• 복식
• /
• 제59권1호
• /
• pp.60-76
• /
• 2009

The purpose of this study is to present the viewpoint on the 'clothes' as a part of art works which has the kunstwollen(artistic will) and the philosophy of a creator rather than just an outfit. For the literary research, this study investigates the history of Iconology and the E. Panofsky's theory. In order to make up for the limitation of Panofsky's iconology, applies the theories of H. Gombrich and N. Goodman. For the case research, Vivienne Westwood is selected because her fashion works have been mentioned as the artistic pieces by many fashion critics or the presses. Also Westwood has different social and cultural contexts which based on the periodic background, social influences and cultural actualities. The conclusions of this study are as follows. First, in order to read the symbolic meaning, the kunstwollen and the aesthetic consciousness of the fashion designer's works properly, the systematized interpretation method is necessary. Second, the creative works of Vivienne Westwood have been influenced by the various external elements. Especially her national background and identity are the main elements which have governed her creation. Third, Vivienne Westwood creates her works not just to wear but to incorporate the ideology and the philosophy of herself. She expresses the kunstwollen and the aesthetic consciousness through her works. Forth, Vivienne Westwood pursues the communication between the human being and the world. Fifth, fashion makes various attempts to combine with different artistic fields. The 21st century fashion has developed to new direction with diverse trials and combinations. Fashion is not just making clothes, but accepting and delivering the history and culture, expressing and communicating empathy, and combining the different fields harmoniously.

• 가정과삶의질연구
• /
• 제20권6호
• /
• pp.197-208
• /
• 2002

The purpose of this study was to investigate the economic lives of single households with the age of 30 through less than 50. The economic life was examined in three aspects; income, assets, and consumption expenditures and patterns. One hundred sixty single households were surveyed, with questionnaires for 15days from April 1 to April 15 of 2002, and analyzed with descriptive statistics. The results were as follows: about 30.8% of total single households in the sample were in the income group of 1,500,000 thought less than 2,000,000 won. The size of income for the 30's was less than that for the 40's. Compared with male single households, female single households were more in both low and high levels of income. The saving rate tended more or less to be low. The more the age, the higher the saving rate. As for debt, the 40's single households, male single households, high school single households (compared to the 30's single households, female single households, university and graduate single households, respectively) were relatively higher. In general, the single households tended to have debts due to preparation for housing, credit over use. The assets tended to be managed by themselves. The economic preparation for the old life was done by banking system rather than insurance. The average monthly living costs was higher in the age of the 40's single than the age of the 30's single. The living costs of the female single households was higher or lower than those of the male single households. As for consumption patterns, there was the most in the expenditure allocation for food away from home, then for culture entertainmentㆍsocial life, and for clothing and shoes. As for the convenience of the consumption life in overall, there were more responses in moderation and inconvenience than in convenience.

• 한국언론정보학보
• /
• 제32권
• /
• pp.247-293
• /
• 2006

이 연구는 근대 의약품 광고에 드러난 신체 담론에 관한 연구이다. 최근 근대 형성기에 대한 미시적 접근은 일상사의 영역연구에서 두드러지는데, 일상적인 영역이야말로 사람들의 구체적인 경험이기 때문이다. 특히 근대 광고에는 당시 생활세계를 구성했던 대중문화, 소비문화, 성, 가족, 의 식 주, 질병 등의 구체적인 영역이 고스란히 담겨있다. 근대 이후 일상생활의 재조직화에서 신체는 이전까지 상속되고 신분적 질서에 의해 규정되었던 전근대적인 신체와 달리 어떤 규칙과 가치 속에서 자신의 신체를 자기 스스로 만들고 조립하여야 하는 근대적인 신체로 변화했다. 이 연구는 의약품 광고를 통해서 그 당시 사람들이 자신의 신체를 어떻게 인식하는지를 분석하고자 했고 분석방법으로 푸코의 담론형성이론을 활용하였다. 분석결과, 근대 초기의 의약품 광고 각각의 텍스트를 가로지르는 몇 가지 공통의 규칙, 즉 담론-장치를 찾을 수 있었고, 그 규칙성 속에서 의약품 광고가 근대적 아픔의 주체를 구성하는 과정을 살필 수 있었다. 근대 의약품 광고에 투영된 '임상의학적 시선의 내면화'와 '자기감시'라는 규율 권력적 요소는 '근대적 아픔의 주체' 형성에 기여했고, 사회 권력과 접합된 방식으로 표상되기도 했다.

• 복식
• /
• 제4권
• /
• pp.13-24
• /
• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• 한국의상디자인학회지
• /
• 제12권1호
• /
• pp.89-101
• /
• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• 한국의상디자인학회지
• /
• 제12권3호
• /
• pp.105-119
• /
• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• 한국의상디자인학회지
• /
• 제13권4호
• /
• pp.167-177
• /
• 2011

As today the world has been globalized, each country and race has been trying its best to preserve and develop its own unique culture to have its identity. Same exertion has been added in the areas of fashion and textile such as developing traditional textile or fabrics and applying them to the materials of modem fashion. The Korean traditional gold foil is one of invaluable cultural heritages, and another means to elevate the wearer's social status, and its beauty and artistic quality is very excellent. So, in order to preserve and develop of the Korean traditional gold foil, the exertion of developing the gold foil into multi-purpose modem fashion material which is endurable and practical by using the image of Korean traditional gold foil should be done. The purposes of this study are to preserve Korean traditional gold foil, to develop Korean textile and fashion industry by utilizing Korean traditional gold foil images in modem fashion. The results are as follows: textile designs applied plant motives of Korean traditional gold foil were carried out, modem fashion materials of Korean traditional gold foil image were developed by Jacquard weave. They were to certify that those were registered on the register of the Korean of design registrations from commissioner the Korean Intellectual Property Office, and developed fabrics of Korean gold foil image were examined the utility for modern fashion materials through using them in the modem wearing, interior goods and fashion items.

• 패션비즈니스
• /
• 제23권1호
• /
• pp.74-88
• /
• 2019

The purpose of this study is to explore university students' Hanbok rental behavior and to examine factors that influence their intention to rent Hanbok. Questionnaires were distributed in Universities in the Seoul metropolitan area, and the final 202 responses were used for data analysis. For data analysis, descriptive statistics, factor analysis, cluster analysis, t-tests, and multiple regressions analysis were used. Sixty-one percent of those who have experienced Hanbok rental said they rented Hanboks to experience tourism and 22 percent said they rented Hanboks to take pictures, and the main rental places are tourist attractions such as Jeonju Hanok Village. Respondents indicated that the design and color of Hanbok were important product attributes when they consider renting a Hanbok. They also indicated that the opinions of other users posted on the Internet/Social Network were their main source of information for Hanbok rental. The result of cluster analysis showed that there were two groups of Hanbok rental consumers based on clothing consumption values: novelty-seeking group and practicality-seeking group. The two groups were different in terms of few factors of the benefit sought of Hanbok rental, product attributes, and information sources. Regression analysis revealed that traditional culture perception, purpose-built Hanbok pursuit benefit, pragmatic pursuit benefit, attitude toward Hanbok, and the previous Hanbok rental experience significantly affected respondents' intention to rent Hanbok. Based on the results, this study summarizes the key features of each group and provides suggestion for developing strategic marketing activities.

• 복식문화연구
• /
• 제12권3호
• /
• pp.415-428
• /
• 2004

The purpose of this thesis was to develop torso patterns according to the physical types of men in 20s. The procedure and results are as follows; 1. Of the men in 20s meeting the national average of physique, 4 men were selected and classified into 2 physical types according to their chest and waist circumference drops. One group had 20㎝ drop (Y type) while the other had 16㎝ drop (N type). Through evaluation performed by clothing construction professionals on the 4 upper bodice blocks drafted according to the existent drafting method and dressed on the 4 men, several problems have been found. These problems were adjusted and supplemented to make two new blocks. The fit of the new blocks were evaluated and proved to be satisfactory. 2. The following is the adjustments made to the existent men's torso patterns which had been utilized as the objects the first evaluation experiment. ① Though the back waist length of the pattern from the existent drafting method covered the center back length of the body in both Y type and N type, the front length did not causing it to stand away from the body. To adjust this, 2.0㎝ has been added to the center front length of each pattern so that the waist line could make a bar level to the ground. ② The shoulder line of the pattern from the existent drafting method had the tendency to fall backward. To make the shoulder line to fall in place, it has been moved 1.0㎝ to the front. 0.5㎝ has been added to the should length. ③ The neckline had a tendency to climb up. It has been lowered by 0.5㎝ until the line touched the center front neck point. ④ Though different in degree, the neck circumference did not allow enough width for both physique type causing the neckline to pull at side neck point with diagonal crease. To adjust this, 0.3㎝ and 0.6㎝ has been added to the Y type and N type respectively so that the neckline would touch the side neck point and the neckline could naturally fall into its original position. ⑤ Though different in degree, there was not enough space at the armhole causing wrinkles around this area. Therefore, 0.25㎝ and 0.5㎝ has been added to the front and back of the armholes of the Y and N types respectively. The armhole was made 1.0㎝ deeper only for the N type. ⑥ 1.0㎝ in the front and 0.5㎝ in the back were added to the side scam for the Y type while 0.5㎝ in the front and 0.25㎝ in the back were added for N type. This eliminated the unwanted wrinkles to give the silhouette a smooth look.

• 패션비즈니스
• /
• 제11권4호
• /
• pp.204-220
• /
• 2007

The background of Korean Ethnical Costume was originated from those northern mounted nomadic groups, which was Scythe style Costume Culture. Through the antique records and paintings of tombs bequests hereby describe the forms of Scythian Cotume (1) Headgear : There was Conical Cap(or Pointed Cap), Feathered Cap, and Crown. (2) Clothes : Both Men and Women wore Jacket as upper garment with leftsided collars, narrow sleeves to the length of the hip line. As lower garment, they wore the tight Trousers and Kungo(:窮袴)that was attached with gusset. (3) Belts and Boots : On the upper garment bound the leather Belts that was hanged a hook that was shaped of animal form at the end. Scythian Buckles was divided into six groups, animal-shaped, animal's head shaped, animal fight-shaped, rectangle-shaped, rectangle openwork-shaped, genre scene shaped Buckle. To the Boots, they wore leather boots. (4) Ornaments : Ornaments divided into Dress Trimming(:Gold plaques), Earrings, Necklaces(;Torques), Bracelets, Rings. Scythian Gold Plaques were divided into several types according to the shape, animal style(curved beast shape, profile shape, head reversed over its back shape), round shape, quadrilateral form, star shape, flower shape, crescent shape, bundle shape, human appearance. Earrings consisted of a plain ring and pendant ring was a middle ornament hung from it to a pendants which hung was made of heart shaped leaves of the tree, beads-linked. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crescent-shaped pectoral style, Crown style. Scythian Bracelet were divided into 4 styles according to the shape, Bracelets with ends shaped like beasts style, Spiral style, Layers style, Crown with openwork style. Rings were rhomb-shaped and animal shaped styleRings (5) Animal motifs used in Scythian ornaments appears that in some cases the work was intended to be purely ornamental, while many times the motifs had symbolic meaning (such as the successful dominance of the aggressor over the victim portrayed in the attack scenes). Magical use of symbols may have been inten-ded to guarantee the power of the aggressor.