| Abstract | Ideja za pisanje diplomskog rada pod nazivom Filozofija dekonstrukcije u suvremenoj modi: Analiza procesa dekonstrukcije tijela nastala je dugogodišnjim zanimanjem za samu paradigmu suvremene umjetnosti te njenim kompleksnim karakteristikama. Detaljnijim izučavanjem i istraživanjem navedene paradigme razvio se interes za analizom i spajanjem nekoliko različitih interdisciplinarnih pristupa poput semiotike, filozofije, antropologije, umjetnosti, performansa, vizualnih studija te modnih studija. Diplomski rad se temelji na analizi pojma dekonstrukcije kao semiotičkom alatu koji je utvrdio francuski filozof Jacques Derrida u svojoj knjizi iz 1967. godine - De la grammatologie. Nastoje se analizirati i razmišljanja, pretpostavke i shvaćanja koja su utjecala na pojavu semiotičke teorije dekonstrukcije te prikazati njen utjecaj na društvene sfere izvan lingvistike, a koje uključuju: arhitekturu, umjetnost i dizajn te modu. Nakon što se utvrdio teorijski okvir, bitno je definirati i osnovne pojmove koji su ključni za razumijevanje i razvoj mode kasnih 80ih i 90ih godina prošlog stoljeća te pojavu novih disciplina vizualnih i modnih studija. Cilj diplomskog rada je utvrditi i povezati teoriju dekonstrukcije s pojmovima poput slike, performansa, modne izvedbe i tijela. Rad također nastoji usvojene interdisciplinarne pristupe primijeniti u analizi prominentnih dizajnera suvremene mode. Analizirat će se opus skupine japanskih dizajnera i pionira dekonstruirane mode Yohji-a Yamamoto, Rei Kawakubo i Isseyi-a Miyake te njihov utjecaj na pojedine pripadnika Antwerpenske šestorke te Martina Margiele. Navedeni dizajneri često su se služili alatom dekonstrukcije u svrhu rušenja barijera koje je nametnuo dotadašnji „zapadnjački“ sistem mode i kontinuiranim dekonstruiranjem odnosa arhitekture samog tijela i odjeće čime nastaje novo područje – tzv. vizualna semiotika tijela. Ključni pojmovi koji se vežu za Derridin doprinos filozofiji uključuju dekonstrukciju, logocentrizam, écriture (franc. pismo) te différance (franc. razlika) koji su prvi puta spomenuti još 60ih godina 20. stoljeća. |
| Abstract (english) | The idea for writing a thesis entitled Philosophy of Deconstruction in Contemporary Fashion: Analysis of the process of deconstruction of the body arose from a long-standing interest in the paradigm of contemporary art and its complex characteristics. A more detailed study and research of this paradigm have developed an interest in analyzing and combining several different interdisciplinary approaches such as semiotics, philosophy, anthropology, art, performance, visual studies, and fashion studies. The thesis is based on an analysis of the concept of deconstruction as a semiotic tool established by the French philosopher Jacques Derrida in his 1967 book - De la grammatologie. They also try to analyze the thoughts, assumptions, and understandings that influenced the emergence of the semiotic theory of deconstruction and show its impact on social spheres outside of linguistics, which include: architecture, art and design, and fashion. Once the theoretical framework has been established, it is important to define the basic concepts that are key to understanding and developing fashion in the late 80s and 90s of the last century and the emergence of new disciplines of visual and fashion studies. The thesis aims to determine and connect the theory of deconstruction with concepts such as image, performance, fashion performance, and body. The paper also seeks to apply the adopted interdisciplinary approaches in the analysis of prominent designers of contemporary fashion. The work of a group of Japanese designers and pioneers of deconstructed fashion, Yohji Yamamoto, Rei Kawakubo, and Issey Miyake, and their influence on individual members of the Antwerp Six, as well as Martin Margiela will be analyzed. These designers often used the tool of deconstruction in order to break down the barriers imposed by the previous "Western" fashion system and continuously deconstruct the relationship between the architecture of the body and clothing, which creates a new area - the so-called visual semiotics of the body. Key terms related to Derrida's contribution to philosophy include deconstruction, logocentrism, écriture (script), and différance (difference), which were first mentioned in the 1960s. |
