舞台表演服饰的超越——论韩国“打歌舞台”造型中的“衣重构”现象  

Transcendence of the stage performance of the costumes:On the phenomenon of“clothing reconstruction”in the“singing stage”

作　　者：许岚舒 XU Lanshu(Beijing Institute of Fashion Technology,Beijing 100020,China)

机构地区：[1]北京服装学院,北京100020

出　　处：《染整技术》2023年第8期64-68,共5页Textile Dyeing and Finishing Journal

摘　　要：韩国“打歌舞台”作为韩国唱跳组合型艺人打歌最常见的方式,是“韩流”文化的重要组成部分。通过“打歌舞台”的放送,全球观众可以接收到不同韩国艺人组合的表演、服饰造型等视觉信息。艺人的打歌服饰造型也成了韩国流行时装文化的符号之一。近年来,在这些“打歌舞台”的服饰造型中,出现了“衣重构”现象。以运用了较多“衣重构”服饰改造手法的韩国新生代女子唱跳组合为例,在服饰设计、韩国流行音乐文化、流行服饰文化等研究视角下,将“衣重构”现象分成衣加、衣减、衣变3类。对这些“衣重构”现象和新型穿戴方式进行举例和分析,观察其在艺人造型、舞台表演中的作用,从而探讨这些服饰造型产生的否定、批判、突破与超越。Korean“singing stages”,as the most common way to promote a new song,is an important part of the“Korean wave”culture.Through the“singing stages”,the global audience can receive the performance,costume models and other visual information of different Korean artist groups.The singing costumes of artists have become one of the sym⁃bols of Korean popular fashion culture.In recent years,in the clothing dress of these“singing stages”,there is a phenome⁃non of“clothing reconstruction”.Taking the example of the new generation of Korean women’s singing and dancing groups that have used a lot of“clothing reconstruction”clothing transformation techniques,from the perspectives of clothing de⁃sign,Korean pop music culture,and popular costume culture,the phenomenon of“clothing reconstruction”is divided into three categories:clothing addition,clothing reduction,and clothing transformation.Give examples and analyze the phenome⁃non of“clothing reconstruction”and new ways of wearing,observe their role in artist styling and stage performances,and explore the negation,criticism,breakthrough,and transcendence of these costume models.

关 键 词：韩流 打歌舞台 服饰造型 服饰改造 

分 类 号：TS941.7[轻工技术与工程—服装设计与工程]