데페이즈망 개념을 통해 본 샤넬 패션쇼 공간디자인 특성 연구

Abstract

(Background and Purpose) Luxury brand Chanel is a prestigious fashion house that is gaining attention in various fields. In particular, it stimulates the public's desire to own and belong by expressing an unrivaled identity through high-end fashion shows. Chanel's fashion shows, which use distancing strategies to create heterogeneous situations, are linked to the concept of dépaysement, a method for expressing surrealism. Thus, the purpose of this study was to derive the characteristics of Chanel fashion using a spatial design. The principle of the concept of depth is thought to serve as an effective medium for deriving the expressive characteristics of Chanel fashion shows’ spatial design because it evokes existing ideas using methods that generate unusual and visual shocks. (Method) This research first examined the concept through a theoretical analysis of dépaysement and derived the characteristics of expressions based on the use of depth in the art field. Subsequently, after grasping the design strategy through the value and identity of the brand Chanel, it analyzed the spatial designs of Chanel's fashion shows based on this. Finally, the spatial design expression characteristics of Chanel fashion shows were derived by linking the keywords extracted through case analysis with the expression characteristics of the previously derived dépaysement. In addition, the language was systematized by organizing the derived expression characteristics according to specific spatial cases of Chanel. (Results) The characteristics of Chanel fashion shows’ spatial design was derived and systematized by connecting the derived expression characteristics of dépaysement and Chanel's spatial keywords. The four characteristics of this were: first, “an unfamiliar stimulus of similar natural creation,” which refers to the difference in imitation through an attempt to project the brand's values in the process of reproducing the image of nature. Second, the realization of a “potential fantasy system” that evokes the ventilation of unconsciousness by creating a fictional reality and exposing it to new stimuli. Third, the “coexistence and immersion of contradictory relationships” that heterogeneously combine objects within the daily range and place them in one scene to induce fresh immersion. Fourth, it was organized as a “simultaneous occurrence of infinite expansion,” which destroyed the absolute concept by expressing time and space at different dimensions as a simultaneous concept. (Conclusions) Chanel fashion shows, which were seen through dépaysement, forcibly invade the unconscious world through the shock of the destruction of the audience’s common sense. Thus, a worldview is established that overthrows the thinking system by invigorating fixed views. It is hoped that the potential of the spatial design employed in Chanel fashion shows will present another direction in the spatial design field that induces new experiences and unfamiliar stimuli in the future and develops into a creative methodology.