【作者】 朱蕙琳；

【导师】 刘晓刚；

【作者基本信息】 东华大学 ， 设计艺术学， 2012， 硕士

【摘要】 就如同《纽约时报》著名编辑艾米·M·斯宾德勒曾说过的：“无论谁在时装界超过五年,都会感觉时尚的轮回重复,就像溺水的人回忆一幕幕生活片断。”而时尚的独特魅力也体现于此,旧的时尚过往从未在其自身的发展过程中消亡,而是随着其完善逐步达到与“过去的自我”的高度一致性,并演化成又一轮再生。对于许多设计师而言,无论他们的新系列如何幻化,他们的缪斯是亘古不变的,这些耐人寻味的面孔与姿态作为设计师观望过去、现在与未来的风格指标,帮助他们稳固地树立起一个明朗的时髦体系,而将他们作为本文进行时装偶像塑造研究的人物蓝本这一动机,则坚定地立足于时尚领域中至今仍旧以“循环论”这喋喋不休的争鸣为核心的学术现象。本论文的研究内容将贯穿现代时装走向成熟的重要时期即20世纪20年代至90年代,这一个世纪极具特色的社会时代背景不仅造就了每一个十年都呈现出时代精神的时髦体系,并且也成为经典时装偶像与传媒崇拜的滥觞。英国著名历史学家埃里克·霍布斯鲍姆曾经抛砖引玉地如是说“杰出的潮流引导者是一群出了名的难以分析的人,有时候他们比职业预言家更能准确地预测到未来的摸样,他们是如何做到这一点的,是历史上最难捉摸的问题,对于文化史学者来说,这个问题尤其重要。”本文所构建的理论体系与方法论就是为了解决这一问题而设,以经典旧时装偶像为起点,用社会化的视角探寻个人风格的成熟历程,选择特定时期对时尚界产生巨大影响的美术、电影、文学以及公众领域内的男女时装偶像,从他们所在的时代背景、社会价值观、个人经历、处世哲学对个人风格的影响的角度进行探究,用与服装设计相关的权威理论作为研究基础,从准确的、学术的、理性的研究视角进行细致的分析,将不同时代里的研究对象按照不同风格阵营分门别类,着重讨论影响时装偶像形成个人风格的主客观因素,把各种影响因素确立在一个空间中以统合成明晰的模式图表,本文所构建的模式的关键部分,即“时装偶像风格形成的主客观动因”和“服饰能指语汇”,主要以服装社会学、服装社会心理学、时尚的哲学、流行体系与服饰符码四大理论为基础,结合本文的目标做出整合性的尝试以及服饰文化层面的深入研究,以探寻旧时装偶像自身的艺术魅力作用于现代流行的力量源泉为宗旨,研究贯穿其中的时髦体系,让历久弥新的旧面孔作为偶像塑造革命的灵感,帮助现代媒体创造属于现代的经典。更多还原

【Abstract】 "Anyone who has been in the fashion business for longer than five years," Amy M. Spindler, the sensationally famous New York Times formal critics once wrote, "might be feeling like a drowning man whose life is flashing before his eyes." It shows the unique charm of fashion that the forepassed styles had never been dissolving during its develop process, but reaching an edge point of speed by prosecuting self-consummation and eventually evolved as another round of rebirth. Old fashioned idols declared their eternity extremely strong at the age of vintage, for most of the designers, their muses nevertheless remain the same no matter how the new collection changed, as Catherine Deneuve for Yves Saint Laurent, Marlene Dietrich for Giorgio Armani, and Frida Carlo for Jean-Paul Gaultier, those spectacular faces become fashion guidelines to help the artists to appreciate the pass, present and future and support them to build system of style vividly as assistors. The motivation to concentrate upon those icons as research models is firmly base on the ceaseless crucial discussion about circulation theory of fashion in academic phenomenon.The substances of this thesis are attempted to penetrate the fashion history from 1920 to 1990, distinct social backgrounds of this particular century not only gave birth to marvelous system of styles differently in every decade, but also became the fountainhead of classic fashion icons and media worship. Eric J.Hobsbawm, who’s one of the best known historians of the 20th century once indicated that "why brilliant fashion designers, a notoriously non-analytic breed, sometimes succeed in anticipating the shape of things to come better than professional predictors, is one of the most obscure questions in history; and, for the historian of culture, one of the most central." The main target of this thesis is designed to resolve this question by selecting prevalent female and male fashion icons in art, film, literature, and social areas, discovering the personal maturity, their existence times, civilization values, individual experiences, philosophy of living, and fashion attitudes with socialized perspectives, while additionally accomplish the regulations of creating icons by way of settling research standpoint upon authoritative and academic theories with specific, professional, and rational thoughts, categorize the research models into several distinctive style camps, and emphatically discuss the subjective and objective factors of personal style formation by establishing them in one specific dimention to compose a legible module diagram. The crucial part of this thesis, which, could be know as the social factors of fashion icons’ personal styles and significant of fashion, are technically based on four relative theories such as sociology of fashion, social psychology of fashion, philosophy of fashion, and the fashion system, moreover, the primary spirit is to make an accomplished experiment and penetrate with the cultures of fashion in order to explore fashion icons’ arty charisma through those lavished recognition of old fashion faces, for the sake of providing help for modern media to create contemporary classics.更多还原