http://blog.naver.com/leakxx/10105895177
한국 디자인의 조용한 힘을 보여주고 있는 학교가 있다. 얼마 전 독일 iF(International Forum)의 Design Concept Award 부문에서 다섯 점의 수상작을 내며 그 저력을 과시한 SADI(Samsung Art & Design Institute)가 바로 그 곳. 전문 디자인 학교로 시작한 SADI는 2010년 석사과정(SADI MDes) 1기를 모집하며 한국 디자인 교육의 새로운 물꼬를 트고 있다. 총 3학기로 진행되는 SADI의 석사과정에서 인상적인 것은 여러모로 독특한 학제이다. 1학기는 영국 웨일즈에 위치한 UWIC에서 디자인연구방법론을 학습하고 나머지 두 학기는 SADI에서 강의 및 세미나와 함께 개인 또는 그룹 프로젝트 중심의 연구를 진행하게 된다고. 얼마 전 영국에서의 한 학기를 보내고 돌아온 SADI MDes의 네 명의 멤버를 만나보았다.
에디터 | 이은정(ejlee@jungle.co.kr)
Jungle : 각자 자기 소개를 부탁한다.
김민지(이하 민지)_ 2005년도에 프랑스로 가서 불어학과 현대미술을 전공했다. 2학년 때 디자인전공으로 편입해서 2010년 여름에 졸업했고 인턴을 조금 하다가 영국으로 갔다. SADI MDes 프로그램은 지인을 통해 알게 되었다.
임혜민(이하 혜민)_ SADI로 편입해서 프로덕트 디자인으로 졸업을 했다. 그 이후 10월부터 이 프로그램에 참여하게 되었다.
박해신(이하 해신)_ 계명대학교에서 산업디자인을 전공하고 친구를 통해 SADI를 알게 되었다. 이후 석사과정이 있다는 것을 알고 참여하게 되었다.
김지연(이하 지연)_ 대학에서 일본어를 전공했고, 디자인을 너무 하고 싶어서 SADI 프로덕트 디자인과에 입학했다. 3학년 1학기까지 다니다가 이 과정이 처음 생긴 것을 알고 바로 석사를 시작했다.
Jungle : 많은 디자인 교육기관이 있는데 굳이 SADI를 선택했는지가 궁금하다.
혜민_ 고등학교 때부터 알게 되었다. 입시미술을 준비할 때. 그때부터 관심 있게 봤다.
Jungle : 어떤 부분이 관심을 끌었나?
혜민_ 가장 큰 요소는 삼성이 학교의 모체라는 것이었다. 학생들도 진짜 열심히 한다고 들었고. 미국이나 영국, 예를 들어 파슨스 같은 학교와 연계 프로그램이 있다는 얘기를 들었는데 이후에 그 학교로 편입도 할 수 있다라는 점이 매력적이었다.
해신_ 아는 언니가 수학교육과를 졸업했다. 쉽게 말해 디자인 베이스가 없는 사람이었는데 이 곳 시각디자인과에 진학하고 뉴욕 파슨스디자인스쿨에서 유학을 했다. 이후에도 미국에서 좋은 회사를 구해서 일하고 있고. 지인으로부터 얘기를 들으면서 자연스럽게 SADI를 품게 된 것 같다.
Jungle : 석사과정의 첫 학기는 어떻게 보냈나?
지연_ 영국 웨일즈의 카디프에서 함께 공부했다. 그 곳은 아트와 디자인을 함께 가르치기 때문에 상당히 자유분방하다. 디자인을 공부하면서 자연스럽게 고려하게 되는 상업적인 부분보다는 디자이너가 가져야 할 철학을 중점적으로 가르친다.
Jungle : 얼마 전에 디자인을 전공하는 학생들을 인터뷰했었다. 아쉬운 점은 그들이 만들어내는 결과물에 비해 스스로의 철학이 좀 부족하다는 점이었다. 누군가의 가르침을 받는다고 해서 그게 끝이 아니라 그 이상의 무언가가 있어야 한다는 생각을 하게 되었다. 작업을 하면서 각자마다 스스로를 발전시키는 플러스 알파의 요인을 가지고 있을 것이라고 생각한다.
해신_ 아이디어가 떠오르면 혼자서 발전시키기도 하지만 사람들에게 많이 물어보는 편이다. 그럼 내가 생각하지 못했던 대안들이 나온다. 그래도 너무 아이디어가 안 떠오르면 눈 앞에 놓인 것들 것 많이 관찰하며 계속적으로 키워드를 빼낸다.
민지_ 평소에 노트를 많이 하는 편이다. 사용자로서 제품을 사용할 때 불편했던 것들이나 발전시키면 좋은 아이디어가 될 수 있을 거라고 생각하는 것들을 적어보는 것을 좋아한다. 한국에 들어와서 아이폰을 샀다. 3주 간 아이폰을 쓰면서 불편했던 점, 배드디자인이라고 생각하는 점들을 메모해보았다. 그런 요소들을 개선할 수 있도록. 또한 프로젝트를 진행할 때는 일부러 하나를 더 만들어서 동시에 두 개를 진행한다. 그러면 두 개가 서로에게 도움을 준다. 시각을 새롭게 만드는 역할 같은 것을 하는 것 같다.
Jungle : 부지런한 것 같다.
혜민_ 제품 디자이너로서 나의 가치관 중 하나는 세상에 굿디자인은 많지만 퍼펙트한 디자인은 없다는 것이다. 새로운 제품이 나오는 이유는 점점 더 사람에게 맞춰진 디자인을 만들기 위해서이고. 개선될 수 있는 방향이 있는데 많은 사람들이 제품에 맞춰서 살아가는 것 같다. 디자인을 하는 사람으로서 사람들의 무의식을 일부러 의식하려고 노력하는 편이다.
Jungle : 난 모든 디자인에 잘 적응을 하는 편이다. 그래서 디자이너가 될 수 없나 보다(웃음).
혜민_ 예를 들어 비디오를 작동시키며 능숙치 않을 때는 보통 자기 탓을 한다. 그런데 사실 생각해보면 디자이너가 리모콘을 잘못 만든 거다.
Jungle : 불편함을 간과하지 않는?
혜민_ 그게 본질이다.
지연_ 책을 많이 읽는 편이다. 습관적으로 책을 읽을 때 좋아하는 문구를 눈 여겨 본다. 그런 습관들이 디자인할 때 무의식적으로 적용된다. 책을 많이 보고 미술관 가서 그림도 많이 보고… 영국에서도 많이 보러 다녔다.
Jungle : SADI에서 가장 도움되거나 인상적인 커리큘럼이 있다면 무엇인가?
혜민_ 다른 학교를 다니다가 편입했다. 그 전에 공부했던 디자인은 그다지 이론적이지도, 실용적이지도 않았는데 이 곳에서 가장 인상적이었던 것은 실전에 특화된 커리큘럼이었다.
지연_ 창의적이고 예술적인 일을 하고 싶었다. SADI에서는 내가 안으로 쌓아둔 것들을 바깥으로 표현하는 방법을 다양하게 알려주었다. 그런 것들이 너무 좋았다. 3학년 때 인턴을 나갔는데 SADI에서 배운 것을 그대로 사용할 수 있었다.
민지_ 고등학교 때부터 미술을 했고 유학 가서는 사진, 유화, 퍼포먼스, 비디오 등 다양한 예술적인 기초를 배웠다. 파리에서 디자인학교에 진학해서는 실용적인 커리큘럼을 많이 배운 편이다. SADI 석사과정 첫 학기 때 영국에서 한 수업은 디자이너로서 진지하게 고민해야 하는 부분을 심화시키는 과정이었다. 나중에는 이 이론이 디자인에만 적용되는 것이 아니라 철학적으로 넓은 베이스를 심는 과정이라는 것을 알게 되었다. 그간 모르고 지나갔던 것을 다 짚어볼 수 있었다. 이런 기회를 나중에 다시 못 얻을 것 같다는 생각을 했다.
해신_ 학부 때는 디자이너니까 조금 더 크리에이티브해야 한다는 압박감이 있었다. 지금은 그냥 깊게 공부하는 시기라는 생각이 든다.
Jungle : 영국에서 생활하며 가장 기억에 남는 일이 있다면?
지연_ 영국이 우리나라랑 달랐던 점이 시야에 뭔가 걸리지 않는다는 점이다. 정말 넓다. 그 곳의 숲이 변하는 풍경은 정말 아름다웠다. 그래서 더 많이 걸었던 기억이 난다. 그 곳의 학교는 토, 일은 아예 건물 문을 열지 않는다. 프로젝트를 진행하며 열리지도 않은 건물 앞에 서서 서로 해온 것들을 보여주고 그랬던 것이 기억난다. 열정에 휩싸였던 시간들. 그곳 친구들이 우리에게 한국 걸들은 정말 씩씩한 것 같다고 이야기하곤 했다.
해신_ 기숙사가 너무 재미 있었다. 난 원래 혼자 사는 걸 좋아하는 줄 알았는데 알고 보니 기숙사가 체질이더라. 그 곳에서 홍콩이랑 말레이시아에서 온 친구들이랑 친해졌다. 밤이면 무비나잇이라고 함께 영화 보는 시간도 가지고 할로윈이나 크리스마스에도 분장하고 함께 게임하고 그랬던 것이 너무 즐거웠다. 바쁜 가운데서 좋은 추억을 많이 만들었다. 언어나 문화가 다르면 통하기 힘들 것이라고 생각했는데 전혀 그렇지 않더라.
혜민_ 길거리를 지나다가 5, 60대 정도 되는 아저씨랑 10대 청년이랑 싸우는 걸 봤다. 그게 인상적이었다. 유교사상에서 비롯된 나의 인생에 비춰 봤을 때는 어른이라 참아야 한다는 생각이 지배적인데 이 사람들은 그런 것이 없더라. 인간 대 인간으로 살아간다는 느낌이었다.
민지_ 교수님 중에 클라이브 교수님라는 분이 계셨다. 중후하시고 말씀도 느릿느릿하고 진지한 분이다. 한 학기 동안 두 번인가 세 번인가 프로젝트 발표를 했는데 끝나면 꼭 술을 사주셨다. ‘Let’s talk, Let’s Party.’ 이렇게 쑥스러워 하시면서 학생들을 모으신다. 함께 술을 마시면서 발표 때는 하지 못했던 얘기들을 쉽게 이야기할 수 있었다. 그 시간에 더 중요한 얘기를 했던 것 같다.
Jungle : 앞으로 어떤 디자인들을 하고 싶은지?
지연_ 사람들의 미래 생활에 관심이 많다. 현재 만들어 낼 수 있는 제품보다는 앞으로의 트렌드나 라이프 스타일 자체를 디자인하고 이야깃거리를 만들어낼 수 있는 디자이너가 되고 싶다.
해신_ 기술이 발달할수록 사람들이 편리한 것만 찾는 것 같다. 버튼 하나로 해결되는 디자인보다는 사람을 활기차게 만드는 제품이나 시스템을 디자인하고 싶다.
혜민_ 평생 디자인을 하는 사람이 되고 싶다. 예전에는 제품의 문제점을 발견했을 때 그 솔루션을 늘 제품으로 한정했었다. 하지만 이제는 그 문제점을 제품을 넘어 무형의 어떤 것으로 확장시키는, 크리에이티브 솔루션을 만들어내는 디자이너가 되고 싶다.
민지_ 문화와 항상 링크가 되어 있는 디자인을 하고 싶다. 파리에서 했던 졸업작품 역시 특정 문화공간을 대상으로 한 디자인이었다. 디자이너로서 문화를 리드할 수 있는, 삶의 질을 높이는 디자인을 하고 싶다.
출처 : 디자인정글
http://magazine.jungle.co.kr/cat_magazine_special/detail_view.asp?master_idx=149&pagenum=1&temptype=5&page=1&code=&menu_idx=303&main_menu_idx=2&sub_menu_idx=26&all_flag=1
2011. 3. 24.
2011. 3. 23.
2011. 3. 21.
on the Computer Arts web site
Shoot a stunning 3D set design
Shotopop explains how creative photography can make or break tactile illustration work, muddling the boundaries between creative disciplines
Tactile illustration essentially involves capturing a real-life three-dimensional space as a 2D image.
You will need to play composer and sound engineer in this orchestra, formulating and devising the arrangement as well as recording the output in as pleasing a fashion as possible. In a world that’s so technologically reliant, it can be really refreshing to revert to traditional methods of construction and image-making (of course, technology will still come into play: after all, it is there to streamline our workflow). Remember though that real tools, unlike the ones in Photoshop and Illustrator, can actually hurt you, so be careful.
Here we’ll explain how we created this scene, paying particular attention to the role that photography plays in the process. When viewed from a specific angle, the image is divided horizontally into two defined colour spaces (red and blue), but as you can see in the image on the right, this is an optical illusion.
Skills
Construct an engaging set design
Use lighting to maximum effect
Work with experimental camera angles
Retouch your shots in Photoshop
01 A good place to start is with a brainstorm, followed by a rough sketch. This doesn’t have to define the exact layout, but will be useful for figuring out what elements you want to build, and how the whole thing will work in a three-dimensional space. We came up with the concept of splitting the illustration into two defined colour spaces (red and blue), created with an optical illusion using angles and camera positioning.
02 Decide which materials you want to use for construction; these could range from coloured cardboard to acetate to foamboard, depending on the desired effect. You’ll also need the basic craft tools for construction, such as a cutting mat, scalpel, scissors, glue, tape and a metal ruler. We chose to build this illustration out of bright red and kingfisher blue card – quite thick – which is easy to cut but supportive enough to take the weight of the different elements.
03 If you have complex elements, it can help to do a test build. This is also a good way to get the scale right and to figure out measurements. It might require a bit of trial and error, but will be useful later in creating slick objects that don’t require many alterations in post-production. This process will also help you to know whether you need to build additional supports.
04 Once you’ve made your tests you can take them apart and build precise patterns in Illustrator or Photoshop. You might want to scan in the flattened test to trace. It’s a good idea to use the rulers in either of these programs to make sure your patterns are precise. When making your pattern, use a very thin hairline, as this will help you fold more precisely.
05 Print out the pattern onto cheap paper and cut it out neatly. Now get your coloured card and trace the pattern with a light pencil. Try to make as few marks as possible so you don’t have to erase too much later. Cut the shape out with a scalpel or craft knife, making sure you don’t cut off any marks that show where to fold.
06 Using a ruler, push the paper up along the edge to make neat, sharp folds. If the card is quite thick it might be necessary to score the card first, by running a blade lightly over the fold line. Remember that you should score on the side that makes the outer edge of the fold, and be careful not to cut all the way through.
07 Glue flaps are very important elements of any three-dimensional build. They are generally quite easy to control on straight edges and you just need to remember to cut the sides at angles; if you’re making a curve, however, the smaller the sections you make, the smoother the curve will come out. Be patient, as this can be a painstakingly slow process.
08 Now set up your space to photograph. We stuck a blue piece of card on a wall with tape and laid a red piece of card on a horizontal surface so that the two coloured surfaces touch to make a right-angled corner. We often build our sets on an infinity curve, but given the sharp horizontal angles we were working with, this particular project required a specific solution to suit its environment.
09 Because this specific tactile piece relies very heavily on the angle of the camera, the next step was to set the camera up on a tripod in such a way that the corner between the two colours intersects the viewfinder exactly in the centre. We used a reasonably high angle.
10 Now it’s time to play set designer. Use all the elements you have built, and dress your set. We had to do this while we were building because the concept required us to split certain elements into two colours, and to align elements in the set relative to the camera’s position. The camera essentially becomes your eyes in this step, because the positioning needs to correspond to the camera angle.
11 Build all the elements in their base colour first: here, we’re starting with red. Add them to your composition, have a look through the camera, and then re-make their top parts with blue. Now you have to position them at exactly the right spot and angle for the red/blue divide to be a perfectly straight line – this will take a fair bit of trial and error, so take your time.
12 Add atmosphere and dimension with lighting. This is a key point in significantly increasing the value of your shot. Lay out your light sources and craft the way in which light and shadow fall on your elements to enhance them. You also want to make sure that the lighting doesn’t flatten out the elements; you want to enhance their three-dimensionality.
13 Before taking the photo, you have to play around with the setting to find the right balance on your camera settings. Start by setting your aperture. There is a simple relation between aperture and depth of field: the smaller the aperture, the more extensive the depth of field. So if your camera is close to the composition, you’ll probably want a smaller aperture to keep the whole image in focus.
14 Adjust the shutter speed to get the exposure right. The slower the speed, the more exposed (brighter) your pic will be; faster shutter speeds will give darker images. The slower you go, the more chance you have of shaking the camera however, and if you’re going for really slow (or have a wonky tripod), you might want to put a two-second time delay on the shutter release to aid stability.
15 Open your photo in Photoshop. To ensure that the image is perfectly straight, select the Ruler tool (I, or Shift+I to cycle between the Eyedropper, Sampler and Ruler). Then click-and-drag a line along a horizontal edge in the photograph, and rotate the canvas as necessary (Image>Rotate Canvas>Arbitrary) to match up the line. This will rotate your image and widen your canvas so that no cropping occurs.
16 Recompose the image by using the Crop tool (C), or if you need a specific size output, adjust the Canvas Size (Ctrl/Cmnd+Alt/Opt+C). For this option ensure the layer isn’t locked before resizing, to avoid deleting parts of the image. Photoshop will warn you that clipping may occur, but it is OK to proceed. You can now move your image layer around to get the desired framing.
17 Retouch any blemishes using the Clone Stamp tool (S). First create a new layer, ensure that Current and Below are both selected in the Sample drop-down in the Options bar, and select a brush size. Use Alt/Opt-click to sample an area to use as your reference point, and then click and draw where you want the cloning to appear. We’ve removed some tape that was holding together some of the construction, for instance.
18 Your image might also need some colour correction to finish the project. Due to the distinct colour separations here, it was necessary to adjust the red as this area came out tonally darker than the blue area. Using the Lasso tool (L), make a selection around the area you want to adjust. Add a Levels adjustment layer, and alter the mid-tones to lighten the selection. That’s it – you’re done.
Shotopop
A proud purveyor of both tactile and digital illustration, London-based studio Shotopop designs for print, interactive media, motion graphics and everything that comes before, in between and after. www.shotopop.com
You will need to play composer and sound engineer in this orchestra, formulating and devising the arrangement as well as recording the output in as pleasing a fashion as possible. In a world that’s so technologically reliant, it can be really refreshing to revert to traditional methods of construction and image-making (of course, technology will still come into play: after all, it is there to streamline our workflow). Remember though that real tools, unlike the ones in Photoshop and Illustrator, can actually hurt you, so be careful.
Here we’ll explain how we created this scene, paying particular attention to the role that photography plays in the process. When viewed from a specific angle, the image is divided horizontally into two defined colour spaces (red and blue), but as you can see in the image on the right, this is an optical illusion.
Skills
Construct an engaging set design
Use lighting to maximum effect
Work with experimental camera angles
Retouch your shots in Photoshop
01 A good place to start is with a brainstorm, followed by a rough sketch. This doesn’t have to define the exact layout, but will be useful for figuring out what elements you want to build, and how the whole thing will work in a three-dimensional space. We came up with the concept of splitting the illustration into two defined colour spaces (red and blue), created with an optical illusion using angles and camera positioning.
02 Decide which materials you want to use for construction; these could range from coloured cardboard to acetate to foamboard, depending on the desired effect. You’ll also need the basic craft tools for construction, such as a cutting mat, scalpel, scissors, glue, tape and a metal ruler. We chose to build this illustration out of bright red and kingfisher blue card – quite thick – which is easy to cut but supportive enough to take the weight of the different elements.
03 If you have complex elements, it can help to do a test build. This is also a good way to get the scale right and to figure out measurements. It might require a bit of trial and error, but will be useful later in creating slick objects that don’t require many alterations in post-production. This process will also help you to know whether you need to build additional supports.
04 Once you’ve made your tests you can take them apart and build precise patterns in Illustrator or Photoshop. You might want to scan in the flattened test to trace. It’s a good idea to use the rulers in either of these programs to make sure your patterns are precise. When making your pattern, use a very thin hairline, as this will help you fold more precisely.
05 Print out the pattern onto cheap paper and cut it out neatly. Now get your coloured card and trace the pattern with a light pencil. Try to make as few marks as possible so you don’t have to erase too much later. Cut the shape out with a scalpel or craft knife, making sure you don’t cut off any marks that show where to fold.
06 Using a ruler, push the paper up along the edge to make neat, sharp folds. If the card is quite thick it might be necessary to score the card first, by running a blade lightly over the fold line. Remember that you should score on the side that makes the outer edge of the fold, and be careful not to cut all the way through.
07 Glue flaps are very important elements of any three-dimensional build. They are generally quite easy to control on straight edges and you just need to remember to cut the sides at angles; if you’re making a curve, however, the smaller the sections you make, the smoother the curve will come out. Be patient, as this can be a painstakingly slow process.
08 Now set up your space to photograph. We stuck a blue piece of card on a wall with tape and laid a red piece of card on a horizontal surface so that the two coloured surfaces touch to make a right-angled corner. We often build our sets on an infinity curve, but given the sharp horizontal angles we were working with, this particular project required a specific solution to suit its environment.
09 Because this specific tactile piece relies very heavily on the angle of the camera, the next step was to set the camera up on a tripod in such a way that the corner between the two colours intersects the viewfinder exactly in the centre. We used a reasonably high angle.
10 Now it’s time to play set designer. Use all the elements you have built, and dress your set. We had to do this while we were building because the concept required us to split certain elements into two colours, and to align elements in the set relative to the camera’s position. The camera essentially becomes your eyes in this step, because the positioning needs to correspond to the camera angle.
11 Build all the elements in their base colour first: here, we’re starting with red. Add them to your composition, have a look through the camera, and then re-make their top parts with blue. Now you have to position them at exactly the right spot and angle for the red/blue divide to be a perfectly straight line – this will take a fair bit of trial and error, so take your time.
12 Add atmosphere and dimension with lighting. This is a key point in significantly increasing the value of your shot. Lay out your light sources and craft the way in which light and shadow fall on your elements to enhance them. You also want to make sure that the lighting doesn’t flatten out the elements; you want to enhance their three-dimensionality.
13 Before taking the photo, you have to play around with the setting to find the right balance on your camera settings. Start by setting your aperture. There is a simple relation between aperture and depth of field: the smaller the aperture, the more extensive the depth of field. So if your camera is close to the composition, you’ll probably want a smaller aperture to keep the whole image in focus.
14 Adjust the shutter speed to get the exposure right. The slower the speed, the more exposed (brighter) your pic will be; faster shutter speeds will give darker images. The slower you go, the more chance you have of shaking the camera however, and if you’re going for really slow (or have a wonky tripod), you might want to put a two-second time delay on the shutter release to aid stability.
15 Open your photo in Photoshop. To ensure that the image is perfectly straight, select the Ruler tool (I, or Shift+I to cycle between the Eyedropper, Sampler and Ruler). Then click-and-drag a line along a horizontal edge in the photograph, and rotate the canvas as necessary (Image>Rotate Canvas>Arbitrary) to match up the line. This will rotate your image and widen your canvas so that no cropping occurs.
16 Recompose the image by using the Crop tool (C), or if you need a specific size output, adjust the Canvas Size (Ctrl/Cmnd+Alt/Opt+C). For this option ensure the layer isn’t locked before resizing, to avoid deleting parts of the image. Photoshop will warn you that clipping may occur, but it is OK to proceed. You can now move your image layer around to get the desired framing.
17 Retouch any blemishes using the Clone Stamp tool (S). First create a new layer, ensure that Current and Below are both selected in the Sample drop-down in the Options bar, and select a brush size. Use Alt/Opt-click to sample an area to use as your reference point, and then click and draw where you want the cloning to appear. We’ve removed some tape that was holding together some of the construction, for instance.
18 Your image might also need some colour correction to finish the project. Due to the distinct colour separations here, it was necessary to adjust the red as this area came out tonally darker than the blue area. Using the Lasso tool (L), make a selection around the area you want to adjust. Add a Levels adjustment layer, and alter the mid-tones to lighten the selection. That’s it – you’re done.
Shotopop
A proud purveyor of both tactile and digital illustration, London-based studio Shotopop designs for print, interactive media, motion graphics and everything that comes before, in between and after. www.shotopop.com
2011. 3. 19.
THE NORTH FACE _ news scrap _
제2의 교복 노스페이스 세계 2위된 사연
기사입력2011-03-18 15:47기사수정 2011-03-19 14:36
겨울이 되면 왼쪽가슴에 하얀 로고가 새겨진 검정색 오리털점퍼를 입은 무리들을 흔히 볼 수 있다.일명 ‘대한민국 교복’으로 불리는 노스페이스의 눕시 다운재킷이다.
눕시 재킷은 지난 1997년 처음 선보인 이후 매시즌마다 10만장 이상씩 꾸준히 팔리는 대표적인 ‘스테디셀러’ 제품.
이 재킷은 매시즌 출시 초반 매진된다. 똑같은 모양의 눕시 재킷을 입고 책상에 엎드려 있는 고등학교 교실 풍경이 인터넷에서 화제가 되기도 했다.
노스페이스 브랜드가 아웃도어 시장을 넘어 교실을 점령한 ‘사태’에 대해 이 회사는 의아해하고 있다.
눕시 재킷 블랙 제품의 경우 어두운 색상의 교복과 무난하게 잘 어울리고 다른 제품에 비해 비교적 저렴한 13만원대의 가격으로 학생들의 선호가 높다는 것이 회사측의 해석이다.
그러나 이 설명만으로 청소년들의 노스페이스에 대한 ‘충성’을 이해하기는 힘들다. 노스페이스 관계자조차 “10대들에게 이렇게 까지 인기를 끌고 있는 것이 오히려 의아하다”고 말할 정도다.
청소년을 위한 마케팅을 따로 한 것도 아니고 프로 산악인으로부터 검증받은 전문 브랜드가 패션의 유행이 돼 버렸기 때문이다.
그러나 대중성과 전문성의 괴리에서 오는, 바로 이 ‘역설’이 노스페이스의 인기를 설명하는 유일한 단서다.
노스페이스 관계자는 “노스페이스의 상품들은 기능성을 기반으로 하기 때문에 산악인으로부터 검증받는 제품”이라고 말했다.
아웃도어 시장에서 노스페이스는 ‘명품’ 반열에 올라 있는 전문 브랜드다. 제품가격도 상당히 고가이다. 바로 이 명품화된 브랜드에 대한 청소년의 선망과 자부심이 노스페이스의 대유행을 불러온 것으로 보인다.
교실에 불어닥친 노스페이이스 열풍은 아웃도어 시장에서 검증된 1위 브랜드의 파워가 청소년들의 구매력에 걸맞는 특정상품에 집중된 결과라는 것이 관련 업계의 분석이다. ‘노스페이스 교복화’ 현상의 진원지는 아웃도어 시장의 중심부에서 형성됐다는 얘기다.
최근 여가가 늘면서 국내 아웃도어 시장의 팽창과 함께 성인들의 노스페이스 구매도 눈에 띠게 늘었다.
올해 아웃도어 시장 규모는 3조원. 아웃도어 브랜드 대다수가 지난해와 비교해 20% 가까이 매출이 올랐다.
한국섬유산업연합회(KOFOTI)에 따르면 국내 아웃도어 시장규모는 지난 2005년 1조원, 2006년 1조2000억원, 2007년 1조5000억원, 2008년 1조 8000억원, 2009년 2조원, 2010년 3조원으로 가파르게 성장하고 있다.
국내 아웃도어 1위 브랜드는 단연 노스페이스다. 노스페이스는 지난 2009년 4500억원 매출을 뛰어 넘어 지난해 12월 5000억원을 달성했다.
불과 몇 년 전까지만해도 아웃도어업계의 주 타깃은 등산을 즐기는 40대 이상의 중년층이었다. 그러나 최근 캠핑, 바이크, 둘레길 등의 다양한 아웃도어 활동을 즐기는 젊은층이 늘면서 고객층이 다양해 졌다.
노스페이스는 등산 뿐 아니라 바이크, 클라이밍 등의 다양한 아웃도어 활동을 통해 젊은 고객을 유입해 성장에 날개를 달았다.
노스페이스 창업주 더그 톰킨스는 “노스페이스 제2의 시장이 바로 한국이다. 한국은 산지가 발달해 등산을 즐겨한다고 들었다. 아마 그 때문에 노스페이스가 사랑받는 것 같다”고 말했다.
/true@fnnews.com 김아름기자
2011. 3. 18.
2011. 3. 10.
Congratulation McQueen.
http://tmagazine.blogs.nytimes.com/2011/03/09/scorecard-alexander-mcqueen-wins-4/
Chanel
Designer: Karl Lagerfeld
Date and Location: Tuesday, Mar. 8, Couvent des Cordeliers, Grand Palais, avenue Wilson Churchill, 8e
Photos: slide show
Jean-Charles de Castelbajac
Designer: Jean-Charles de Castelbajac
Date and Location: Tuesday, Mar. 8, Pavillon Concorde, place de la Concorde, 8e
Photos: slide show
Designers: Pier Paolo Piccioli and Maria Grazia Chiuri
Date and Location: Tuesday, Mar. 8, Espace éphémère Tuileries, Jardin des Tuileries, 1er
Photos: slide show
Scorecard | Alexander McQueen Wins!
In the forests of fashion month’s dark, volcanic ash-strewn second to last night, the task at hand for two of of Paris’s most talented couture-level designers was whose collection would burn most bright. The critics’ conclusion? As Scorecard can tell you, it’s not quite black and white.
Alexander McQueen
Designer: Sarah Burton
Date and Location: Tuesday, Mar. 8, La Conciergerie, 1 quai de l’Horloge, 1er
Photos: slide show
Designer: Sarah Burton
Date and Location: Tuesday, Mar. 8, La Conciergerie, 1 quai de l’Horloge, 1er
Photos: slide show
- “A few days ago, it spread like wildfire that Sarah Burton … would be designing Kate Middleton’s wedding dress. Burton’s people emphatically denied it. Which is too bad, because she would have been an amazing choice from the look of the snowy white dresses in her fall collection.” (All The Rage)
- “The collection won among the strongest reactions of any of this season’s Paris shows, with the audience hooting, cheering and whistling its enthusiastic approval as Burton ducked out for a bow.” (AP)
- “Doing the late designer proud, Burton carved her own path yesterday with a collection appropriately named ‘The Ice Queen and Her Court.’” (Catwalk Queen)
- “Regardless of Middleton’s decision, Burton’s collection was certainly fit for a queen.” (Daily Front Row)
- “There is no doubt the stunning pieces are fit for a queen.” (The Daily Mail)
- “Her collection for autumn/winter 2011 bore all the hallmarks of a royal appointment.” (The Daily Telegraph)
- “Those white gowns with acres of tulle and miles of train … were exquisite, that nobody can deny. And the remainder (and bulk) of the collection was too.” (ELLEuk.com)
- “The show was anything but stark; making up for lack of color was a collection filled with incredible texture and structure.” (FabSugar)
- “An inspiring, frequently thrilling, display of rarefied fashion, more haute couture than ready-to-wear, and containing moments of rather exquisite elegance and hyper-charged beauty — just like McQueen at his best.” (Fashion Wire Daily)
- “Icy may have been the theme, but this collection was white hot and tender enough to melt our hearts.” (FashionEtc.com)
- “A collection that was nothing short of a moment of magic.” (Grazia)
- “The mischievousness and irreverence that was a part of McQueen’s soul lives on at the label.” (The Guardian)
- “Sarah Burton just had her first tour de force for Alexander McQueen.” (Heard on the Runway)
- “Finely wrought clothing that was as inspired as it was empowering.” (The Independent)
- “She seems determined to affirm the spirit of her former creative boss.” (International Herald Tribune)
- “McQueen drama at its very finest.” (SHOWstudio.com)
- “What this all boiled down to was Burton skimming off the top of her vast reconceptualization of the house aesthetic to produce three dozen couture pieces reflecting that aesthetic at its purest. Literally. As in white-light burning bright.” (Style.com)
- “Burton’s collection was faithful to McQueen’s aesthetic, but it was intrinsically softer and lighter and very much designed with a woman’s sensitivity to how clothes feel.” (Vogue.com)
- “About the reality of brilliantly constructed, beautiful clothes.” (Vogue.com UK)
- “Burton did herself and the rarefied Alexander McQueen ethos proud with an exquisite collection…… As for the evening gowns, the word breathtaking understates the reality.” (WWD)
Designer: Karl Lagerfeld
Date and Location: Tuesday, Mar. 8, Couvent des Cordeliers, Grand Palais, avenue Wilson Churchill, 8e
Photos: slide show
- “Tomboyish.” (AFP)
- “[A] glam grunge collection.” (All The Rage)
- “The mod-vibed clothes failed to electrify.” (AP)
- “All about going over to the dark side.” (Catwalk Queen)
- “Looks were over-sized, slightly mix-matched with clunky details.” (Daily Front Row)
- “The parade of post-punk trouser suits and wide-cut jackets in charcoal tweed, designed by Karl Lagerfeld, were a far cry from the pretty pastel skirts and snug tweed women worldwide lust over.” (The Daily Mail)
- “The look was tough and strong and as black as coal.” (The Daily Telegraph)
- “The hard edge was still inherently pretty.” (ELLEuk.com)
- “In a fall 2011 fashion season of runways drenched in color, leave it to Karl Lagerfeld to stage a coal dust black collection for Chanel.” (Fashion Wire Daily)
- “Krakatoa Chic — only Chanel could get away with it.” (FashionEtc.com)
- “Call these looks grunge if you will. But … Mr. Lagerfeld always has his feet firmly on the ground and this Chanel fall show resonates because the collection speaks volume to a new generation.” (Fashionista)
- “Only Karl could make a fabulous fashion statement out of a crisis.” (Grazia)
- “At Chanel, even gloom can be chic.” (The Guardian)
- “It was as though he was urging us to relax about Chanel — wear it to the farmer’s market, wear it to … school. Go ahead and toss on a fun Chanel cape and leggings.” (Heard on the Runway)
- “It was a somber, but perhaps visionary, Chanel show from Mr. Lagerfeld, who seemed to have captured more powerfully than any other designer this turbulent, unsettling fashion moment.” (International Herald Tribune)
- “A strikingly dark, tough collection of layered pieces with medieval overtones.” (The New York Times)
- “Distinctly more somber.” (Reuters)
- “The black of that catwalk reflects the black of Chanel’s bank-balance.” (SHOWstudio.com)
- “The dramatic setting and Michel Gaubert’s thundering orchestral revision of the Cure’s seminal goth classic ‘A Forest’ were matched by Lagerfeld’s designs.” (Style.com)
- “Like the sort of things that doomed children or heroines in an especially Grimm fairy tale might wear, … these powerful looks are not for the faint of heart.” (Vogue.com)
- “Fire and brimstone, boiler suits and biker boots on the Chanel catwalk this morning — it’s International Women’s Day and Karl Lagerfeld is taking no risks — he wants us armed and ready for anything.” (Vogue.com UK)
- “What price Armageddon?” (WWD)
Jean-Charles de Castelbajac
Designer: Jean-Charles de Castelbajac
Date and Location: Tuesday, Mar. 8, Pavillon Concorde, place de la Concorde, 8e
Photos: slide show
- “A characteristically visual outing” (AFP)
- “When the most surreal of French designers looks to Surrealist photographer Man Ray for inspiration, you expect the meeting of these wildly creative minds would result in some explosively inventive alchemy. But oddly, the collection fizzled.” (AP)
- “Come to think of it, putting the artist’s famous … photographs on dresses might be a pretty efficient way to practice art history these days. Get Katy Perry, who was sitting in the front row, to sport one and it could very well go viral.” (Style.com)
- “Anyone expecting a wild surrealist romp, given Jean-Charles de Castelbajac’s Man Ray inspiration, was in for a surprise. The designer kept to a decidedly commercial tack.” (WWD)
Designers: Pier Paolo Piccioli and Maria Grazia Chiuri
Date and Location: Tuesday, Mar. 8, Espace éphémère Tuileries, Jardin des Tuileries, 1er
Photos: slide show
- “Pier Paolo Piccioli and Maria Grazia Chiuri played down the label’s signature ruffled dresses and played up leather.” (AFP)
- “The new design team at Valentino forged ahead on their own path that took them away from the label’s traditional stalking grounds — the red carpet — and toward a younger, lower-key place.” (AP)
- “The pretty slew of nude, pink and aubergine looks reflected Valentino’s quiet, always ladylike style tug-of-war between ethereal and edgy.” (Daily Front Row)
- “This new Valentino girl: iconic, flawless and otherworldly.” (ELLEuk.com)
- “A romantic collection overflowing with soft and feminine looks.” (FabSugar)
- “‘Pretty’ sounds like a reductive descriptor for Maria Grazia Chiuri and Pier Paolo Piccioli fall 2011 collection for Valentino, but it’s apt. ‘Pretty’ over gorgeous or stunning or any other hyperbolic adjective because the collection was restrained, delicate, feminine.” (Fashionista)
- “Although there were some truly exquisite pieces in there, nothing was tricksy or overworked, just easy elegant and right for now.” (Grazia)
- “Lace and knitwear aren’t generally served up together. But when Maria Grazia Chiuri and Pier Paolo Piccioli paired them for Valentino, the dish turns out to be a delicacy.” (Heard on the Runway)
- “This line now offers a Valentino style genuinely refreshed for a new generation — but with plenty to lure back faithful former customers.” (International Herald Tribune)
- “A trim collection of suits and coats in beige double-faced cashmere with gold studs arranged in neat rows, geometric plays of lace and leather, and limpid evening dresses in such pale, blurry prints that you feel you have been given Ambien.” (The New York Times)
- “Valentino’s dresses were simple and truly ready-to-wear.” (Reuters)
- “Revolutions don’t always have to be violent. Well, at least not in fashion. Look at the bloodless coup going on at Valentino, courtesy of Pier Paolo Piccioli and Maria Grazia Chiuri.” (SHOWstudio.com)
- “With its focus on glamorous daywear, this collection could go a-ways to making fans of women who don’t have a red carpet to walk every night of the week.” (Style.com)
- “Maria Grazia Chiuri and Pier Paolo Piccoli are … quietly reasserting a Parisian vision of modern prettiness which fills in those blanks with something refreshingly new.” (Vogue.com)
- “It was anchored in pretty, lady looks that have become increasingly wearable with a youthful energy that doesn’t exclude an older audience.” (WWD)
2011. 3. 8.
Form is with Time.
Form Matters
http://www.vmspace.com/2008_re/kor/sub_emagazine_view.asp?category=architecture&idx=11148
http://blog.naver.com/chuloh1/80044577726
.
... When we talk about modern, it contains 'Time Matters' always.
Not only like drama 'lost' someting,
Ya, without time-talking or story telling, it' not easy to endure even if it's just 'seeing'.
- David Chipperfield ,sponsored by AMORE PACIFIC
http://www.vmspace.com/2008_re/kor/sub_emagazine_view.asp?category=architecture&idx=11148
http://blog.naver.com/chuloh1/80044577726
.
... When we talk about modern, it contains 'Time Matters' always.
Not only like drama 'lost' someting,
Ya, without time-talking or story telling, it' not easy to endure even if it's just 'seeing'.
2011. 3. 7.
옷은 결국 사람이 입었을 때 빛을 발한다.
인사동 쌈지길 만든 그녀, 롯데를 바꾸다
[중앙일보] 입력 2011.03.07 19:36 / 수정 2011.03.07 20:34
“하나에만 매몰되지 말고 다양한 경험을 하라고 권하고 싶다. 예를 들어 디자이너는 디자인만 하려고 한다. 하지만 옷은 결국 사람이 입었을 때 빛을 발한다. 디자이너가 물류와 유통 등에 대해서도 알아야 한다는 이야기다. 그래야 일류 디자이너가 될 수 있다.”
Vivienne Westwood
Look, Vivienne Westwood, yes, once was the main brand that made the born of punk style , but now has developed in her own style that matches in nowdays.
The last show that she did,as you can see, she mixed the vintage -smudgy mixed style with punk-warrior
make up.
You cannot say that is the trend following, fast fashion brand, but Vivienne Westwood is one of the brand that have her own and contain her own identity that continues to develop.
2011. 3. 6.
And reasonable comments to the winners in NY
Alber Elbaz
http://tmagazine.blogs.nytimes.com/2011/03/05/scorecard-lanvin-wins-6/?ref=womens-fashion
Haider Ackermann
http://tmagazine.blogs.nytimes.com/category/fall-2011-fashion-week/
http://www.nytimes.com/packages/html/style/fashionweek/runway.html#/fall_2011_ackermann_haider/slide_show/
Christian Dior
Dior went ahead without Galliano on Friday and presented its fall-winter collection-
http://www.nytimes.com/packages/html/style/fashionweek/runway.html#fall_2011_dior_christian
http://tmagazine.blogs.nytimes.com/2011/03/05/scorecard-lanvin-wins-6/?ref=womens-fashion
Haider Ackermann
http://tmagazine.blogs.nytimes.com/category/fall-2011-fashion-week/
http://www.nytimes.com/packages/html/style/fashionweek/runway.html#/fall_2011_ackermann_haider/slide_show/
Christian Dior
Dior went ahead without Galliano on Friday and presented its fall-winter collection-
http://www.nytimes.com/packages/html/style/fashionweek/runway.html#fall_2011_dior_christian
vivienne-westwood in NY
vivienne-westwood? Sorry,I think, her G-punk style had passed years ago.
http://tmagazine.blogs.nytimes.com/2011/03/05/photos-of-the-moment-vivienne-westwood-4/
Vivienne Westwood
just for, woman as warrior
http://www.style.com/fashionshows/complete/slideshow/F2011RTW-VWESTWOOD/#slide=0
GH
http://tmagazine.blogs.nytimes.com/2011/03/05/photos-of-the-moment-vivienne-westwood-4/
Vivienne Westwood
just for, woman as warrior
http://www.style.com/fashionshows/complete/slideshow/F2011RTW-VWESTWOOD/#slide=0
GH
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