• 복식
• /
• 제53권4호
• /
• pp.49-69
• /
• 2003

The purpose of the study is to develop the competitive swimming suit design with Korean traditional images. which excels in dimension of functionality, aesthetics, and symbolism. To accomplish this study, first. a theoretical examination about Korean image was added, on the basis of the practical research about professional swimmers' preferences as well as the theoretical research about the history of swimming suits and the qualifications of competitive swimming suits in the prior study. Next, practical designing was performed to achieve the creative designs according to Lamb & Kallal's design process. and the superiority of the newly designed swimming suits was evaluated by using Grant's alpha-beta model. The results of this study can be summarized as follows : First. in the problem apprehension stage. the need for swimming suit designs with Korean traditional images for professional swimmers was acknowledged, and three major criteria. which are functionality, aesthetics. and symbolism has been verified. Second. in the preliminary brainstorming stage, considerable amounts of data for the design concept considering the criteria above have been gathered. The athletic one-piece for women and the brief for men in style and nylon/lycra in fabric were used in the aspect of functionality. And the S Korean traditional colors in color and Tae-guk motive and others in pattern were selected to apply Korean traditional images in the aspects of aesthetics and symbolism. Finally, the 13 series of creative designs with 4 themes( l17pieces in total) have been suggested. Third, in the design improvement stage. after the preference to each design was surveyed, reformation of the designs was arranged on the basis of the results. Fourth, in the prototyping stage. the 17 actual prototypes, including 13 pieces for women and 4 pieces for men were produced. Fifth. in the evaluation stage. the evaluation procedure using Grant's alpha-beta model was performed. As a result, the newly designed swimming suits were rated above other existing ones in all three aspects of functionality, aesthetics, and symbolism.

• 복식
• /
• 제61권3호
• /
• pp.51-62
• /
• 2011

The purpose of this study was to examine the visual evaluation of image according to the style, hue, value, and chroma of the male clothing and the preference of image. A quasi-experimental method was used for this study. The first factorial design was the $2{\times}3{\times}2{\times}2$ (style of upper clothes ${\times}$ hue ${\times}$ chroma ${\times}$ color of trousers), and the second factorial design was the $2{\times}3{\times}2$ (style of upper clothes ${\times}$ value ${\times}$ color of trousers). The styles of upper clothes were a soutien collar casual jacket and a polo shirt. The subjects were 509 female college students living in Seoul. Factor analysis showed five image categories of men's clothing: initiative, dignity, politeness, activity, and mildness. Yellow was evaluated as having the highest initiative and activity. Blue was shown to have lower mildness than red and yellow. The high saturated chroma was perceived to be higher initiative and activity than low chroma. The shirts were evaluated higher in activity and mildness than the casual jackets were. The beige pants were perceived to be higher in dignity and mildness than the dark blue pants. The high chroma jackets were perceived to be higher in both initiative and activity than the low chroma jackets. The navy blue pants with the upper clothes in low chroma blue were perceived to be higher in politeness than with the upper clothes in low chroma red or yellow. The low value clothes were perceived to be higher in both initiative and dignity.

• 복식
• /
• 제45권
• /
• pp.85-102
• /
• 1999

The purpose of this study is reviewing and researching the origins of knitwear the history of patterned knits. Aithough historians know little about the origins of knitting many believe it was practiced as early as the 4th century by nomads roaming North Africa. later Arab raders adopted the craft which helped then while away the hours as they traveled across deserts in camel carabans, Its origins lie in the need for close-fitting and elasticated covering for the body in particular the head hand and feet. it first developed in the Mediterranean countries and later in Central and particularly Northern Europe. Early evidence of multicolored knitting is said to date back to the Egyptian Copts of 600-800 A.D. medieval knitting is developed through the Church and monastery. The increasing demand for knitted products already observable in the fourteenth and fifteenth centries and the number of preserved knitted articles increases inexcavated materialos from Europe. The improvements in technique stimulated the developement of the hand knitting industry in the early sixteenth century. The best-known source of production is the guild organization and their mass production consisted of the carpets cushion coverings and other small items for furnishing interiors but mainly of clothing. The demand for knitted goods was such that in the late sixteenth century it was mechanised, The knitting frame invented in 1589 by William Lee English priest was the most perfect machine of this period. The mass production of fully-fashioned and seamless garments in the late nineteenth and twentieth century was dangerously competitve to traditionally woven and sewn cloth in. As fashions changed knitwear has had an almost continuous ruse in public favour and the popularity of sports has encourage the fashion for flexible easy-fitting and absorbent garments.

• 복식
• /
• 제49권
• /
• pp.155-172
• /
• 1999

The purpose of this study was to investigate the effect of children's personality traits and parental child-rearing attitudes on clothing attitudes and color evaluation of preschool children. The subjects for this study consisted of 360 five-year-old children who were attending a preschool and their parents in Cheju Island Korea. Employed mothers had significantly higher score on love acceptance attitude than unemployed mothers did. Female children had more conservative attitude on clothing sex-role than male children did There were no significant gender differences in parental child-rearing attitudes. There were significant relationships between gender and preferred clothing colors. Male children were more likely to prefer blue red, green, and prussian blue for the colors of clothing than were female children while female children liked pink yellow and orange more than male children. Boys selected blue and girls selected pink as the most preferred clothing color. Overall preschool children chose red as the most preferred color black as the most disliked color. The children's sex identification by clothing color was highly consistent with the conservative attitude of adults for all colors. That is preschool children identified pink red and yellow with female color while prussian blue blue and green with male color. Clothing interest of boys was influenced by the mother's state of employment and academic trait. The boys high in academic trait and whose mothers did not have job were high in clothing interest. Clothing management of boys was influenced by emotionality and love acceptance rearing Ttitude. Clothing independednce of boys was influenced by authority control rearing attitude Clothing sex-role of boys was influenced by familism trait. The boys high in familism trait had open-hearted attitude in clothing sex-role. Clothing interest of girls was influenced by academic trait clothing management by sociality clothing independence by emotionality and clothing satisfaction by familism trait. Therefore the more positive personality children had the higher clothing interest and the more desirable clothing attitudes they had.

• 복식
• /
• 제59권2호
• /
• pp.59-69
• /
• 2009

This study aims to identify how Korean women's traditional costume, Hanbok, has changed according to the times in terms of color coordination of Jeogori and Chima. Photos had been taken at wedding places and streets at 5 major cities(Seoul, Pusan, Kwangju, Daejon, Jeju) at two weekends of each season in 1999, 2001, and 2003. Total 1617 photos were used as final data. Data were analyzed by hue coordination and value level. Hue coordination exist in one-color and two-color coordination. In one-color coordination, red color(R & RP) was the most frequently used and blue green(BG) was the next, and the least was blue purple(BP) for each year. In value scale, high level was the most frequent and followed by middle level and low level. Pink was the most preferred color for one-color coordination. In two-color coordination, white and blue were widely used for Jeogori and red and blue far chima for each year, which seemed to be the basic color coordination for Jeogori and Chima. While there was a certain basic color coordination types across year, but a few new color coordination appeared each year and maintained as popular color coordination for one or two year.

• 복식
• /
• 제62권8호
• /
• pp.149-165
• /
• 2012

This study is to understand the characteristics of women's Hanbok fashion in the modern Korea by investigating the features of colors and color arrangements of remaining relics. The summary of findings from the researches and analysis from over 1840 pieces of Hanbok relics in modern Korea are as follows: First, since western-style cloth were introduced and utilized for Hanbok from 1960, the number of colors have drastically increased. However, the most commonly used colors and parts throughout all the periods remained the same. These are Y, R and white colors for Jeogori and Y, R and PB colors for Chima. And, as for the representative color of each of the six periods, significant changes of color were found Jeogori in the 1960~1970s. While no clear color changes were found in the period prior to the 1960s and after the 1980s. Secondly, as for the color tones, although the high luminosity-low chroma were generally used over the periods, it was observed that various colors of low luminosity-high chroma began to be used from 1960 and so Jeogori became more colorful. And lastly, Y and white color were taking up the highest percentage in the solid color arrangement. When composing 2 colors, the Y tone color dominants with R tone as sub-color was the most prevalent, and when 3 and 4 colors were combined, the extra color were increasingly seen in the upper garment cuff and collar so that the arrangement of different colors increased the aesthetic symbols when combined with the colors of the Chima.

• 복식문화연구
• /
• 제18권4호
• /
• pp.612-625
• /
• 2010

People have more expectations for arts and design and accordingly, various artworks were combined with fashion to meet the consumer needs. As people live a decent life, the development of leisure activities and industry has a much effect on apparel. With this phenomenon, a free and active casual look is making progress centering around the practical apparel, pursuing diversified efficiency irrespective of a season and considering sensibility not formality. In this study, paintings of Henri Matisse were analyzed in every respect and were applied in apparel design with diverse color arrangement and a motif originating in the phenomenon of modern fashion design which leads to the integration of arts and design. Painting image and color of Henri Matisse were used. Sportive casual and cultural casual was used in design as well. Originality of its color in the paintings which were used an a motif is coming from Gauguin and Gogh. Henri had influenced to the next generation with pursuit of violent color. The following conclusions were drawn from this study. First, the color of Henri Matisse's paintings has a strong contrast effect. It combines notable violent color with a simple yet decorative motif. Therefore color from Matisse's paintings suit for apparel of marked individuality with its free color arrangement. Second, free and active image in Henri Matisse's paintings is easy to express efficiency and popularity. It accords with the feature of casual wear. Third, through adding a flowing curved line in Henri Matisse's paintings to materials and applying various colors putting into a curved line image to a rib section, a decorative effect which goes with the whole shape is obtained. This study presents possibility of emergence of unique design using free color arrangement and motif from the image of paintings and aims development of modern fashion design in accordance with modern fashion giving importance to the difference and sensibility by integration of modern garments and artworks.

• 헤리티지:역사와 과학
• /
• 제54권2호
• /
• pp.78-97
• /
• 2021

1795년 윤2월 12일 서장대에서 행해진 군사훈련을 그린 <서장대야조도(西將臺夜操圖)>를 중심으로 관직자의 유형별 복식과 유형별 복식의 구성에 따른 특징을 고찰하였으며 고증 결과는 다음과 같다. 첫째, 서장대 안팎에서 왕 가까이에 위치한 관직자는 모두 34명인데 당상관 27명, 당하관 7명이었다. 34명 관직자의 복식 유형은 모두 3종으로 갑주·융복·군복으로 분류되었는데 그 중 갑주 착용자 12명은 모두 당상관이었고, 융복 착용자 5명은 당상관이었으며, 군복 착용자는 당상관 11명과 당하관 6명이었다. 둘째, 갑주의 형태 고증은 말 타기에 적합한 여반 장군의 갑옷 유물과 『무예도보통지』의 갑주 그림을 참조하고, 착용의 실용성을 고려하여 갑옷의 구성품을 정하였다. 갑주의 구성품은 투구, 갑의, 갑상, 호항, 호액, 비갑에 골미를 추가하였다. 갑주 색상은 <서장대야조도> 갑주에서 가장 표현 빈도가 높은 홍색과 녹색으로 고증하였다. 셋째, 당상 융복의 구성은 호수를 장식한 주립, 남색 철릭, 홍색 광다회, 정, 수화자로 고증하였다. 넷째, 군복 구성은 안을 올린 전립, 동다리, 전복, 요대, 전대, 수화자로 고증하였다. 군복에서 당상과 당하의 직물차이는 문양의 유무에 있었는데 당상관은 운보문 직물을, 당하관은 문양이 없는 직물을 사용하였다. 그리고 당상관은 장식품의 세부 재료에서 옥과 금, 은을 사용하였다. 그 외에 무기는 시복, 환도, 등편, 비구와 깍지 등을 갖추었다. 정조대 기록에는 다양한 색의 협수가 보이므로 당상관과 당하관의 동다리와 전복 색상은 다양한 배색으로 고증하였다. 이상의 고증 결과를 반영하여 콘텐츠 제작을 위한 복식의 시각화 자료로 제시하였다. <서장대야조도> 관직자 복식의 고증 결과를 반영한 시각화의 기본 원칙에서 3D 콘텐츠 제작이나 실물 제작이 가능한 기준을 제시하였다. 시대와 신분에 따른 형태·색상·재질의 견본, 각 복식과 지물을 패용한 앞·옆·뒤 모습을 제시하고 색상은 RGB와 CMYK로 제시하였다.

• 복식
• /
• 제56권4호
• /
• pp.108-123
• /
• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

• 한국의류학회지
• /
• 제28권11호
• /
• pp.1458-1469
• /
• 2004

In this study, color names focusing on the purple series, appearing in the clothing of the Joseon Dynasty, were classified systematically, and the conceptual meaning of each name were investigated through various methods. The results are as follows; First, the color names of purple-series were classified systematically. According to the integration scheme of morphemes, color names could be divided into two categories; single names and composite names. Color names could also be classified into universal and limited names according to the areal distribution of literatures. Secondly, the conceptual meaning of the color names of purple-series were considered. The conceptual meaning could be divided into two categories; one 'etymological and dyeing methodological meaning', the other 'color systematic meaning' By studying the dictionary definition of color names, comparing and analyzing the material composition of colors, the etymological and dyeing methodological meaning could be grasped. Furthermore, the color systematic meaning of each name could be grasped through the cluster analysis of L*, a*, b* values measured from the relics of clothing. Thirdly, the conceptual semantic structure were established on the basis of conceptual meanings of purple-series color names. The conceptual semantic structure of purple-series color names is forming discrete structure with the dyeing method and material of dyes as their semantic components.