Diaghilev's, 'Parade performed by the were revolutionary attempts to substitute the Russian Ballet Company in 1917 (Fig. 11). This human body for abstract shapes, such as in his ballet work that was composed by Jean Cocteau, first piece of work, Triadic Ballet (1922). Three and became the icon of Russia's modem ballet (Fig, 10〉O. Schlemmer. 2 Judith Clark, Addressing Century 100 Year of Art & Fashion, (London; Hayward Gallery Publishing, 1998), 87. 23 S. H. Yang, "Art & Fashion; focused on Oskar Schlemmer's Theater Costume", Sookmyung Journal of Science for Better Living, Vol. 8 (1993), 86. 24 Harry N. Abrams, The Picasso Museun, (Paris/Cata by Michele Richet; tr..by Augusta Audubert, Inc., Publishers, N. Y., 1989), 154. 25 N. Y. Choi and M. S. Kim, "A Study on the Theatre Costume Design of Picasso", Journal of the Korean Society of Costume, Vol. 51, No. 4(July. 2001), 131. -86 - Vol. 5, No. 2 The International Journal of Costume Culture 9 because of the Chinese magician's costume which was designed by Picasso and evaluated as one of his most outstanding masterpieces25). Picasso integrated the world of painting with the functional form of Art to Wear, starting a sen sational trend during that time with his experi mental Art to Wear designs that combined astronomical images and cubism into an abstract 〈Fig. 13> W. Kandinsky. manner. Sonia Delaunay designed the Art to Wear for (Gegen den strich, 1904) Aga Lahovska's 'Aida' perfbnned in the Liceo in 1917, and the costume for *Cleopatre' in the focusing on simple outlines for Gabriele Miin- ballet performance directed by Diaghilev, based ter, Paintings by Kandinsky from the Munich upon the Theophile Gautier's fiction in 1918. period were influenced by Russian folk art, Sonia produced Cleopatra's appearance as a Tunisian abstract geometric motifs, and, through mummy using layers of different scarves to his companion Gabriele Manter's intervention2726 28) emphasize the process of wrapping the body of (Fig. 13). Cleopatre. In addition, concentric circles of mirror disks were used to show Cl^op^tre's 3. Functional Trend Expressed in Art to 'Simultaneous gow汁 when she took off her Wear of the 20th Century attire26) (Fig. 12). In 1923, Sonia was in charge Functional Art to Wear is a new dynamic art of designing the simple costumes of the French mode that combines the concept of art and the dancer, Lizica Codreant, in which she used the Functionalism of clothes, considering shape of laws of simultaneous color contrasts in design the human body. Although, functional Art to ing simple silhouettes and practical Art to Wear, Wear is a formative art, it can also be worn by producing fantastic rhythm that was influenced people as well, considering as canvas that by Bauhaus's powerful pattern of geometric기 produces and puts in the power of life and shapes in formative arts. practical form into clothing. Hauptli said, 'My Wassiliy Kandinsky, promoter of the absolute sculptures that take on the form of clothes can law of Functionalism, pioneer of abstract paint only become a perfect piece of art once a ing, avant-garde artist and art critic was invited person wears it increasing the value of its worth as an art master at Bauhaus in 1922. Kandinsky depending on how well the person fits into the established fiinctional fbimative aesthetic upon outfit网.where the artist insinuates that al the foundation of universalism, functionalism though an Art to Wear, clothes have the qual and expressed the essence of an object in a ities of practicality and functional. With further simple manner without any decoration. Kandin efforts of development by Poiret, Channel, sky extracted the main characteristics of an Patou, Vionnet and Delaunay, practical costumes object and produced a new Art to Wear by became closer to being simple and functional reconstructing and simplifying the overall form. Art to Wear. The main issue raised upon E. R. He designed elegant and practical costumes de Zurko's three functional analogies, Mechani 26 J. M. Eim, A Study of Sonia Delaunay's works and influences on modem clothing, Chungang Univ., 2000, 33. 27 Whitney Chadwick, Women, Art, and Society, (London: Thames and Hudson Ltd, 1990), 238. 28 Linda Dyett, Art to Wear (American Craft, Nov. 1983), 19. -87 - 10 A Study on the Functionalism Expressed in the Art to Wear IJCC cal Analogy, Organic Analogy, and Moral Anal- designs promoting the rational aspects of ogy. These three analogies will help to analyze mechanical aesthetic (Fig. 14). He disregarded the inner meanings and formative elements of the used of decorations in his designs and made functional Art to Wear. lineal silhouettes emphasizing functional pur poses giving women the opportunity to become 1) Functional Art to Wear of Mechanical more free in activities eventually giving his Analogy style the rational image of being a mechanical Mechanical Analogy is based upon mechani aesthetic. cal aesthetic and is related to anti・tradition이 ism Paco Rabanne challenged stereotypes by using in which the appearance of science, technology unique materials and opened his own wo파 d of and new materials interrupted links to the past. styles wielding movement, light and sounds as Bauhaus included mechanical logic onto his materials for his designs. He used plastic, opti designs in order to establish what is called cal fiber, aluminum, and neon as materials and mechanically rational designs. Going beyond the made visual effects such as shininess when traditional concept of design, materialistic and reflected by light or when making machine-like futuristic aspects were included into this art, movements. The new structural form of his creating what we now know as functional for fourth dimensional designs are rhythmically and mative arts. Therefore, functionalistic Art to dynamically shaped in futuristic forms and ma Wear of Mechanical Analogy appears to have chine aesthetic express Rabanne's sense for high futuristic inclination stressing the significance of technology. (Fig. 15) shows the mechanical mech geometric shapes and machine aesthetics. It uses anism of functionalism. The exquisite decora new materials, and reduce an unnecessary work tions and elegant shape made of metal shows of art to convey more accurate, concrete and mechanical dynamics of functionalism. Whereas effective character of shape. geometric lines and structurally simple shapes Paul Poiret, as the leader of early modernism, expressed futuristic trend to it. combined art and clothing in the 20th century, Thierry Mugler, who used the characteristics experimenting new forms of modem style by of machine's predictable functions as his inspi expressing functional beauty with straight sil ration, added mechanical Functionalism with houette and avoiding extravagant decorations or simple geometrical shapes, using primary colors the use of corsets. His designs made it possible and simple machine form as it's universal for for the body to move freely and actively with mative language and avoided the use of compli the use of the tubular silhouette and also used cative structural methods to in his designs. The simple geometrical lines in his kimono style reflection of light by new high-tech fabrics and 〈Fig. 14> P. Poiret. -88 - Vol. 5, No. 2 The International Journal of Costume Culture 11 brightness expresses the movement, dynamics, clothes, allowing women to go back to nature rhythm and the energy of machines act as a and escape from 每 bricatiorF하 ). The bias-cut visual effect, unified with the movements and brings out the liquid style and dynamic drq>e of dynamics of the human body and clothes to the human body through geometrical shapes signify speed and a sense of direction. Mugler (Fig. 17). Sonia Delaunay attempted to har combined the movements of light with human's monize c이 ors and material, with natural wave activity in order to express futuristic ideas upon patterns, vmous abstract shapes, colors and the basis of machine aesthetic (Fig. 16). patterns, advocating functional Art to Wear by playing rhythmical music while designing 2) Functional Art to Wear of Organic Analogy functional Art to Wear that consist of natural Organic Analogy is based on the beauty of silhouette. The simultaneous colors reflected by nature, perfection and considers a work of art as the sun that appear in her work act as the a living organism noting that the structure and essence of formative art. The colors eventually function within it must follow the same rhythm. take on form and transforms body image into a That is to say, nature did not merely become an dynamic screen that is used to express internal inspiration for it's outer shape but because of it's elements. Sonia's world of art combines internal principle. Organic Analogy is consisted of colors language with poetry within endless rhythm and or natural materials that coincides with nature. liberal colors, using natural and comfortable Consequently, functionalistic Art to Wear of looking silhouettes to make her design patterns Organic Analogy regards natural elements as contain simultaneous contrast effects of natural important to pursue the warm human nature. elements. Simultaneous dress(1913) is one of Also, it appears to be free and comforting forms the important works of a new style called simul of Functionalism through an organic silhouette. taneity, in which costumes are connected by Madeleine Vionnet create comfortable and small pieces of fabric to imitate whirling colors natural silhouette with bias-cut, organically com made by Bal bullier dancers(Fig. 18). bining humans and nature with limited type of Elsa Schiaparelli made comfortable outfits lines and silhouette that do not constrain human that naturally show the curved outline of the activity and body. She attempted to reconstruct human body unifying human emotions with the relationship between nature and c니 ture by nature harmony through the channel of position using unprocessed materials through body and conversion. She extracted various characteristics C. I. Evans, Women & Fashion (Londen: Quartet, 1989), 121. ~ 89 - 12 A Study on the Functionalism Expressed in the Art to Wear IJCC of outer sources and used them as inspiration form of functionalistic minimalism of unoma- for her work, and so her work is full of animus mented style. and natural symbolism. Circus collection(1938) Gabrielle Channel designed the little black has joyous and loud features of a festival or a dress in 1926 expressing the formative beauty fancy ball, being made up of a pink silk even simple of freedom, practicality and Functionzd. ing jacket with blue ponies running around on She stated that clothes must functional and top attached with golden buttons implicating made to be comfortable to move in and have acrobats tumbling around in the air, referring to functional purposiveness qualities. She did not the lightness of a costume ball. She used one of use decorations or distort expression, making nature's features, insects as decoration in her practical clothes limited in a simplistically gen work. In 1937, she made a jacket with butterfly uine way. In the 1960s, Mary Quant, the creator buttons, making the buttons look so realistic of the mini skirt, designed clothes to express enough to make the outfit seem more natural. limited preciseness and refused to concentrate Like so, she used one of natures elements, on details, making functional Art to Wear, insects as decoration patterns, which made her promoting simplicity and perfection, stressing designs, blend in with the characteristics of limited decoration yet maintaining unique, fo nature (Fig. 19). cusing on the reconciliation of forms and em phasizing geometrically shaped styles of cos 3) Functional Art to Wear of Moral Analogy tume (Fig. 20). In Moral Analogy, forms must appear exactly Andre Courr^ges, one of the major designers the way it is in an honestly frank manner that during the 1960s designed clothes that were fits the purpose of being practical and restoring simple carrying the formative beauty of rational the genuine nature of human beings. In other architecture that was the basis of Bauhaus's words, Moral Analogy values rationality, pursu architectural idea of 'Form follows Function,. ing non-decorative simplicity and purposiveness His designs were simple, with the silhouette of as it's objective ideology. Accordingly, func straight lineal rectangles, intending his designs tionalistic Art to Wear of Moral Analogy ex to be honest costumes with the quality of cludes excessive ornaments, and includes the pinposiveness. Educated by Balenciaga himself； implication of appropriate and purposive purity Courreges created the A-line silhouette, using which serves fbr practical function. This kind of straight lines and the color white to express style is presented in the terse lines and design rationality fbr his formative exactly designs that of simple colors, and sometimes it takes the he learned from Balenciaga emphasizing, simpl -90 Vol. 5, No. 2 The International Journal of Costume Culture 13 icity and functionalism. Courreges's Art to Wear it was possible to analyze the implicative and of minimalism style were short well-fractured formative character of functionalistic Art to and comfortable without any decorations based Wear, and it is as follows. on being practical and functional in form (Fig. Formative perfection or beauty of Mechanical 21). Rudi Gemreich pursued minimal Art to Analogy is something that naturally comes with Wear of functional designs neither exaggerating the pursuit of mechanical efficiency, and a ma the human body used simple constructed lines in chine turns out to be an important source of geometrical form nor using any details. His inspiration. That is to* say, Mechanical Analogy simplistic silhouette styles of work had the of Functionalism is based on machine aesthetics, genuine qualities of purposiveness and practi and it is deeply related to standardization of cality, establishing function지 form of styles by objects resulted from new types of metal goods simplifying all the decorations which contains and machine mass-productions under the influ the logical nature of humans (Fig. 22). ence of scientific, technical development. There fore, functionalistic Art to Wear of Mechanical IV. Conclusion Analogy appears to have futuristic inclination stressing the significance of geometric form and In the early twentieth centuiy, sloughing off machine aesthetics. It uses new materials, and traditional notion of 'Pure and Applied Arts', reduce an unnecessary work of art to convey and taking part in an innovative movement with more accurate, concrete and effective character new art volition between art and industry were of shape. the matter of grave concern for the artists. Functionalism of Organic Analogy is based Clothing artists with such inclination exceeded on belief towards perfection and beauty of the bounds of pure art to expand the areas of nature which becomes the source of inspiration. practical Art to Wear which is suitable in These forms of Organic Analogy are composed practical life. At that time, Bauhaus made a of warm hues and natural materials that harmo combination of art and technique by carrying on nize with the surroundings, and each part follows the spirit of Functionalism, so a functionalistic the identical rhythm. Consequently, function style of art and design which advocates the alistic Art to Wear of Organic Analogy regards machine aesthetics of the present day had a natural elements as important to pursue the direct influence on human thought and sensi warm human nature. Also, it appears to be free bility to persue the changes of mankind, nature, and comforting forms of Functionalism through and a view of the world. an organic silhouette. Functionalistic Art to Wear is a new form of Functionalism of Moral Analogy demands the expression that combined the notion of art with reflection of man*s moral and ethical ideal to the fiinctional clothing, and it is three-dimen contribute to it, so that the purpose and the era sional formative arts which considers the human of Moral Analogy could be a truthful expression body as a medium of art, and it gives clothing featuring things exactly as it is. In other words, life and shape. By positive way of interpre it has simple character of purposiveness which tation, Art to Wear became a work of art as implies an appropriate and practical purpose as well as a design which concerns practical func well as the restoration of pure human nature. tion, and it approved the clothing as a form of Accordingly, functionalistic Art to Wear of Moral art breaking away from the restricted meaning Analogy excludes excessive ornaments, and of the conventional clothing. In conclusion, from includes the implication of appropriate and three analogies of Functionalism that E. R. de purposive purity which serves fbr practical func Zurko had presented, which are Mechanical tion. This kind of style is presented in the terse Analogy, Organic Analogy, and Moral Analogy, lines and design of simple colors, and some 91 14 A Study on the Functionalism Expressed in the Art to Wear IJCC times it takes the form of functionalistic mini books on ardutecture, Vol. 1.皿 ， Cambridge: malism of unomamented style. Harvard Univ. Press. Park, C. W. 1988. A study on the modem References functionalism of 20th century architecture, Seoul National Univ. Andre Lur^at, 1929. Architecture^ Paris: Au Collins, P. 1998. Changing ideals in modem Sana Pareil. architecture 1750~ 1950, Montreal: McGill Choi, N. Y. & Kim, M. S. 2001. A study on -Queen's Univ. Press. the theatre costume design of Picasso, Platon, Hippias Majeur 291c, R^ublique X 601d. Journal of the Korean Society of Costume, Pugin, A. W. N. 1853. True principles of Vol. 51, No. 4. pointed or Christian architecture, London: Curtis Jr, W. 1987. Modern architecture since Hemy G. B아 m. 1900, Oxford, Phaidon. Rowland, K. 1964. 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