권호 표지

복식 (Journal of the Korean Society of Costume) (Journal of the Korean Society of Costume)

한국복식학회 (The Korean Society of Costume)

  • 격월간
  • /
  • 1229-6880(pISSN)
  • /
  • 2287-7827(eISSN)

과학기술표준분류

  • 문화/예술/체육 ＞ 의상디자인
  • 생활 ＞ 의류

Aim & Scope

한국복식학회 학술지 ‘服飾’은 복식전공분야의 학문적 교류를 통한 복식학 분야의 발전에 이바지함을 그 목적으로 하고 있습니다. 즉 각 전공분야의 정보를 신속하게 공유하여 복식 산업발전에 기여하며 패션산업 현장에서의 디자인을 비롯한 여러 분야의 연구에 실질적인 도움을 주고자 합니다. ‘服飾’ 학술지에는 복식사, 복식미학 및 패션디자인, 패션마케팅, 및 심리, 의복구성 및 텍스타일, 복식일반을 비롯한 복식 전반에 걸친 학자들의 연구 성과를 싣고 있습니다. ‘服飾’은 2003년부터 한국연구재단 등재학술지로 지정되었으며, 지금까지 연 10회 발행되던 학술지를 게재논문의 질적 향상을 위하여 2020년부터는 연 6회 발행하고 있습니다. 또한 논문 Full-Text등을 전산화하여 인터넷에서도 검색이 가능한 정보화사업을 하고 있습니다. The purpose of the Journal of the Korean Society of Costume (JKSC), the academic journal of the Korean Society of Costume (KSC), is to contribute to the development and diversity of the study of costume by becoming a means to scholarly exchange. In other words, the goal is to contribute to the development of the fashion industry and to give practical assistance to various design-related research by prompt exchange of information from the various fields of costume studies. JKSC covers a broad spectrum of research outputs from the field of costume studies, such as the history of costume, dress aesthetics, fashion design, fashion marketing, psychology, clothing construction, and textiles. First published in 1977, JKSC has been listed on the Korean Citation Index (KCI) by the National Research Foundation of Korea (NRF) since 2003. Once published as frequently as 10 times per year, the JKSC has, since 2020, been published six times per year in order to better promote the qualitative improvement of its academic papers. KSC is now in the process of informatizing a system to provide a range of online services, while its full-text electronic resources are already available online.

http://onkjournal.co.kr/sobis/ksc.jsp KSCI KCI

제60권9호

  1. 한경하;금기숙 1
    PDF KSCI
    Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.
  2. 김선영 16
    PDF KSCI
    This study reinterpreted the formative design elements of traditional grate patterns to create new lattice patterns and come up with a design concept for fashion-cultural products that highlight the uniqueness of traditional Korean culture and its characteristic features. Methodologically, the computer design software programs Adobe Illustrator CS2 and Adobe Photoshop were used to make grate patterns motifs. and they were applied to scarves and again to blouses using a three-dimensional simulation technique. In this study, three basic motifs for a new formative image were set using graphical functions such as omitting, simplifying, overlapping, repeating and reducing shapes based on the images of traditional 亞-shaped, arched and floral lattices, and each motif was expanded to have two variations with different colors applied to them. The direction of basic motif design was set to fit for each of fashion-cultural items such as scarves and blouses. Basic colors for motifs were arranged to create a colorful and modern but staid image in pink, blue, purple, green, yellow and brown tones. Based on a developed motif, changes were made in blouse design with lattice patterns through a variety of effects such as repetition, rotation, cross-arrangement, and oblique arrangement, and three-dimensional simulation was used to bring the design to life. Scarf design employed and applied the existing motifs in an appropriate manner for design purposes and reconstructed them through such effects as repetition, rotation, compositional variation and gradation to express a gorgeous and refined image.
  3. 교단;소황옥 26
    PDF KSCI
    The purpose of this study is the Tibetan folk costumes'characteristics and change of design in stage. The subjects are the Tibetan costumes in the Spring Festival Gala of CCTV. The basic characteristics of Tibetan folk costumes are fat waist, long sleeves, overlap, and right ren. Tibetan costumes consist of Tibetan gowns, aprons, shirts, belts, Tibetan hats, headgear, ornaments, all of these compose the traditional image of the Tibetan people. Because of the long-term closed survival, the development of Tibetan costumes has no much vertical differences and changes. The costumes of Weizang(衛藏), Ali(阿里), Gongbu(工布), Kham(康巴), Amdo(安多) have different features which are divided according to different dialects. Study the changes of design Tibetan stage costumes from 25times, we can get that during the 1986~1992, people emphasis on the activities of dancers, styles are simple, just to grasp the characteristics of the Tibetan costumes. In the 1993~1999, the dancers put on the real-life Tibetan clothing on stages. By the 2000s to now, Tibetan stage costumes have much more changes in forms and colors which are more complete and complex. The types of Tibetan costumes include Tibetan all clothing, they all express the changed forms and colors without exception. So in this period are artistic Tibetan folk costumes.
  4. 김혜영;조우현 41
    PDF KSCI
    Yunnan, where twenty-six minor ethnics live, is located in Southwest part of China. They have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural and cultural surroundings. So, Yunnan is known as a living folk museum. It's worth examining how climate and circumstances change has affected certain differences of dress shape in same ethnic. Research into costumes of minor ethnics can contribute to the study of origin of the trousers, as this group of people have well succeeded the basic form of trousers through their cultural history and everyday life. This study, at first, investigates geographical surroundings of each minor ethnic group, and figures out the style of all trousers by measuring the each size, then compares design color pattern and fabric. The origin of trousers examined by formative characteristics has been classified and comparatively studied. The study materials are twenty-three trousers selected from in Yunnan Folk Museum as well as other relevant literature records. This study suggests that one can examine the type of human culture through the forms of costume which reflects folk custom geography economy etc. This, in turn, can be used as a basic information for other studies, and in particular, for the study of origin and structure of the trousers.
  5. 이주영;이경희 58
    PDF KSCI
    In this study, the shapes of po worn by military officers who served During the period of Japanese Invasion of Korea(1592-1598) were investigated. Findings of the study can be summarized as follows. Various types of po that military officers usually wore during the period of Japanese Invasion of Korea includes jikryeong, dapho, dopo, cheolik, aekjureum, jangeui, jungchimak and bangryeongpo. Out of these types, cheolik and jungchimak were most often used by the officers. Po that were usually worn by military officers during the period of Japanese Invasion of Korea as above mentioned is characterized as no difference in length between the front and back of the costume, kalgit and a pair of coat strings which are directly attached to po. The sleeves of the costume are bean chaff-shaped in some cases and just narrowly shaped in other cases. Similarly, the outer seop of po was either double-layered or single-layered. For jikryeong and dapho, mu is usually type of outside wrinkle. For dopo, its rear kit has the inner hem whose right and left edges are usually distant, respectively by 6~16cm, from the back center of the costume. Cheolik and aekjureum usually have either fine or broad pleats. For jangeui and jungchimak, mu is usually trapezoid in shape. Among various types of po which were usually worn by military officers during the period of Japanese Invasion of Korea, most representative are jikryeong from the tombs of Bae Cheon jo, dapho from Shin Yeo Gwan, dopo from general Bak and Bae Cheon Jo, cheolik from Nam Yoo and Cho Gyeong, aekjureum from Shin Yeo Gwan, jangeui from Kim Ham, jungchimak from Bae Cheon jo and bangryeongpo from Cho Gyeong.
  6. 김순영 77
    PDF KSCI
    It was the era, from 1876 to 1910, that some dramatic changes, including an influx of foreign dyes and the beginning of the modern dyeing manufacture, happened in Korea. This paper explores what dyes were sold in the market in this period, who was the main seller of the goods, and how the dyers produced their products. A wide range of natural dye stuffs coexisted with the various kinds of aniline dyes, alizarin dye and synthetic indigo in the market. Coloring materials had been sold by hwapi-jeon, a group of official merchants who acquired a privilege of monopoly from the government. However, the dyes were also traded by sang-jeon and yakguk merchants in the nineteenth century. Most of the synthetic dyes sold in Korea were produced in Germany or in Japan later, and imported in large amount by Chinese, Japanese and German merchants. Yet there also existed Korean merchants and peddlers who sold the goods to the local consumers. Dyers were male and female who belonged to the middle class. They received the orders and payments from the government or merchants. Not only did they dye textiles, threads, cotton, paper and leather, but they also redyed clothes. Indigo dyers were differentiated from other dyers. Modern dyeing manufacture, which was presumably forced to keep pace with the productivity of the weaving process, appeared in the 1900s. It was a branch of the modern weaving manufacture.
  7. 김윤경;박혜원 95
    PDF KSCI
    The purpose of this study is in allowing thinking about the design development process which is more towards the visual and perceptional aspects related to the form structure by more diverse methods by typology of idea generation. To accomplish such goal, researches in the psychology, pedagogy, engineering, and consilient studies as well as related precedent researches and reference data in architecture, promotion, industrial design, and other art fields and fashion designs are collected and analyzed to see the study trend. In addition, in the content analysis method based on such, the idea generation was classified into types in consideration of relevancy, usefulness, and suitability with fashion. First, a concentrated thinking of a limited space is a method of leading an optimal design by focusing on solving the cause of a problem within a space which generates the problem. Second, plan thinking per section of structure decomposition is a method of dismantling the design problems per organization, thinking type, factor, and characteristic into sub-modules to re-interpret and re-organize the problems in various aspects. Third, an associated thinking through interpreting relationships among vocabularies is a method of selecting the marginal languages that allow a person to come up with concrete forms and the key words related to fashion to import the characteristics and attributes of the marginal languages and thematic relationship between the two terms to search the relevancy. Lastly, the free integrated thinking of language extension is a method of groping integration between other fields and fashion by free integration among the extended terms by extending the vocabularies through inferring metaphorical expressions founded upon individual's memories or knowledge concepts regarding theme words that do not allow concrete forms to come up.
  8. 정현;신황수정 106
    PDF KSCI
    The purpose of this study is to examine American students' perceptions of contemporary fashion design that incorporates Korean traditional costume. The findings, which are based on a survey of American students' aesthetic response to the fashion designs, are as follows. First, the impressions of American students about the fashion designs were affected by two major factors, Tradition and Trend. The Tradition factor was related to the impressions traditional, formal, elegant, classic, romantic, gorgeous, and natural, but was correlated negatively to the impressions dynamic, modern, and casual. The Trend factor was related to the impressions chic, trendy, and clear but not dandy. Designs with elongated shape had a positive score for the Tradition factor and designs with curvy line had a positive score for the Trend factor. Second, American students gave visual priority to the aspects of shape such as garment type and silhouette when they evaluated the designs. Color was less important than the aspect of shape in their fashion image perception. Therefore, they categorized the designs by similarity of garment types, and then sub-categorized them by color. The meaning of Korean traditional motifs or details was not significant to American students. Third, American students showed the tendency that the more they evaluated the designs to be gorgeous or trendy, the more they liked the designs. Furthermore, they liked the designs which have a positive score for the Trend factor.
  9. 백정현;배수정 120
    PDF KSCI
    Since emotion, creativity, and imagination has become the source of creating added value, the purpose of this study is to grasp the concept of high concept which has appeared as a major key word of modern culture and analyze the types of emotional expression found in modern fashion. Study methods were focused on literature review and case study. The literature review was conducted by news stories at home and abroad. The examples of case study were collected in fashion collection journals and related Internet web sites with their focus on from 2000 S/S to 2009 F/W to analyze emotional expression found in high concept-reflected fashion. The concept of 'high concept' suggested by Pink, Daniel H. lays on stress on ability to creative emotional value or cultural artistic value hidden behind the functional value, to make stories, and to combine ideas which do not seem to be connected with existing things. As a result of study, The forms of emotional expression found in high concept-reflected fashion included: art collaboration and art inspiration which were expressed through cross-category of culture and art; multi-culture design which expresses a mixture between western fashion and oriental costumes; funology design which expresses efficient value by high technology and fun value through humorous elements; and emotional digital design which can be transformed in function, shape and the use of materials representing light which is effectively used for fashion to represent fantasy or illusion connected with digital technology.
  10. 신혜영 136
    PDF KSCI
    One of the most important objectives that apparel company will pursue in 21 century is to achieve the critical factors of the sustainability. The concept of sustainability is to meet the demands for the valuable life of contemporary generation and to satisfy the desires for preservation of the species and the productive life of future generation by protecting the earth environment from the waste and pollution and by developing and maintaining harmoniously main economical, social, environmental and cultural factors. The practice of sustainability was focused only on the environmental factors in past. Now, the effective and efficient practice of sustainability should be fulfilled and executed in social factors of the responsibility company has, in economical factors and in the cultural factors that is the critical in fashion industry. The purpose of the study is to develop the practical framework consisting of four sustainable factors which apparel brand should refer and apply to the practice of sustainability. By executing the practical factors of the frameworks, apparel company can take a lot of advantages. By practicing the environmental factors, company can get Eco-efficiency. Apparel company can take the social responsibility by performing social sustainable factors, can make economical quality growth by fulfilling economical sustainable factors, and can understand cultural diversity by executing cultural sustainable factors. As one of the most important preparation in 21 century industry, the apparel brand should have an interest in and require the practical management of sustainability, objective setting and practice of brand unit, reflection on the sustainability in brand planning.
  11. 조윤진;최주현;백현국 150
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    In Korea, recent trends indicate an increase in the volume of the functional clothing market. This study investigated the evaluative criteria and information sources of functional clothing according to gender and age. A total of 756 responses were analyzed using descriptive statistics, MANOVA, and Duncan's test. The main effect of gender on the evaluative criteria and information sources of functional clothing was identified. Compared with male consumers, female consumers gave more importance to price and aesthetic criteria. Female consumers take advice from colleagues and companions, as well as use information obtained from mass media to a greater extent than male consumers. Age was seen to have an effect on evaluative criteria and information sources in purchasing functional clothing. Respondents in their forties and fifties took textile quality and durability more seriously. Information available on the Internet and following the dressing styles of celebrities were preferred by respondents in their twenties.
  12. 최광돈;금기숙 162
    PDF KSCI
    An important change started in knitwear fashion in the 1980s. Advanced designers in Japan began to provide a new interpretation on knitwear, and seamless knitwear based on computerized machinery appeared. Knitwear fashion showed differences starting the 1980s due to this change. In this regard, the study aimed to analyze knitwear fashion after the 1980s where the contemporary knitwear experienced changes to define characteristics of modern knitwear fashion and examine its inherent formative nature. Designs for 30 years from 1980s up to date have been analyzed by 10 years in order to identify the characteristics of knitwear fashion over time. In particular, formative characteristics of modern knitwear fashion have been analyzed in more depth with a focus on the period from 2001 through 2010 by narrowing the whole period. Insufficient domestic literatures and visual materials led the study to mostly use foreign books and internet sites. Insights of 7 professionals who have engaged themselves in knitwear industry over 10 years have been incorporated into this study, which will enhance the reliability of the formative analysis. As a result, the data have been organized into three tools of analysis, including exposed bodies, transformed bodies and natural bodies from the perspectives of expression and silhouette of body, and the features of flexibility, industrial artistry, innovation and sensuality have been highlighted in terms of formativeness. In this regard, it has been confirmed that the formative nature found in the knitwear fashion exists in the scope of the formative nature in the embryonic period of the knitwear fashion. It means that the formative nature of knitwear fashion contains perpetuity that transcends an age.