• 한국콘텐츠학회논문지
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• 제7권10호
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• pp.175-182
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• 2007

본 논문은 현대장신구속에 나타난 미니멀리즘의 성향을 분석하고자 하였다. 이를 위해 장신구의 특성을 파악하고, 이들 장신구속에 나타난 미니멀리즘의 개념적, 형태적 그리고 조형적 성향을 연구하였다. 미니멀 아트는 시각적 단순함을 선호하는 사람들에게 새로운 감흥을 주었고, 이는 '장식'에 치중해 왔던 기존의 디자인의 개념을 변화시키는 데에 많은 영향을 주었다. 따라서 본 연구에서는 이러한 미니멀리즘의 특성과 장신구에서 나타나는 미니멀리즘의 성향을 파악하고, 이를 활용한 다양한 디자인의 개발에 도움이 되고자 한다.

• 한국패션뷰티학회지
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• 제4권2호
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• pp.65-73
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• 2006

Lots of audience turn their eyes upon musical to satisfy various cultural desire. It is popular culture that was watched in culture contents industry. The stage costume which turn audience's eyes in musical the most is the sight art of stage to express visually actor(actress)'s personality, mental state, administrative position, age and the distinction of sex. This study researches designed stage costume which was based on time backgrounds and historical facts of reinvented clothes and its ornaments in Egypt by 'Sonia Rykiel' through musical, 'ten commandments' with special times. We collected home and abroad documentary records, Internet data. Moreover we viewed performance to analyze stage costume and brochure photograph data to study. In consequence the stage costume of musical 'ten commandments' found its way out of traditional clothes and its ornaments largely. We can recognize the stage costume as the most important part in drama by explaining the content on drama as costume through reinvented shape with modern sense and by taking charge of the principal part to lead atmosphere. In addition, thanks to the creative work of designer for stage costume, we can realize important intermediation to make higher artistic value of musical.

• 복식
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• 제59권1호
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• 한국생활과학회지
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• 제13권1호
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• pp.159-171
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• 2004

The purpose of this study was to compare the characteristic of Chanel style between modern and postmodern period. The documentary research method was used for this study. The modem period was limited from around 1920 through 1939 and the postmodern period from 1990 through present for this research. The results were summarized as follows: The characteristics of clothing style in modem period were 1) the preference of slim & straight body figure as ideal one and slim & straight clothing silhouette, 2) the high fashion image for the elite by simple & basic design, 3) the emphasis on the harmony by the unity, 4) the tendency of eliminating ornaments on clothing, 5) the discontinuation of traditional way of dress code & style, and 6) the modern style. The characteristics of clothing style in postmodern period were 1) the emphasis on erotic aspects of female body and sexy design, 2) the popularization of high fashion and certain social group's fashion, 3) the tendency of harmony by mix-match, 4) the preference of ornaments in clothing, 5) the preference of retro-fashion, and 6) the continuation of modem style.

• 복식
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• 제54권4호
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• pp.85-95
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• 2004

The Purpose of this study was to find a phase of clothing in Korean proverb. The results of the analysis of this research was as follows： In the case of headgear, was expose that symbolize handsomeness, conduct of life, personality that display charm and position which is not usage as only head protection. Upper wear was expressing aspect and person's similarity, and was symbolizing conduct of life by meaning of dress and its ornaments according to a person that dress displays that change. Trousers(bottom wear) was expose that it means aspect or conduct of life(a 4 case, 40％) through site. Overcoat showed that overcoat that is clothes that is symbolizing wearer's situation, aspect and wear most on face because is involved with behavior that is not right in clothes usage is used by standard that foretell personality. Underwear can know that expressed being involved with right behavior, nature by the basic clothes. I was able to know that I express an attitude of a life or a form through shoe, and the accessories won an minor order but that I have a large influence on a character or the appearance of a person. Silk fabrics expresses Position, and hemp cloth expressed by symbol that display ability. Also, silk fabrics had meaning that hint person's background. Dress and its ornaments that is used in proverb by these result can know that have function as symbolic symbol that display Person's nature or situation, aspect that is wearing clothes that is not function as only simple clothes.

• 패션비즈니스
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• 제14권5호
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• pp.112-127
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• 2010

Primitivism is a concept that expresses and organizes natural feelings of human beings which is hard to be identified by a rigid definition. It means "staying in the beginning or the initial state, not evolving or developing, and not affected by human beings from the intact natural state". Based on this meaning, the artistic style features inherent natural beauties, as well as plain and inornate design. These features have been reflected in a variety of art pieces. The aesthetic features shown in the primitivism art pieces can be categorized into four different aspects: naturalness, folksiness, sentimentality, and humorousness. These features, influencing modern fashion, have been reinvented by a number of fashion designers. They also adopted ideas from the fancy clothes and ornaments created in carefree life style of the regions retaining their primitive cultures, such as Africa, Oceania, and Pacific coasts, and applied those ideas to various silhouette, colors, patterns, and textiles. Particularly as for textile expressions, they tried printing techniques using the patterns motivated from primitive folk symbols or the nature, applied objet of primitive materials and elaborated ornaments that represent folk and primitive feelings, and employed the primitive techniques such as knotting, crude cutting, or natural draping, to reinvent them as textile expressions in modern fashion.

• 패션비즈니스
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• 제8권2호
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• pp.116-125
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• 2004

In the history of western costume, women's hairstyle and headdress have been fluently studied but men's headgear has not. To study and manufacture headgear designs and details, which indicate varieties in forms and ornaments, can be utilized for the fashion currently in vogue. Purpose: the purpose of the study is to investigate one of the headgear, the hat in terms of shift in design and manufacturing method, and to study through manufacturing in order to do a literature review by era and to provide information as the source in new design. Study method and scope: Like previously manufactured and presented bonnet of women's headdress or headgear, the hat in the study was manufactured on the basis of literature review and portrait analysis. Target era is from the late 16th century to the early 17th century when the hat was used. The hat to be manufactured was selected by investigating the details such as hair style and hat features using literature. The pattern of the selected hat was analyzed, and velvet, silk, and wool were used as the materials as in the literature. Ornaments used similar things as in the photos.

• 대한가정학회지
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• 제36권10호
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• pp.119-130
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• 1998

This is on the dance costume of ancient Greece. The present study classified the characteristics of Greek dance and dance costume according to the silhouette, quality of material, color and ornaments. Materials of the study are the pictures and figures presented in literatures, sculptures, crockeries, murals, coins. The dances of Greece can be classified into religious dance, educational dance, recreational dance, dramatic dance and various forms of dance on each dances were developed. Especially, it is the greatest character that Greeks gave dances educational value and created composit art including song, lines and dance. As dance costume, Himation, Chiton, Chlamys which Greeks generally wore were widely worn. Also, the beauty of dance costume was maximized by the changes of basic costumes and development of various ways of wearing. Especially, professional dancers wore costumes shorter than knee-length ones forming a A-line silhouette different from a cylindrical one. Thin cloth revealing body silhouette such as fiax hemp, linen, silk were used as materials of dance costumes. As for colors, white was mainly used, But orange, blue and green were used, too. They wore band, scarf, bonnet on the head and seldom used any ornaments except for fibula. They wore the same sandals which Greeks wore, Crepis, front-heeled shoes which is thought to be the origin of modern ballet shoes for the technique of toe in dance. As mentioned above, as the dance costume of Greece were mainly worn as the similar forms of the dance costume of Greeks, various forms of costumes were worn with the development of dance and bold ways of wearing and silhouette were developed unlike the costume of common people.

• 디지털융복합연구
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• 제18권8호
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• pp.427-433
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• 2020

한국의 전통 단청의 천연석채 및 기법을 바탕으로 화려함과 장엄(莊嚴)함에서 오는 이미지를 연구자의 주관적인 해석에 의해 장신구 제작에 있어서 보석으로 활용 표현하고자 한다. 본 논문의 연구 목적은 한국 전통 단청에 사용되는 천연석채 안료와 단청이미지를 활용하여 다양한 색상표현의 가능성, 견고함과 광택이 있는 합성수지를 조합하여 보석 디자인으로 사용 가능성이 있음을 제시하고자 한다. 이에 본 연구를 통해 단청이미지를 보석디자인에 이입하여 라이프 스타일을 추구하는 현대인의 생활 속에서 접근 할 수 있는 가능성을 제시함과 동시에 과거의 전통적인 재료와 현대의 재료와 디지털 제작방법으로 접근하여 장신구에 활용 될 보석디자인의 폭 넓은 변화를 모색하고자 한다.

• 복식
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• 제5권
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• pp.103-112
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• 1981

In Koryo Dynasty, during the reign of uijong, Choe Yun-ui and others countries collected the royal orders of the Koryo kings and adopted the Tang institutions, and compiled 50 volumes of a book, called "Detailed Ceremonies of Old and New." Recording about clothing, with a special focus on dress and its ornaments of armed vassals, when they attend the king while he is conducting his business. 1) As for the headgear's were the Pokdu, Moja, Kwan, Tumo (official hat to be worn with armors) and Malye (for protection against the cold). There were II kinds of headgear's name in all. 2) As for the clothes, (1) Kongbok (formal costume) (2) Dress, there were 34 kinds of clothes name differented by (i) flowerage on clothes (ii) size of sleeves (iii) color of clothes (iv) fabrics (v) the belt used with the dress. Others were; (3) Baeja (4) Hansam, (5) Poto, and (6) Armor. 3) As for colors of clothes, there were (i) Purple, (ii) Red(Scarlet), (iii) Green, (iv) Blue, (v) Yellow, (vi) Black and (vii) White. 4) As for materials, there were (i) Kum, Ra, Sa (all kinds of silk), (ii) Iron and (iii) Leather. 5) For belts, there were (i) Sockdae, (ii) Hongjung, (iii) Kayeundae, (iv) Dongdokum-dae, (v) Jojung and (vi) Dongshimsokdae.