• 복식
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• 제51권6호
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• 복식
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• 제62권3호
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• pp.1-16
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• 2012

The purpose of this dissertation is to examine the various types of hooded garments that have been worn after the $20^{th}$ century, and to analyze the aesthetic values of them. The study examined various types of hooded garments with diverse significances based on literature and case studies on the history of garments, news paper articles and the Internet. Since the $20^{th}$ century, there has been a variety of hooded garments, such as monk dresses, hoodies, anoraks, duffle coats, some protective clothing, and designers' hooded clothes. Through this research, the study found that the aesthetics of hooded garments after the mid-20th century were as follows: physical protection, anonymity, psychological refuge, fashionability and high-functionality.

• 복식
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• 제54권3호
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• pp.129-143
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• 2004

The beauty of the body could separately be defined from area to area, but there can't be any universal definition of it that is applicable throughout the world. The modern discourses on the body have frequently dealt with that, and the beauty of the body should be studied in light of sociocultural background. In today's world fashion industry, the body is represented in various ways, and how to express the body itself is considered from diverse perspectives. As it's now required to approach to fashion from the sociocultural standpoint of the body. a semiotic interpretation method was introduced. The reason was that from the viewpoint of semiotics, the beauty of the body has different implications for society as cultural sign, and they also could be regarded as sociocultural codes. In order to improve new light on the aesthetic consciousness of the body and how it's represented in modern fashion, earlier studies and existing theories were examined. The semiotic interpretation method was used to find out what the aesthetic consciousness of the body stood for and what implication it had for fashion. And in which way fashion represented aesthetic consciousness, including satire, pleasure, grotesque and decadence, through the body was examined. Fashion creates an artificial beauty of the body, and change in the body is followed by change in fashion.

• 복식
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• 제65권8호
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• pp.64-76
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• 2015

Gilles Deleuze highly evaluated Baroque as the expression body that implements the fold theory, a philosophical thinking about the nature of beings. This can be seen as a meaning that Baroque implements the essence of the world, or the power constituting that essence. In addition, the beauty of Baroque focuses on 'New Harmony' the sum of partial forms caused by each element, and not Platonic harmony. he evaluated the aesthetic of Baroque costume as 'acquisition of liberation and autonomy', 'derived force from infinite spiritual forces'. This study analyzed the contents of the Aesthetic of Baroque costume based on the reviewed Deleuze's folding theory, Baroque aesthetics, and views of Baroque costume. As a result, it inferred the aesthetic of Baroque costume into four types, which are as follows: open structural openness, overlapping structural dynamics, integrated structural diversity, and relationship structural integrity. This study analyzed the aesthetic of Baroque costume based on Deleuze's philosophical thinking. The analysis showed that its aesthetics, which focused on "New Harmony", created energy of life and a venue for expression of power, as the aesthetics eliminated the prejudice of complexity and excessive decoration. In addition, Baroque costume is not the simple historical costume of the past. Instead, it is one of power and spirit, still existing in modern fashion. Baroque costume's formativeness and Paradigm can be said to provide the creative principle important for modern fashion because the aesthetics implemented in Baroque costume accepts free spirit, new challenge, difference and diversity, and is similar to the spirit pursued by modern art and fashion.

• 복식
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• 제56권3호
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• pp.12-27
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• 2006

The purpose of this study was to analyze the mental, social and aesthetic facets contained in ancient shining costumes and to find out the internal meaning of ancient shining costumes that they wished to express. This study was based on the theoretical data regarding the materials, types, and characteristics of the shining costumes. Egypt, Rome, Greece and several Mesopotamian countries have been included as a scope of research. The literature examination skill was applied for the research. The internal meaning of ancient shining costumes could be understood as an instrument of expression regarding religion, social status and beauty.

• 복식
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• 제50권8호
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• pp.149-163
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• 2000

The purpose of this study is to research the Korean and Japanese costume systems and to compare both of them on the process of adopting the western-originated costumes. The consequences of this study are as follows. Chosen and Japan started simplifying the traditional clothings, Introducing the western clothings and executed the ordinance prohibitory topknots through reforming costume systems since Port Opening Treaties in 19th centra. Japan performed the reformation of costume system effectively through the grand campaign of social reforming enlightment by Meiji Government. Meanwhile in Korea, there were a continual repetition of adoption and rejection in the reformation of costume systems because of strong cultural self-esteem and competition of foreign Empires. However, western-originated cultural perspectives brought the strong self-devaluated view on their own cultures to both countries. And that's the first cause of substitution of western clothings for ordinary ones in both nations.

• 한국가정과학회:학술대회논문집
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• 한국가정과학회 2003년도 학술대회
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• pp.77-77
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• 2003

본 연구의 목적은 후프(hoop)의 기원 및 변천과정을 고찰해보고 시대별로 후프의 유형을 분류한 후, 포스트모더니즘 이후 더욱 다양해진 후프가 현대패션에서 어떻게 응용되고 있는지를 살펴봄으로써 후프의 역사적ㆍ미적 가치를 재인식하여 오늘날 복식디자인에 창조의 영감을 줄 수 있는 하나의 모티브를 제시하는데 있다. 후프가 발생하였던 르네상스시대에는 신 중심에서 인간중심으로 사고가 변화하면서, 복식에 있어서도 인간의 신체미를 과시하려는 의도로 인체의 실루엣을 과장ㆍ확대하고자 하였다. 따라서 속옷의 중요성과 역할에 따른 심미적인 기능이 복식에 절대적으로 필요하였고, 뿐만 아니라 기교적인 면에서 속옷에 요구되는 장식성은 어느 시대보다 절실하였다. 그 결과 겉옷이 확대되고, 이에 따라 속옷도 인체를 크게 보일 수 있는 후프가 고안되었다. 후프는 스커트를 부풀리기 위해 철사나 고래뼈 등을 세공하여 만든 테를 넣은 속치마를 말한다. 16세기 중엽 스페인에서 유행한 종형의 파딩게일(farthingale)을 시초로, 영국과 프랑스에서는 드럼형의 휠 파딩게일(wheel farthingale)과 오쓰뀌(hausse col)가 유행하였다. 17세기 초기에는 후프를 착용한 16세기 복식이 유행하였으나, 1625년 이후 슬림한 스타일의 17세기 복식이 유행하자 후프의 착용은 점차 쇠퇴하였다. 18세기에는 파니에(panier)가 유행하여 옆을 부풀린 스커트의 실루엣을 형성하였고, 19세기에는 크리놀린(crinoline), 벗슬(bustle)이 유행하였다.

• 복식
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• 제46권
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• pp.67-88
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• 1999

텍스타일의 발전에 있어서 진보적 기술혁신은 합성섬유의 잠재력을 높이는데 큰 촉매 역할을 해왔는데 그 중 가장 두드러지게 성공적인 분야는 바로 스트레치 직물 분야이다. 스트레치는 그자체의 다양한 종류와 변화무쌍한 특성과 함께 스포츠 웨어, 캐주얼웨어 뿐 아니라 최근에는 정장류 남성복에 이르기 까지 그 사용범위와 미적 표현이 크게 증가되고 다양해졌다. 스트레치의 미는 기능적이고 편안하면서도 직물자체의 유동적인 특성과 함께 인체와 더불어 표출되는시각적 이미지가 현대미에 새로운 개념을 더하고있다는 데에 그 가치가 있다. 본 연구목적은 현대 패션디자인에 표현되어진 스트레치의 미적 개념과 가치가 무엇인가를 발견하는데 있다. 특히 섬유과학기술의 진보로 인한 스트레치 직물의 다양함과 그에대한 디자이너들의 패션철학과 디자인의 다양한 변화를 강조하고 나아가 다음세기를 위한 보다 나은 디자인의 방향을 제시해 보고자한다. 연구결과는 다음과같다. 1, 스트레치의 가장 두드러지는 현대적 미는 편안함과 기능성에 있다. 특히 스트레치 직물 자체가 더욱 가벼워지고 강해지면서 현대생활과 미래생활에서 가장 크게 중시되고 있는 comfortable & functional 의 이상적인 개념을 충적시켜 주고 있다. 2. 스트레치 직물의 유동적특징에서 대표적으로 나타난 스타일은 바디스트인데 이것은 스트레치 자체의 신축성이 기본적으로 인체곡선 위에서 표현되어진 것으로서 거의 비슷한 스타일의 uniformity 현상을 낳게 되었고 또한 인체선의 드러남으로 인해 'healthy'이미지 추구라는 현대미의 새로운 개념을 가져왔다. 2. 더욱 정교해진 스트레치는 결국 transparent look을 낳았고 또한 비치는 직물들을 겹쳐입는 layering 현상을 가져왔는데 이것은 현대적 순수미와 여성미가 시감각적 이미지로 표현되어진 것이라 할수 있다. 4. 스트레치가 되므로서 생기는 긴장은 다른 디자인 요소들에 대해서는 극히 단순한 것을 요구하면서 결국 simplicity를 동반하게 되었다. 5. 스트레치는 디자인 구성 요소들의 보다 작은 개념을 낳았는데 즉 더욱 좁아진 형과 작아진 사이즈 없어지거나 줄어든 다트와 구성선 그리고 그에따라 줄어든 공정과 낮아진 가격이다. 이 개념은 현대미의 minimalism의 한 현상으로 해석되어지며 스트레치 직물은 여기에 가장 부합되는 소재가 되었다. 6. 스트레치의 시각적 이미지는 그자체가 'easy' 'free'느낌과 함께 보편적이면서 미래적이다. 이상으로 볼 때 미래의 패션은 보다 진보적인 섬유과학발전에 힘입어 21세기의 새로운 환경에 잘 적응 할 수 있는 합리적이면서도 미적 가치가 내포된 인간에게 보다 친숙한 디자인으로 전개되리라고 생각되어진다.

• 한국패션뷰티학회:학술대회논문집
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• 한국패션뷰티학회 2006년도 추계학술대회
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• pp.19-20
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• 2006

• 출판저널
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• 통권20호
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• pp.16-17
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• 1988