Master of Design in Fashion, Body and Garment
Youngeun Kwun is from South Korea. She received a Bachelors degree in Fashion at Kyunghee University
and researched developing fiber materials at Yonsei University in Korea. She is interested in the relationship
between fashion and architecture.
Skin & Bones
In recent years, connections between fashion and architecture have become increasingly apparent. Many visual
and conceptual principles unite contemporary fashion and architecture. Some fashion designers are creating
architectonic garment using fabric, while many architects are looking to fashion and the techniques of tailoring
to achieve complex forms using hard materials. Both fashion and architecture are based on the human body
and on ideas of space, volume, and movement. Fashion designers and architects share similar techniques
of construction, including pinning, darting, folding, wrapping, and draping. Among these methods, I was interested
in wrapping, because the outside shape is totally dependent on inner structure (bone). The innate property of bones
can be expressed to the fabric. At the same time, according to colors, texture, ways to seam, and ways to wrap,
final results present diverse expressions. I want to show lots of spatial possibilities by stacking simply cut blocks
and wrapping by fabric. This experiment creates interesting object and space in terms of architecture and garment
design by simple fabrication. The most basic and important element in fashion and in architecture is the function
of the skin. The skin or wrapping for the body (a mediating layer between the body and the environment)
expresses personal, social, and cultural identity.
I focused on meaning of skin and want to make new generating skin and its space. By utilizing blocks covered in fabric,
Skin & Bones explores how space is constantly changing. Each shaped block represents the skeletal bone. These shapes,
triangle, circle, or rectangle, are stacked similarly to the bones that make up the body. The way of stacking defines
the final shape of the sculpture, which is then stretched with a fabric, representing the skin on top of the bone.
These site-specific landscapes reconstruct the space by using large angular shapes and stretched fabric.
Each piece has its own form through the process of stacking, draping, and cutting.
This work provides a new experience for viewers once their own bodies are in the space of the Skin & Bones landscape.