時尚插畫風格類型之探討與應用(1995-2003)

A Study on Fashion Illustration Styles and its Application(1995-2003)

賴文琳(Wen-Lin Lai)

指導教授 ： 王雅倫

崑山科技大學/創意媒體學院/視覺傳達設計研究所/碩士(2004年)

https://doi.org/10.6828/KSU.2004.00036

摘要

在二十世紀的前50年曾是插畫的黃金年代，而在進入所謂的讀圖年代後，插畫無疑是我們啟蒙時期的最主要視覺經驗，即便是《BAZAAR》和《VOGUE》這樣的時尚雜誌，也把插圖作為主要的視覺設計元素，時尚插畫因此在時尚雜誌中佔有極重要地位。但在攝影術發明普及後卻有勢微的現象。而今受到科技及新媒材高度開發，設計師的表現風格及手法更顯多樣豐富，也使得時尚插畫發展更為多元。
本研究是以透過文獻探討的方式探究自二十世紀以來的「時尚插畫」(Fashion illustration)風格之演變，並進而將1995年至2003年的時尚插畫風格以圖像學研究之方法進行分類與分析。研究結果發現共可分為七大類風格類型，即（一）故事世界風格類型、（二）物化風格類型、（三）日常生活風格類型、（四）空間城市氛圍風格類型、（五）頑童、詭辯風格類型、（六 ）藝術感性風格類型、以及（七）高科技數位化風格類型。
「時尚」是個變化速度極快的流行文化，插畫家透過不同的主題和內容描繪出他們眼中的時尚風格，卻也賦予觀賞者有別於攝影影像的清晰畫面，而帶來更多的視覺想像空間。這種模糊及不確定性的描述也是後現代消費圖像的特性之一。同時藉由時尚插畫風格類型的探討，研究發現在後現代的景象中時尚視覺的圖像正被符號式的消費而正當化，消費美學改變也正衝擊著這個時代的情緒；此時，設計師們在創作時，必須考慮不同形態的消費態度及文化層次的因素，並融入其設計的作品中。
綜觀台灣目前的時尚風格，一直以來是對於日本流行文化移植和遙望美國的想像，然而從現今台灣面臨的經濟處境來看，如果不能創造差異，就將失去生存的機會。因此，本研究希望透過對時尚插畫風格類型之探討，並發展以數位互動實驗室之創作概念，提供時尚研究及設計者更多時尚插畫風格的可能性及自我創作的實驗空間。

關鍵字

數位互動 ； 時尚 ； 插畫 ； 風格 ； 消費文化

並列摘要

It has ever been the golden age in the first 50 years of 20th century for illustration. Without any doubt, illustration has been our critical visual experience from childhood. Even for “BAZAAR” or “VOGUE” such fashion magazines, illustration also carries its significance with essence of visual design. Hence, fashion illustration plays its absolutely important role in fashion magazines. However, fashion illustration becomes weakened and weakened progressively with the invention and popularity of photograph taking. However, with the high development of technology and new media, designers could perform her or his production through more diversified styles or manners; and this also diversifies the development of illustration.
This research is meant to probe into the evolution of fashion illustration style by means of literature reviewing from 20th century. Furthermore, this research also classifies and analyzes the genres of fashion illustration form 1995 to 2003 by the study of iconology.
The styles of this research could be divided into seven categories, including 1.Diegesis, 2.Reification, 3.Everyday life, 4.Space and city atmosphere, 5.Gamines & Sophisticates, 6.The sensualist, and 7.The technocrats and digital.
“Fashion” is the modem culture with rapid transformation. Illustrators eye and picture their fashion styles with different themes and contents. This drives observers to have a distinct appearance differentiated from the photo taking, and to bring them more imagination. The vague and uncertain description also shows the characteristics of post consume images. By probing into the illustration genres, it could be realized with the normalization of visual fashion image by symbolized consumption. These changes of consumption esthetics also impacts the nowadays popular emotion, and it leads the designers to consider different consumption attitude and culture level to integrate these into their artworks.
From viewing overall nowadays Taiwan’s fashion style, it is always the transplantation of Japan’s modem culture and imagination from far America. However, when it occurs to nowadays Taiwan economic performance and the designing position of globalization, designers would loss their opportunities without creating the differentiation. As a result, this research, through probing into fashion illustration styles and developing by creation of「Se Dire」digital-interactive laboratory at the same time, is meant to offer fashion researchers and designers more possibilities of fashion illustration styles and more room for self-creators to be experienced.

並列關鍵字

consumption culture ； fashion ； illustration ； style ； digital interactive

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