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題名:影響服裝設計師創意靈感之因素--以「三宅一生」習慣領域解析為例
書刊名:習慣領域期刊
作者:張翠園 引用關係蕭進益
作者(外文):Chang, Tsui-yuanShiau, J. Y.
出版日期:2009
卷期:1:1
頁次:頁119-136
主題關鍵詞:設計靈感習慣領域三宅一生時尚Inspiration of designHabitual domainsIssey MiyakeFashion
原始連結:連回原系統網址new window
相關次數:
  • 被引用次數被引用次數:期刊(16) 博士論文(0) 專書(0) 專書論文(4)
  • 排除自我引用排除自我引用:16
  • 共同引用共同引用:10
  • 點閱點閱:25
被譽為「當代最偉大的服裝創造家」三宅一生(Issey Miyake),以「Pleats Please」聞名於全球時尚舞台。三宅一生的設計風格「簡單」、「創新」、「實用」,他跳脫時下的流行走向,重新找尋服裝生命力的源頭,創作焦點集中於人體本身,讓穿衣變成一種有趣、且富詩意的幽默行為,他的作品「看似無形」卻「疏」而不散,藉由玄奧東方文化的抒發,賦與作品神奇的魅力。本文採用個案研究法,蒐集歸納三宅一生的相關文獻資料,再以習慣領域理論架構解析,從而瞭解其豐富之習慣領域。由本研究得知,影響三宅一生的人生哲學以及造就他成功的「核心電網信念」為:「無價之寶」、「萬事助長」與「全力知行」。而影響三宅一生創意靈感的因素可分為:內在因素與外在因素兩大類,其中內在因素的影響大於外在因素。三宅一生深諳「低深、空無」原理,藉由「靜坐」幻化出以「形」傳「神」,創造出民族文化與時尚潮流完美融合的典範。他引領時尚與時代脈動結合的獨創性設計,遠遠超出「時代」與「時裝」的界線。三宅一生充分善用習慣領域的腦、心運作構想、人類行為的通性,積極擴展自己的習慣領域,成為一位值得後輩學習的時尚哲學大師。
Issey Miyake is one of the most innovative fashion designers, today. His “Pleats Please” clothing line is well known in the fashion world. The Miyake’s design style is an exhibit of simplicity, creativity, and practicality. He escaped from following the fashion trend and re-searched for the origin of clothing’s vitality. Through his explorations of the relationship between the body and its coverings, dressing becomes a fun, poetic, and humorous behavior. Issey Miyake’s works seem intangible, but sparse and not dispersed. It is this mysterious oriental culture’s expression that gives the magical charm of his works. This study uses a case study method, gathers references, and applies the theory of Habitual Domains to analyze the rich habitual thinking of Issey Miyake. This research identifies that core empowering operators for Issey Miyake’s design philosophy and success are treating everyone as a priceless living entity; understanding there are reasons for everything that occurs; and having the enthusiasm and confidence to accomplish mission. The source of his inspiration and creativity was influenced mostly by internal factors and least by external factors. Issey Miyake understood that deep down and voids principle. Utilizing the meditation to illustrate vivid forms of image, he developed the perfect example of the integration of culture and fashion. The unique and creative design led by him is far beyond the boundary of "time" and "fashion". He was able to take full advantage of habitual domains to nurture mind and body, and to enrich human behavior. He thus became a charismatic mater of fashion design and philosophy, that is worthy for younger generation to follow.
期刊論文
1.Tijus, C. A.(1988)。Cognitive processes in artistic creation: Toward the realization of a creative machine。Leonardo,21,167-172。  new window
學位論文
1.張翠園(2007)。台灣服裝設計師的時尚密碼--服裝設計模式之研究(碩士論文)。國立臺灣科技大學。  延伸查詢new window
圖書
1.張小虹(2007)。穿衣與不穿衣的城市。臺北:聯合文學。  延伸查詢new window
2.郭韻琴等(2001)。全球80大頂尖設計師流行紀事。台北:紡拓會設計中心。  延伸查詢new window
3.游伯龍(1991)。智慧新境。台北市:財團法人洪建全教育文化基金會。  延伸查詢new window
4.游伯龍(1998)。你是大贏家:習慣領域的應用。台北:洪建全基金會。  延伸查詢new window
5.辜振豐(2004)。時尚考--流行知識的歷史秘密。台北:果實。new window  延伸查詢new window
6.Winner, E.(1982)。Invented worlds: The psychology of the arts。Cambridge, Mass.:New York:Harvard University Press:Baker & Taylor Books。  new window
7.游伯龍(1998)。HD:習慣領域--IQ和EQ沒談的人性軟體。臺北市:時報文化出版企業股份有限公司。  延伸查詢new window
8.游伯龍(2002)。你被壓力壓扁了嗎?:習慣領域助你排憂解難。臺北市:時報文化出版企業股份有限公司。  延伸查詢new window
9.Fiore, A. M.、Kimle, P. A.(1997)。Understanding aesthetics for the merchandising and design professional。Bloomsbury-Fairchild Books。  new window
10.Archer, L.B.(1984)。Systematic methods for designers。Developments in design methodology。New York。  new window
 
 
 
 
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