• 복식
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• 제63권6호
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• pp.56-68
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• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• 복식
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• 제67권2호
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• 디자인학연구
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• 제16권3호
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• pp.231-240
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• 2003

모든 문화가 모두 그러하듯이 옷의 색채, 그 배후에는 그 민족이 몸담고 살아온 자연환경과 그 환경 속에서 화육(化育)화된 인생관이나 근성이 작용하고 있다. 혼례는 두 성(性)이 좋게 합하여 위로는 종묘(宗廟)를 모시고 아래로는 후세를 이루는 것을 널리 사회적으로 인정받는 것이다. 예(禮)에서 기본중에 하나가 복식이다 혼례복에 나타난 색채가 가지고 있는 의미와 상징성은 조선시대의 미(美)와 유기적인 조합으로 잘 나타나 있다. 현재까지도 지켜져 내려오는 전통 혼례복 속에 나타난 오방색의 특징을 찾아봄으로써 통념적으로 알고있는 다섯 가지의 촌스러운 색조화가 아니라 자연환경과 같이 청명하며 화려하고 철학적인 색채임을 분석하고자 한다. 본고는 한국혼례복에 나타난 색채의 특징을 알아보기 위하여 한ㆍ중ㆍ일의 혼례복과 단청을 일 예로써 비교하고 한국 전통 색채의 이론적 배경을 살펴보았다. 이를 통해서 한국색채는 의미론적 상징 색채이며 그 근원은 음양오행에서 출발했으며 도교의 태극도설, 유교의 도참사상과 단청의 색채가 직접 관계가 있음을 알 수 있었다. 이러한 음양(陰陽)의 오채(五彩)가 삼라만상(森羅萬象)을 나타내는 객이고 하나가 아닌 두 가지 색 또는 그 이상의 색채와 연결될 때에 상호작용에 의하여 균형미를 이루는 색채이다. 또한 자연숭배 및 인간존엄 사상이 깃들여 있으며 길복(吉福)을 기원함과 동시에 벽사(僻邪)의 의미를 부여한 것을 알 수 있다. 인간이 복되고 부정함에서 벗어나 우주만물이 조화롭게 이루어지길 기원하는 조형미는 시각적인 만족만이 아닌 정신적인 만족까지도 추구하는 미의식인 것이다.

• 패션비즈니스
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• 제19권4호
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• 한국의류학회지
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• 제17권2호
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• pp.167-175
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• 1993

Meaning of expressive words on the beauty of clothing is to comprehend inclusively with subjectivity and sensitivity. Suppose that meaning of the words was analysed, the study would be found type structural through a type of meaning component and inner reciprocity of elements. Category in the Beauty of Clothing was to consider various languages on beauty of clothing as the concept of the type. The purpose of this study was to clarify the concept structure of Categories in the Beauty of Clothing. In this paper 'Chic' and 'Dandism' were analyzed. As the result of the study, it is constructed at three different dimensions. They were the Beauty of phenomenone such as surface level, the Beauty of essence such as element level, and the Beauty of process that existed between the surface level and the element level. In addition, the idea words of each dimension were as follows; The Beauty of phenomenone was expressed 'refinement', 'wisdom' and 'originality'. The Beauty of essence was included 'subtlely', 'grace', and 'sence/reason'. The Beauty of process was included the method of 'harmony' and 'proficiency'.

• 한국의상디자인학회지
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• 제20권3호
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• pp.99-113
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• 2018

In this study, the reality of international Gothic style was examined through the representative art of the period, such as paintings, architecture and tapestries. In particular zones of the body were examined by applying Harold Koda's methods of discussing extreme beauty to study the phenomena and characteristics of extremes in late Gothic costumes. This arrived at the following conclusions concerning the phenomena and characteristics of the extreme appearing in the late Gothic costumes. First, a mechanism of body transformation to reach the ideal and desired form of a human. Second, the complicated and various extremeness of the whole human body. Third, the reflection of 'elaborate and secular excess, decorative taste of international Gothic style. Fourth, a early advanced case of the Trickle-down fashion and international sensation. Fifth, the aesthetic insight into 'ugliness', ever pursued in 'extreme beauty'. The researcher expects that the results of this study will contribute to the preparation to renew the significance of, and to restore the status of the late Gothic costumes, in terms of costume history, that has been considered as an age of the bizarre tastes.

• 패션비즈니스
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• 제1권4호
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• pp.34-48
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• 1997

Dresses of the 1950s and 60s when the range and changes of fashion were wide and heavy were closely related with various styles of that time's architecture from the form, use of material, structure to the color. In this, study, characteristics of formalism and brutalism, main architectural streams of that period, such as line, structure, function, material, texture and color are analyzed in detail and these characteristics and those of dress are compared and analyzed to see if there are common aesthetic senses between them. It is particularly noteworthy that at that time formalistic architecture represented joy and abundance through enriched creation of appearance and flowing, symbolic linear beauty while the brutalistic produced young and vivid liveliness through functional, reasonable and moderate beauty, and this young and joyful atmosphere coincided exactly with frank, lively aesthetic senses of the young generation's fashion. Therefore, we can see common significance in the following fact ; architectural modes and fashion art of the 1950s and 60s were the result of more humane and enriched expressions from economical growth, and also product of that time's desire to adapt itself realistically to the rapid, complicated pop culture resulted from mass production.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 춘계학술대회
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• pp.50-51
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• 2001

많은 소비자들이 가치지향적인 의사결정을 할 때 제품의 품질을 매우 중요한 요소로 생각하며, 제품구매시 불완전한 정보 상황에서 빈번히 제품품질의 지표로서 가격을 이용한다고 한다(Peterson & Wilson. 1985). 이와 관련하여 시장에서의 실제 가격과 객관적 품질과의 관계를 분석하여 소비자의 효율성을 파악한 연구가 각국에서 이루어져 왔으나, 패션제품에 관한 가격과 객관적 품질과의 관계에 관한 연구는 국내 외적으로 매우 미흡한 실정이다. 따라서 본 연구의 목적은 1990년대 한국과 미국 패션시장의 가격과 객관적 품질간의 상관관계를 비교 분석함으로써 양국 패션제품의 품질수준을 비교해 보 는데 있다. 본 연구의 결과를 통해 가격이 제품품질의 지표가 될 수 있는가를 파악할 수 있을 것이다. 이를 위해 본 연구에서는 다음과 같은 연구문제를 설정하였다. 첫째, 한국과 미국 패션제품 시장의 가격과 품질의 상관관계는 전체적으로 어떠한 차이가 있는가\ulcorner 둘째, 한국과 미국 패션제품의 가격과 객관 적 품질의 상관관계가 패션산업범주에 따라 어떠한 차이가 있는가\ulcorner 마지막으로, 본 연구의 결과와 같은 제품의 품질에 대한 정보탐색으로부터 얻을 수 있는 한국과 미국 소비자의 구매이득은 어느 정도인가\ulcorner 본 연구를 위한 내용분석에 이용된 자료는 양국의 소비자의 권익보호를 위한 중립적 정보원에서 발간하고 있는, 한국의 <소비자 시대>와 미국의 에 개 재 된 1990년부터 1999년까지 의 상품비교테스트 정보중에서 패션제품군에 관련된 자료를 토대로 하였다. 수집된 자료는 한국의 36개 패션제품군, 470개 제품과, 미국의 40개 패션제품군. 692개의 패션 제품이었으며, 패션산업범주는 여성복, 남성복, 유니 섹스 의류, 스포츠 의류, 유.아동복, 언더웨어. 잡화. 제화류, 침장류, 섬유직물, 화장품. 학생복 등 11 가지 산업범주로 분류하였다. 본 연구의 결과를 요약하면 다음과 같다. 첫째, 한국과 미국 패션제품의 지난 십년간의 가격 과 품질의 상관관계는 매우 약한 정(+)의 상관을 가지고 있었다. 한국패션제품의 전체 서열상관계수의 평균은 0.091이었고, 미국의 상관계수 평균은 0.192였 다. 상관계수의 수치만으로 볼 때 한국보다는 미국 패션제품의 가격과 품질간의 상관관계가 조금 높게 나타났으나, 양국간 통계적인 차이는 없었다. 또한, 한국 패션제품의 경우에는 제품군의 가격대별 상관관계를 살펴보았는데, 그 결과 1만원 미만의 저가 제품군과 330만원이상의 고가의 제품군의 경우 부(-)의 상관계수를 나타냈다. 둘째. 1990년대 한국과 미국 패션시장의 가격과 품질간의 상관계수의 범위는 제품군별. 산업범주별 로 상이한 분포를 보이고 있었다. 패션제품군별로 보 면, 한국의 경우는 가장 높은 '여행용가방(r = 0.707)' 에서 가장 낮은 '자외선 차단화장품(r = -0.58)'까지, 그리고 미국 패션제품군의 상관계수의 범위는 '팬티 스타킹'의 0.820에서 '남성용 런닝슈즈'의 -0.472까지의 분포를 나타냈다. 마지막으로, 제품의 가격과 품질에 대한 정보를 소비자가 알 경우 얻을 수 있는 소비자의 구매이득 을 추산한 결과 패션제품시장에서 완전한 품질정보를 가지고 있다고 가정한 '현명한 사람'은, 최고가격의 제품만을 구입한다고 가정한 '부유한 사람들'의 구입방식에 비해 최고 좋은 품질의 상품을 총 지불액의 비율로 보아, 한국의 소비자는 약 50% 정도를, 미국의 소비자는 약 91%나 되는 액수를 절약하여 구매할 수 있는 것으로 나타났다. 이상의 본 연구의 결과를 종합하여 볼 때 한국과 미국 모두 제품군별, 그리고 산업범주별로 상관관계가 차이를 보이고 있어, 양국의 소비자들이 패션제품 의 품질을 평가함에 있어 오로지 가격에 대한 정보만을 이용하는 것은 위험하고 비합리적인 구매의사 결정이라고 볼 수 있다. 따라서 소비자가 좀 더 합리적인 구매의사결정을 하여 재정적 손실을 막기 위해서는 가격과 품질에 관한 신뢰있는 정보의 탐색이 반드시 필요하다고 본다.

• 복식
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• 제50권7호
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• pp.15-31
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• 2000

1. After the Chu Dynasty(周代), we can confirm the fish shape mark made of stones as the relics of the Chunkuk dynasty(戰國時代). In the Shu Dynasty(隋代), the system of bamboo and the rabbit shape mark made of silver into the fish shape mark. As it were, made of bamboo or siltier changed into the fish shape mark made of jade, gold, silver or wood. 2. In the Dang Dynasty(唐代), the used the fish shape credit mark made of jade, gold, silver, copper or textile, according to their classes. According to one's posit the man who wore purple, red coat, credit mark made a gold and silver. attached with putting them in fish bags. 3. In the Ryo Dynasty(遼代), there was also a system of attaching marks. The emperor was hanging the fish shape and the officials attached the double fish shape to the common dress. fish shape of jade. gold, amber, agate, silver or copper. without any fish bag. 4. The Song Dynasty(宋代) followed the system of the Dang Dynasty they used only the fish shape bags without marks in them. Hanging the fish shape bags made of gold and silver at the back side of the belt. 5. The Gin Dynasty(金代) carried out the system of made jade, gold or silver like the Dang, Song and Ryo Dynasty. In the Sejong Kingdom a system of paper card was carried out as the credit mark of the eighth and the ninth grade. 6. In the Ming Dynasty(明代), the military official general attached the golden, silver, ivory of jade, wood and copper cards with their positions and names. 7. Following the Dang Dynasty, Japan made of fish shape bags to their clothes. Colors of their fish shape marks were same as their clothes. They made the marks, such as crystal, cow's horn, lead and nickel and plated them with gold or silver. 8. In Korea, Pohai(발해) established the fish shape credit mark differed in material. gold, silver or copper according to their positions. We can confirm the Unified Silla(南國;統一新羅), carried out the system of attaching the fish shape in Chonma Chong(천마총), Golden Crown Chong(金冠塚), the King's 13-17 belt ring unearthed at the north part of Court South threat Chong(황남대총), the fish shape golden or silver, to their purple or red ceremonial coats. In the Koryo Dynasty(高麗), like the Dang, Song and Pohai, they attached the fish shape golden or silver marks, to their purple or red ceremonial coats.

• 복식
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• 제28권
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.