昭和初期女性洋裝的「保存」及「重製」應用於插畫創作之研究

Abstract

援用自日本於昭和初期時代意象的視覺創作，已累積為數眾多的影視、動漫及圖像作品，台灣因地緣、歷史與文化與日本關係密切，受此藝術形式之渲染與影響自不在話下，但國人普遍對於該時代的事物不甚了解，難以透過畫面呈現的物件判斷該創作所設定的時代背景，而畫面的注目性往往聚焦於人物身上，其服裝又以女裝相形於男裝豐富，進而使洋裝成了視覺要點。本研究分析史實文獻發現：此時期的洋裝形式分成寬腰直筒型、纖細修長型以及受二戰空襲而制定的婦女標準服。各形式於相異年代的演進皆具其緣由，除了時尚改變了洋裝的式樣外，異國文化的摻揉與融合如美國電影的傳入、燙髮機的興起等，都是影響昭和初期女性洋裝演變的原因。本研究透過昭和初期的洋裝及場景，於相片、圖像等平面媒介「保存」的外觀為依據，進而「重新製圖」其外觀成三視圖及樣板形式的線稿，應用於插畫人物的服裝與場景建物的3D建模，試圖重現昭和初期的女性洋裝融入相對應場景的景象，襯托洋裝所屬的時代，藉此傳達此時期洋裝輪廓的演進，另一方面表達創作者可以利用媒介保存的事物外觀為根據，再應用於呈現其外觀的媒材上，從而讓消逝的事物回歸現代。The visual creations based on the imagery of Japan in the early Showa Era (1926-1945) comprise a vast volume of cinematographic, television, animation and imaging works. Taiwan is closely related to Japan due to geography, history and culture. However, Taiwanese people generally are not much aware of the coloring and influence in these areas. They often do not know much about this era and aren’t very well able to judge the historical backdrop of objects featured in works created in that era. People’s attention in such visual works is often focused on human figures, and women’s attire being richer than men’s makes modern/western clothing a visual key feature.This research analyzed historical documents and found that dress shapes of this period can be divided into wide-waisted straight type, slender elongated type, and women's standard clothing developed amid the air raids of World War II. Various forms evolved over time for various reasons: besides fashion giving rise to changes in dress styles, the blending and fusion of foreign cultures—such as American motion pictures and hair perm machines—all influenced the evolution of women’s dresses in the early Showa Era. This study takes the appearance of women's dresses and scenes of the early Showa Period “preserved” in photos, pictures and other graphic media and then “re-draws” the appearance into line drafts in the form of line sketching in 3D and models to be applied to clothing of illustration characters and 3D modeling of scenes and buildings. The approach attempts to reproduce the scene of women's dresses in the early Showa Period blended into the corresponding scenes to reflect the era to which the dresses belong, further conveying the evolution of the silhouettes of dresses in the period. At the same time, it expresses how creators can use the appearance of events and objects preserved in media and re-apply them to other media, so that the events and objects that have been lost in time can be brought back to life.