The Research Journal of the Costume Culture Vol. 20, No. 5 pp.782~798, October 2012 http://dx.doi.org/10.7741/rjcc.2012.20.5.782 － 782 － † 교신저자 E-mail : shinmipark@hotmail.com Fashion, addressing the new body - The body, fashion and art - Shinmi Park † Theoretical Enquire Studio (Contemporary Fashion), Research Department of Visual Arts, University of Sydney, Australia (2012. 6. 7. 접수일 : 2012. 8. 23. 수정완료일 : 2012. 10. 9. 게재확정일) Abstract The research aim is to analyze the attributes of fashion as an object of art, and to examine its potential and status as an art of body space. This paper explains the relationship between these two disciplines by focusing on the body as the foundation of fashion and art’s concepts, and discusses the intrinsic properties and the approach to the creation of fashion which is expressed through the body. The research begins by analyzing the sociologists thoughts on the body and extracts the characteristics of fashion as a practice of a new art field from the perspective of body creating space. It explains that fashion can most easily transform the body and that this, along with the body itself, possesses the element of creating body space. Fashion is a new avenue for understanding the body that not only includes the human figure but also its movement and spirit approached as a creative activity. The paper will show that fashion chosen as an art activity expresses the changeable and ambiguous body and embraces an unlimited potential of creative activity. This expands the creative field by managing both the inner and outer space of the body. Historical examination, literature review and overview of development of reference materials will establish the theory. Keywords: art, body, fashion, fashioned body, hybrid system, space Ⅰ. Introduction Fashion and art use each other as m otifs to create works that follow or transform the human body. Since ancient Greek times the human body has been recognized as a smaller universe and endeavored to discover the secret of beauty through its proportions (Choi, 2001). H owever, the idea of hum an body changes through history and provides opportunities for diverse results through the interaction betw een biological and social elem ents (Shilling, 2003). The disciplines of design and art existed in their own extensive fields, but were altered at different times in the late twentieth century. They are now often discussed under the same heading of creativity. A rtists including painters, sculptors, installation artists and perform ance artists have all received inspiration from the garm ent itself or from the meaning or intrinsic characteristics of the material of the fabric, and the m ovem ent of the garm ent. Likew ise, high fashion designers strive to inculcate aesthetic value and philosophical ideas into their works by expanding into the area of performance and installa - tion art. M oreover, the design process has already been guaranteed to have aesthetic value and notional value (K oda, 2001). Since earlier eras fashion and art V ol. 20, No. 5 Shinmi Park 163 － 783 － have tried to find an absolute aesthetic that proved their worth at that time. N evertheless, fashion together w ith visual art and architectural spheres traditionally wasn’t classified as a separate field of research (Svendsen, 2006). How ever, debates concerning fashion have recently been placed in the centre of all disciplines and provide new stream s in academ ic publications (Svendsen, 2006). For what reason is the relationship betw een fashion and art constantly debated and w hy is fashion the centre of attention in the field of creation? This is because the tw o disciplines are positioned in the centre of the project of transforming the human body. In other words, the direct relationship with the human body and the social body, and fashion particularly, is the m edium that can m ost easily represent this connection. Fashion and art are similar in their intrinsic aspects of restructuring the human body individually or socially to produce new m aterial. These tw o disciplines form the most intim ate relationship w ith the hum an body within the generally classified areas of design. Particularly, architecture bases its w ork on the basic ratios of the human body and this has been already debated and proved by many scholars. These theories are basically about the proportion of the hum an body, and architects from the ancient G reek days to the present time find an aesthetic standard in the ratio of the human body. Moreover, since architecture was created to benefit hum an beings, the hum an body reflects it. From this basis, researcher has prescribed that archi- tecture, similar to fashion, also comprehends the human body. The hum an body is the m ost significant subject in architecture, fashion and all other fields in art. The reason researcher includes architecture and fashion, and moreover architectural fashion in the discipline of art is because these are also creations made with the hum an body as their foundation. How - ever, these processes of creation result in different forms of creations depending on the aesthetics at the point in time and the approach of the creator. There - fore, although the creation started w ith the body as the subject, the resulting product can be differentiated by the creator by the w ay the body is interpreted. Bone, skin and musculature that biologically construct the hum an body and the movement are expressed from this structure. The social circum stances are layered on this to establish the basic m otifs for fashion and art. The artist who creates artificial bodies is indeed tam pering w ith pow erful forces. Because the ‘body’is always heavily loaded with sym bolic m eaning, its creation and re-creation should never be approached capriciously (Polhemus, 1988). “Fashion is about body: it is produced, prom oted and w orn by bodies (Entw istle, 2000, p.2).” This research will un - ravel the relationship betw een these disciplines of the hum an body, which is the foundation of ideas in fashion and art. This research aim is to analyze the attributes of fashion as an object of art, and to exam ine its potential and status as an art of body space. The paper explains the relationship betw een these two disciplines by focusing on the body as the foundation of fashion and art’s concepts, and discusses the intrinsic properties and the approach to the creation of fashion w hich is expressed through the body. From this claim the follow ing questions arise: (1) W hy did fashion becom e an object of art and how did this affect the idea of body space? (2) W hat is interpreting the body and how did it affect the body transformed? (3) What are the naked, nude, clothed and fashioned, and w hat are its characteristics, and what is the role of their relationship? The research begins by analyzing the sociologists' thoughts on the body and extracts the characteristics of fashion as a practice of a new art field from the perspective of body creating space. It explains that fashion can most easily transform the body and that this, along with the body itself, possesses the element of creating body space. Fashion is a new avenue for understanding the body that not only includes the human figure but also its movem ent and spirit 164 Fashion, addressing the new body 복식문화연구 － 784 － approached as a creative activity. The paper w ill show that fashion chosen as an art activity expresses the changeable and am biguous body and em braces an unlim ited potential of creative activity. This expands the creative field by managing both the inner and outer space of the body. The thinking of cultural theorists is analyzed to derive the characteristics of fashion as a creation of space around the body. The research bases its study on historical examination, literature review, overview of developments and analysis of selected practices of contemporary fashion artists. Ⅱ. Fashion and Art: Project of the Body Transformed 1. Interpreting the body Interpreting the body, that is ‘reading’the body, is the first step in the creative process that involves body as ‘motif’. A person can only create by knowledge of his or her body or through awareness of its change (Dolmatoff, 1997). Furthermore, this awareness is never easily described. It varies according to an individual’s perception. It relies on w hat we have previously experienced of the body (Svendsen, 2006). The human body exhibits both its physical and social characteristics; w e can assum e that the creative artist/ designer selects only the physical characteristics of the body to precede w ith his/her w ork and that the act of interpreting the body relates body to his/her experiences. This section will first look at the dis- cussions of body in order to carry on a deeper and m ore thorough research of the body as the motif in creation. Collins English Dictionary (1995) defines “your ‘body’ is all your physical parts, including your head, arm s, and legs. Y ou can also refer to the m ain part of your body, except for your arm s, head, and legs, as your body. Y ou can refer to a person’s dead body as a body.” In addition, W ikipedia English dictionary (2008) defines that “w ith regard to living things, a body is the integral physical m aterial of an individual. “Bodyoften is used in connection w ith appearance, health issues and death. The study of the w orking of the body is physiology.” This dictionary also defines that “the human body mostly consists of a head, neck, torso, tw o arm s and two legs (‘body’, 2008, from http://en.w ikipedia.org/w iki/Body).” The body is defined in the dictionaries as the major elem ent of hum an biology. How ever, in order for humans to survive in society, the ‘social body’carries as im portant a role as the ‘biological body’. H ence, as many creations base their m otif on the body, it is assum ed that this includes both biological and social attributes. The body is subordinated and fitted into the social codes that verify identity and enable commu - nication within or between the groups (Michaud, 1999). From this perspective, sociologist Erving G offman in his book Behavior in Public Places (1963) claim ed that the body is an essential elem ent in hum an behavior, and the approach of garm ents, decorations and cosmetics involved in presenting posture, attitude and our identify is called interactive aw areness. As can be seen, the human body as an entity only survives when mental and social functionality is added to the biological functionality. A rgum ents regarding the body have arisen as a significant area of research in sociology from the m id-tw entieth century as can be seen from Erving G offm an’s (1963) ‘Body in everyday life’ to M ichel Freund’s ‘the civilized body,’ Bryan S. Turner’s (1984) ‘body and social rules,’ Foucault’s (1985) ‘disappearing body,’ J. O ’N eil’s (1985) ‘five bodies,’ A . Frank’s (1990) ‘body and human behavior’ and Chris Shilling’s (1993) ‘the body and social.’ Since the 1980s the sociology of the body has been recognized as an independent area of research w ithin sociology, and has been actively debated. In contrast, Turner’s (1984) ‘the body and society’ and Shilling’s (1993) ‘the body and social theory’ focus on what we discussed about the body as a creative m otive. Turner began his book The Body and Society (1984) by illustrating that there is an “obvious and V ol. 20, No. 5 Shinmi Park 165 － 785 － prominent fact about human beings: they have bodies and they are bodies.” The body, he said, constitutes flesh and spirit which cannot be separated and the body is a tool for expressing the human self as well as the biological self. Turner explained that: “A ny sociology of the body involves a discussion of social control and any discussion of social control must consider the control of women’s bodies by m en under a system of patriarchy. … O ur bodies are a natural environm ent, while also being socially con- structed: the disappearance of this environm ent is also m y disappearance. Bodily secretions can not be easily ignored and, for that matter, they can not be easily controlled: this is one source of those persis- tent metaphors relating to the body politic and the human body (Turner, 1984, pp. 1-2).” “W hile the body is an object with specific physio - logical characteristics and thus subject to natural pro- cesses of ageing and decay, it is never just a physical object. As embodied consciousness, the body is drenched w ith sym bolic significance. Phenomenology is a critique of behaviorism w hich, in treating the body as an object separate from consciousness, has to em brace, how ever covertly, Cartesian dualism. …. In philosophical term s, an individual person in the full sense of the term is a being w ith a body, con- sciousness, continuity, commitment, and responsibility (Turner, 1984, p.54). … At the individual level, my body is an environm ent that is experienced as a limit, but my consciousness also involves embodiment (Turner, 1984, p.58).” Turner clarified how sociology is connected to the relationship betw een the spirit and the body (Shilling, 1993). In addition, he proved that the human spirit is expressed through body, and defined this as the rule of the social body restructured from experience. The biological body is unable to change but the so - cial body has unlim ited potential to transform . Ten years after Turner’s theory was propounded, another sociologist, Chris Shilling, re-defined the body in his book The Body and Social Theory (1993) . Shilling argued that: “Recognizing that the body has becom e a project for many modern persons entails accepting that its appearance, size, shape and even its contents, are potentially open to reconstruction in line with the design of its ow ner. Treating the body as a project does not necessarily entail a full-tim e preoccupation w ith its w holesale transformation, although it has the potential to do so. How ever, it does involve indi- viduals being conscious of m essages about a person’s self-identity. In the context, bodies become malleable entities w hich can be shaped and honed by the vigilance and hard w ork of their owner (Shilling, 1993, p.4).” By analyzing the naturally constructed approach and the socially constructed approach, Shilling asserted that w hile the hum an body transforms to fit into society, it exists as a physical and biological sub - stance during the transformation process. M oreover, he described the body that exists in the trans- formation process as ‘the body as a project.’ H e indicated there are two lim itations caused by the body as a project: “Bodies are limited not only in the sense that they unlimitedly die, but their frequent refusal to be m oulded in accordance with our intentions. A nother lim itation in the rise of the body as a project is the w ay in w hich individual images of the desirable body can become harnessed to the perpetuation of pre-existing social inequalities (Shilling, 1993, p.7).” The body as a project is guaranteed the flexibility to change despite problem s, as it has been given the indulgence to express an individual unique spirit. The reason behind the body having the value of a 166 Fashion, addressing the new body 복식문화연구 － 786 － m otif in art is that the social body is able to constantly be transform ed, and the body project consequently guaranteed its flexibility, as m entioned by Turner (1984) and Shilling (1993). With the body artificially created from the spirit, the unconscious im itation of the biological body, seen from the creation process, m akes the third object restructured from self-experience, the called ‘social residual.’ There- fore, the body created by different methods exists w ith both biological form and sociological spirit identical to the intrinsic com position of the body. 2. The body: Naked, nude, clothed and fashioned Art, along with the nude, is led by the body to persist in expressing a garm ent’s extrem e sense. O ngoing debates regarding the body as the motif in art are focused on the ‘pure body w ith nothing w orn,’ and another on the ‘body as object’ that is w orn by that pure body. If pure body, the so-called ‘biological body’, has been used as an object for art, then this can be classified as the socialized body or Positions of the social bodies another form of the body that has been used by art. Researcher defines a ‘socialized body’ that is formed or adapted by the creator’s m ind as the body that is an object of art, rather than the ‘biological body’. A biological body can only becom e an object of art w hen a creator reproduces it as a social body. In this research, Researcher categorizes the social body as ‘naked’, ‘nude’, ‘clothed’ and ‘fashioned’ based on its characteristics and function. These social bodies were given the titles ‘body itself’, ‘body as an object of art’, ‘body to protect body’, ‘the second body’ and ‘body surroundings’ to be the subject for debates. In order to provide detail and clarity to these term inologies, Researcher defines the first di- m ension of the social body as the ‘naked body,’ the second as ‘nude,’ the third as the ‘concise social representative of the body’, and ‘fashion embodying the body’ as the fourth. As this research recognizes the social body reinterpreted by the designer/artist as the m otif for art, the first dim ension o f th e nak ed body that exists with no stim ulus is excluded from V ol. 20, No. 5 Shinmi Park 167 － 787 － the category of body (See Fig. 1). There are several argum ents related to the bodies. N aked body holds more m eaning than natural body. H ollander illustrated that naked body is generally not experienced and acknowledged, and this is defined as clothes itself (Entwistle, 2000). In addition, John Berger (1972) prescribed that in reproduction of art and m edia, body is w orn from the social custom and system despite the absence of clothes and this is the trait of naked and nude. Furtherm ore, Lars Svendsen (2006) argued that “rather than present clothes, it (the naked body) has been a m atter of presenting an im age in which the m odel’s body has been the bearer of sym bolic values (Svendsen, 2006). “The naked body is anything but value-natural. Hence, nothing can be called ‘naked body’. Since naked body alw ays exists within the boundary of society, this always has to be w orn (H ollander, 1993, pp. 83-156)”. Therefore, if naked body is to be given a m eaning, it can be som ething w ith ‘visible absence’ (H ollander, 1993; Svendsen, 2006). Sociologists generally classified the ‘naked body’ and ‘nude’ as a socialized body based on the fact that it lies within society. How ever, the naked body is differentiated from the nude and is defined as the first dimension of the social body from the perspec- tive that nude is the subject in an artwork. Further- m ore, the nude, as the artistically ‘transform ed naked body’ can be defined as the second dimension. The ‘nude’ is conceptually not the same as a naked body, but is a form of dress worn from a m odern cultural point of view (Entw istle, 2000). In other w ords, the nude can be described as the naked body that wears fashion developed by an artist’s spirit. Therefore, nudes seen in sculptures, paintings and photos wear the artist’s intentions and hence are social bodies reconstructed by the artist. N ude being the dim ension second body, holds an artistic value as som ething inherent to the artist’s mind, w hich is a characteristic of social body-conception. While fashion generally moves continuously by going forward and then backwards, the central idea of the nude body is proven to be unchangeable and a com m on standard (Koda, 2001). In sculptures or in paintings, this is regarded as the body clothed and conveys an artist’s m eaning (Koda, 2001). In addition, photography benefits from the restricted reproduction of m odern ideas that are worn on a naked body (K oda, 2001). This is due to the fact that fashion involves the subjective m ind, unlike clothes w hich are an object with the pure function of protecting the body. H egel em phasized that body and clothing are tw o separate areas, but these spheres should always guarantee unrestricted improvem ent of each other’s disciplines (Hegel in Svendsen, 2006). Although fashion from the beginning was expressed as the relative freedom related to the body figure, the form of body and clothes w ere always within the sam e ‘dialogue’ (Svendsen, 2006). The body and clothes are being discussed concerning their linked relationship, and one thing that is clear is that clothes, the third dim ension of the social body, are the ‘m irror’ of the naked body and are the specific object that can m ost easily represent its biological fact. This is one of the reasons I classify clothes and fashion as another type of social body. The individual activity of w earing clothes is the activity of preparing to becom e a social body as (socially) required, and dress is another significant w ay of learning how an individual can live alongside their body (Entwistle & W ilson, 1999). Furthermore, clothes form a part of an individual, but not merely as the outer appearance related to the individual identity as we all possess ways of expressing ourselves through visual form (Svendsen, 2006). The third dimension of the social body of clothes can m ost easily represent the body and we can call this a second skin because it is the object of the concise expression of our spirit. The understanding of dress required in everyday life consists of categories of experience in time and space (Entwistle, 2000). M oreover, time and space dem onstrate the way we derive another form of body from the body or dress, through the collision 168 Fashion, addressing the new body 복식문화연구 － 788 － w ith our feelings, relationships and other factors (Entwistle, 2000). The classification of the difference betw een the clad, fashionable beauty, and an artist’s naked m odel or a reappearance of the ‘demimondaine’ was more accentuated not only by the outer appearance, but from the revival of how dress is w orn (K oda, 2001). Clothes displayed by a naked body not only represent a person’s imagination, but also conveys his or her life experiences (Hollander, 1975, cited in Svendsen, 2006). H ow clothes are w orn, or how to w ear clothes are differently expressed visually and sensually depending on the consciousness of the host (be it individual or group) of this act. When an artist chooses clothes, as the third dimen - sion of the body, as the m otif of his or her work, this is done as a convenient m aterial to express his or her history and identity to the outside w orld. Furthermore, artists try to express their prior experience or spirit rather than clothes form itself, and this is the characteristic of fashion, which is the fourth dimensional of the social body. Fashion em braces its surroundings, the spirit and the m ovem ent of body more broadly than mere clothes, or the detailed body. Fashion does not im itate the body to protect it, but surrounds the spirit of the body. This m ay or m ay not overtly adhere to the form of clothing. Hence fashion, as a motif of artwork, reflects the movement Characteristics of the social bodies Social bodies Classifications Socialized bodies : Naked body․clothes Social bodies as object of art : Nude․fashion Characteristics Dependent body Passive body Conservative Sympathy with customs of the day Mirror of social awareness Pursuit of collective unconsciousness Follows social customs Fixable Restrictive Independent body Active body Progressive Away from customs of the day Mirror of self awareness Controlling the stream of consciousness Seeks to find a negotiation between society and the individual Changeable Free and surrounds of the body, w hich can revive our spirit. Therefore, when an artist uses the body as the m otif, this body departs from the biological body and become a socialized body in any form that possesses the artist’s spirit. Social bodies that have been discussed so far can be classified further into ‘socialized body’ and ‘social body as an object of art’. First, ‘socialized body’ includes the first social body, naked body, and the third social body, clothes. Second, ‘social body as an object of art’ includes nude, the second social body, and fashion, the fourth social body. Socialized bodies of naked body and clothes are dependent bodies and are passive bodies that unconsciously reflect the social environm ent. The w ay w e treat the body is adapted to custom s and rituals of mass society. In addition, there is a strongly conservative charac - teristic that expresses itself by reflecting the social rituals. Socialized bodies tend to pursue a collective sociality and are resistant to change, are content with received reality, tending to be fixed and restrained. O n the other hand, social bodies as an object of art that is, nude and fashion, are independent and active bodies that consciously regulate and control the social environm ent. This type of body abolishes customs and strives to find a com prom ise betw een collective social ritual and individual consciousness. Body as V ol. 20, No. 5 Shinmi Park 169 － 789 － an object of art is already a social body as long as it lies w ithin the society. H ence, although it w as created from an individual intention, it is im possible to exist in denial of all the social frameworks. M ore- over, as art also evaluates its value from the popula- rity of the group called society, the body which is part of this category strives to find the ideal medium betw een the individual and the society. Furthermore, it expresses itself by reflecting individual intentions by its strongly progressive characteristics. Social bodies such as the nude and fashion in art pursue individual sociality w ith the desire for changeability. Therefore, this body seeks freedom of creation (see Table 1). Ⅲ. Fashion, Addressing the New Body 1. Fashion, creative second skin As for clothes, the biological skin is a tw o-dim en- sional biological surface covering a three-dimensional biological body. In contrast to skin, motif clothes are generally described as the second skin or something that creates another type of skin to m ake a new form. Lupton (2002) explained that: “Skin is a two-dimensional surface that wraps around the volumes of the body. Skin is a multilayered, multi- purpose that shifts from thick to thin, tight to loose, lubricated to dry, across the landscape of the body. Skin, a know ledge-gathering device, responds to heat and cold, pleasure and pain. It lacks definitive boun- daries, flowing continuously from the exposed surface of the body to its internal cavities. It is both living and dead, a self-repairing, self-replacing material whose exterior is senseless and inert while its inner layers are flush with nerves, glands and capillaries (Lupton, 2002, pp.29, 94, 208). …. Skin is a bag to hold in the organs and tissues of the body, a living luggage system. Contemporary bottle, bags and garments com - bine natural unnatural form s and m aterials, yielding objects that appear ripe w ith potential life (Lupton, 2002, p.208).” The discussion on dress as a second skin embarked from Marilyn J. Horn and Lois M. Gurel’s publication of The Second Skin in 1968 that illustrated ways to view dress from different aspects. They investigated this issue from perspectives of clothing and culture, dealing with social and psychological aspects of dress, aesthetics and dress, and physical and economic aspects of clothing. Also, Ted Polhem us (1988) explored “how the body, and its second skin of adornm ent and clothing, plays a vital part in our social relation- ship in his book, Body Style . H e also considered “the social nature of the hum an body and, specifi- cally, the body’s reflected image. … In the course of our lives the m ost im portant relationship any of us ever has is betw een ‘our self’ and ‘our reflection’ (Polhem us, 1988, p.4).” The second skin acts as a proxy that represents hum an senses regardless of the form of the clothes that are being created. In other w ords, the second skin reproduces a new body w ith a naked body as the fram e (support). The repro - duction of skin layered on top of bone represents the basic biological hum an appearance and this is the first step in creating a new body, the second skin, conveying the designer’s sense. Fashion as the proxy of the body, and as the vehicle for art builds a new form of body starting from the idea of the second skin. Clothes are the ideal m ethod of expressing the hum an body reflecting current taste and have been continuously utilized in the life and discipline of art as the tool that produces a new socially determinant form of body. Dress has been nam ed as the second skin by social and art scholars and is know n as a m eans that connects humans w ith society. Clothes create a new form of body by deconstruction, trans- form ation and reproduction of the body based on the ideal aesthetic standards of an era. In addition, this can be seen not only in practical dress in ordinary life but also in body art that uses the body as a m otif in art. Fashion is produced from conscious conside- ration of the body and how it is modified in ordinary 170 Fashion, addressing the new body 복식문화연구 － 790 － life (Entw istle, 2000). Fashion can create a contemporary form of body, demanded by a period, and can also create a special form of body that contains the designer’s sense of the discourse of art representing the body. G arments during the eighteenth and the nineteenth centuries are exam ples of radical m odifications to the body. The corset, farthingale and bustle w ere tools that com - pleted the ideal body desired by those tim es and these were considered to be the ideal appearance of the body (K oda, 2001) (See Figs. 2, 3). M oreover, these structural devices that m odified the standard of the body also changed the biological form of the body (See Fig. 2). In other words, the second skin, w hich is m ost suitable for incorporating the ideal body form of an era, resulted in directly m odifying the form of the biological body, if only partially. Fashion designers in the tw entieth century also ex- tended or reduced parts of the hum an body and produced new standards of body to meet the social requirements. The ‘perfect form ’ w as attem pted by reproducing, expanding or restricting the body’s shape (above) ‘The four plaster busts of Sunami & Costantine m odels’: (below: from left), ‘the middle of 18c Pannier dress’, ‘1880s Bustle dress’, ‘1900s Art N ouveau style’ & ‘1920s Flapper style’. From. K im. (2004). p. 15 ‘Transformed the body by corset in the Victorian age’. From. K im. (2004). p. 79 (M aeder, 1983). For exam ple, Futurism appeared after the early tw entieth century as cubism, no other form could be seen or considered except for the second skin of human or clothing (Celant, 1996). Artists w h o w ere in v o lv e d in fu tu rism an d c u b ism u sed clothing as a substitute for the ideas in art as a new form of body that represented the creator’s thoughts. Like this, the body was constantly a motif for art and fashion, as a proxy of body it also held its position as a m otif for art by creating the second skin. Fashion as a motif in contemporary art is expressed as a new form of second skin by modifying the biological skin itself or by utilizing a third object. In addition, the application of wrinkles or folded material on the surface of biological skin can be an aesthetic standard in the creation of the second skin, and adapting this idea as the motif can create new materials and form s. These efforts led to the developm ent of a new material called latex that is most sim ilar to the biological skin. Industrial m aterials such as rubber and vinyl w ere also introduced in order to express the second skin. A rtists use latex, the artificial repro- duction of skin, in order to produce clothes m ost s im ila r in s u r fa c e a n d te x tu re to th e s k in , a n d V ol. 20, No. 5 Shinmi Park 171 － 791 － ‘O rlan with her Self-hybridation series’, 1999. From w w w.artgallery.nsw.gov.au Orlan sometimes confirm their self-identity by reproducing a ‘biological skin’ substitute as a second skin. Tonita A beyta’s ‘Sensate’ is a line of latex undergarm ents - some equipped with built in male and female condoms - that aim to transform the tools of sexual hygiene into alluring fashion objects (Lupton, 2002). M ore extrem ely, under the equality theory of latency- substance, French artist Saint O rlan (b.1947) first deform ed her own skin in 1978 and continues to re-form herself using insets and the production of new skin created from her own body (See Fig. 4). “Orlan began her highly unconventional career at the age of 17 w ith a series of w orks using photographs of her own body, which has become her art ‘medium,’ her primary creative voice. Working beyond the limits of body art, in her manifesto on ‘Carnal Art,’ O rlan w rote that her performances are a self portrait in the classical sense, yet realized through the technology of its time. Lying between disfiguration and figuration, it is an inscription in flesh. In 1999, using the operating room as a studio, she underw ent a series of filmed plastic surgery operations to modify her own body-her canvas-including the placing of cheekbone im plants under the skin of her forehead (Blistene, 2004). A ccording to Sheltone, “Franko B [Stellarc] and Orlan have used their bodies to question or reject the West’s political and ideological control and A lba D’U rbana, ‘The im mortal Tailor’, 1995-7. From. Lupton. (2002). p. 107 Cindy Sherm an, ‘Comm e des G arçons’, 1994. From. ARE ET M ID E. (1997) p. 24 censorship over them (Shelton, 1997).” Likewise, Cindy Sherm an played w ith the image of self and media identity (See Fig. 6). Furthermore A lba D ’Urbana (b.1955) created a new form of nude by applying his ow n skin directly to a m edium of clothes (See Fig. 5). He explained that “in order to realize the clothing of m y ow n skin, I put photographs of m y body into the computer digitally and then processed them, formed them, and cut them so that they fit into the dress- pattern of a suit. Thus it w as possible to rem odel the two-dim ensional im age into a three-dim ensional body form in the tradition of the ancient art of tailors. The b o d y b e co m es v irtu a l en tity , a d a ta la n d sc a pe , a digital abstraction (in Lupton, 2002, p.107).” Lupton (2002) illustrated that “D’U rbana has created a series of garm ents that cover the body w ith photographic im ages of itself. The result is a fragmented, contra- 172 Fashion, addressing the new body 복식문화연구 － 792 － dictory visual condition that oscillates between naked and clothed, flatness and dim ensionality (Lupton, 2002, p.106).” In addition, Matthieu Manche used latex as a m aterial to express the second skin as a tool to extend the body (See Fig. 8). A ccording to M atthieu Manche, “latex is similar to the skin, but it is extrem ely artificial. I try to unsettle people’s ex- pectations about skin.” Lupton explains that “w hen used to m anufacture condoms or gloves, latex closely follow s the contours of the hum an body. Matthieu M anche uses latex to suggest, instead, an elaboration and overflowing of the body. Pouches and containers for new grow ths appear across the surfaces of his clothing and furniture, w hile tubes of latex link body parts and entire bodies into new configurations (Lupton, 2002, p.72).” A garment is considered as an extension of the skin, as an extension of body in the discipline of art and also in the sphere of fashion, and these artists and designers strive to involve the aesthetics of body in their works. For instance, Carla M urry (b.1970) and Peter A llen (b. 1968) introduced ‘Skinthetic Chanel 2001’ for the fashion brand Chanel (See Fig. 7). “Skinthetic is a series of design proposals for ‘im p la n t a n d e x p la n t’ p ro d u c ts th a t m ig h t in th e Carla M urry & Peter Allen, ‘Skinthetic: Chanel 2001’ From . Lupton. (2002), p. 92 future be used to extend consum er branding to the hum an body. H ere a quilted pattern derived from C h a n e l’s b ra n d id e n tity is a p p lie d to th e h u m a n torso. The skin of the garment becom es continuous w ith the skin of the body (Lupton, 2002, p.93).” A s can be seen, the second skin creates a new form through the reproduction of biological skin and it also establishes a new standard for body by injecting a new third object. Every single image that goes through the repro- duction process in the artist’s senses can be embodied in a second skin with sym bolic m eaning. The second skin is a world of change that has the freedom to transform the hum an body into a m obile, changing form. In addition, clothes are one of the detailed m ethods of designs to express the production of a new skin, and are an extension of the hum an body as well as being a world of sym bolism . The com - prehensive m eaning of fashion as the second skin is such symbolism. Therefore, symbolism in fashion does not indicate the general meaning of conservative, collective and passive external symbols that diffe - rentiated the social classes of the pre-tw entieth century era, but is inherent in a new sym bolism, which is personal and active, representing individuality. M atthieu M anche, ‘Fresh 1998-2000’, From . Lupton. (2002). pp.72-73 V ol. 20, No. 5 Shinmi Park 173 － 793 － W hile the clothes prior to the tw entieth century had the general sym bolic m eans of acknow ledging one’s status and social position, fashion in the tw entieth- first century has becom e a more complex medium of creation. This special feature of fashion as active symbolism provides an opportunity to create a new discipline of art called fashion art under the subject of the reproduction of body seen through a second skin. 2. Fashion into the body space The independent body in art w as subjectively recognized by artists based on the aesthetic standards of the particular time, and as a result they created a body form required by the standards and zeitgeist of the period. Fashion most easily reproduces the body in a new space and with a new boundary of the body extended or reduced in space. In modern art this is expressed as fashion art that has grow n out of the unified comm ercial form of garm ents and artists directly working with body. Fashion that m oved inside the space of the body has created a new body space and disciplines. Fashion as a second skin that possesses indepen- dently the sense of its creator is within the realm of art by the fact that it is created w ith consciousness of the body as its motif. Fashion builds up new standards of the body by m odifying and creating new standards for the hum an body at a given tim e, and it creates a body space based on the standard of body form and from its movem ent. The second skin, located in space, exploits the body space, w ith the biological body as the support. Movement by itself progresses fashion into a new space: the social body placed in the body space, regardless of it being a simple or a complex movement. Fashion exists and creates space around the body space as it lies w ithin the surrounding architectural space. Fashion is a very personal object that creates special circum stances for an individual by crossing over complex architecture and body system s. A rchitecture and the body is a system of complex processes of functionality, partial functionality that can be visually identified or not particularly recognized (Boyer, 2006). This produces a subjective body space through the m ovem ent of body responding w ith the body’s senses. Furtherm ore, fashion has a binding role that links self-cognition and society, the so-called ‘personal identity.’ Fashion is an object of a mutual action between the im age and the concept, and is a com - pound medium that includes the surroundings and space w here fashion is understood. Fashion is a m edium that links the body and society and at the sam e tim e is a changeable object that is inherent in a conflicting relationship with the elem ents of extension and reduction of the human body to create body space. In other words, fashion is a m edium that creates a new space around the body and through this, the body is given change ability to extend or reduce its sphere. From m y point of view, fashion that lies between the biological body and architectural space creates the space around the body from the basis of its conflicting nature of extension and reduction. Therefore, in this research, body space is not lim ited to the body itself and the space created from extending or reducing the body; the external space produced from the movement of body occurring in architectural space is also included in this category. Fashion, which lies w ithin the relationship between the body and space, provides mobility into the lim its of the body and the categories of space based on conflicting approaches to the reduction and the ex- tension of body itself. Firstly, ‘fashion creates the internal body space’ by reducing the space between the borders of biological body and fashion, and this space is very lim ited and fixed. Secondly, ‘fashion creates the ‘external’ body space by expanding’ the body beyond the borders of the biological body, and through m ovement, it brings this outer space into the extension of body that leads to architecture and the universe. The extension of the body is changeable 174 Fashion, addressing the new body 복식문화연구 － 794 － The boundary and scope of body space and mobile as it constantly creates new limitless forms through this m ovem ent. The extended body is provided w ith a broader scope in creating space than the reduced body (See Fig. 9). In order to exam ine the nature of space in detail, attention is given to the G erm an architect Jügen Joedicke who classified the nature of space based on its boundaries. Joedicke divided space into tw o cate - gories of ‘spatial container’and ‘spatial field’ in order to illustrate differences in the treatment of the space. By spatial container, he means the space as a con - tinuum described by a series of w alls. Spatial field im plies space that exists around a solid body, and this term is used w hen defining a different type of spatial form (Joedicke, 1985). Based on the classifi- cations or Joedicke, space regulates distinctive boun- daries according to the nature of the object form ed. This classification used in architecture can be applied in fashion, so that spatial container accounts for ‘the circum stance of the reduced body.’ Fashion, as a fixe d fo rm o f sc ulp tu ral o bject, ex ists by fitting a series of m aterials into the body and inserting the body into a spatial container. By contrast, spatial field in fashion terms indicates ‘the circum stance of the extended body.’ This contains the trace of se- quential m ovem ents created from the movement of body. W hile spatial field in architecture is visually recognized as beyond the solidity of walls, spatial field in fashion can be visually recognized, but also can remain as a trace of m ovem ent. Recent debates on fashion and space around the body focus on the object of clothing itself to classify these conflicting factors of ‘extension and reduction’, ‘concealm ent and exposure’ and ‘stillness and m ove- m ent’ based on the inner and outer aspects of body. In other words, the central point of the debate is on the relationship betw een clothes and the body rather than the external surroundings, and is focused on elaborating these sim ple conflicting properties. This point of view regulates the boundary betw een the body and fashion from the perspective that fashion is a sculptural garm ent or a fixed object, and is classi- V ol. 20, No. 5 Shinmi Park 175 － 795 － fied by the characteristics focused on how the gar- m ent is expressed. This is limited to the creation of a spatial con- tainer, that is, the creation of space around the body through the reduction or construction of the body in The ambivalence of body space a narrow sense. It is not sufficient to describe the overall circum stances of body, nam ely the spatial container that a body creates in external space. Therefore, from the perspective of fashion being a m ed ium fo r c re a tin g n e w sp ac e , th e se c o nflic ting 176 Fashion, addressing the new body 복식문화연구 － 796 － elem ents are sub-classified under the grounds of extension and reduction. Thus, the space around the body creates the form of space through the extension and reduction of body based on the artist’s ideas. The primarily selected fram e of body space deter- m ines the detailed m ethod of expressing the object. Fashion as a proxy of the body, nam ely an object of art, draw s attention to the creation of space related to the body rather than a concrete method of ex- pression. To sum up, fashion determines the creative method of body space from the artist’s sense and expresses the object through a com pound system , the so-called ‘hybrid system .’ This system is structured w ith con- flicting sub-categories of ‘concealment and exposure’, ‘sim plicity and com plexity’, ‘can be w orn or cannot be worn’, and ‘whether or not it is a form of clothes’, and expresses the space around the body based on the artist/designer’s intention through fashion as a proxy for the body (See Fig. 10). This produces creations which are m ore than just a sim ple form of clothing but include the body, the proxy of the body and the movement in space. In other w ords, the sub-categories of this system provide an opportunity for fashion to explore the potential of the body and space by crossing over various disciplines of art. Furthermore, this com plex m ethod of expression provides the opportunity for fashion to be part of visual art rather than an industrial art. Fashion lies w ithin the space of the body and creates the space around the body. Ⅳ. Conclusion Fashion, as a m otif of artw orks approaches the creative process not only from the form but also from the m ovement and consciousness of the person. From this perspective, fashion becom es the object of artw ork as a proxy of the creator whether it is show n in the form of clothes reproducing the body, or as another form of the body object. Fashion im plies the life m ore than w e think. Moreover, as debates of m odern art, art production and freedom are alw ays linked w ith one sphere of culture, nam ely fashion (D avis, 1992). Disciplines of art apply and express fashion as a m otif in their w orks as fashion is the direct product of w hat w e experience in life and because fashion is the tool that can m ost easily m odify the body, as the fourth dim ension of the social body. From a personal point of view, fashion as a m otif of art accepts the body as intrinsic to notions of change, and is a comprehensive concept that includes dress and clothes as well as their environm ent, spirit and movement. Fashion in a narrow sense can be described as the creation of a new body through a second skin, and in a broader sense, it can be seen as a concept of creativity that produces the new space and spirit of the body through the movement of the body that wears this second skin. Fashion can reduce or extend the body form through the creator’s senses and it is a form of new creation that has the indulgence of creating space through m ovem ent of body. In other words, the proposition applied in art signifies the social body that represents the surroundings and intention tow ards the body as reinterpreted from the artist’s point of view . Therefore, fashion as a m otif of art is the new current state of the body. This research analyzed the attributes of fashion as an object of art, and examined its potential and status as an art of body space. Fashion was an object of the body that w as created for the body. A rtists use fashion as the motif of their w ork because this is the m edium of the body that reproduces their form , and because this can freely create the space around the body. The works of the artists w ho use fashion as their m otif bring the body, its traces and the space around the body as seen from the expansion and reduction of the body through installation, perfor- m ance art and by w earing the clothes of self identity, and architectural fashion that includes the space w here the body lies into the w ork. 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