권호 표지

복식 (Journal of the Korean Society of Costume) (Journal of the Korean Society of Costume)

한국복식학회 (The Korean Society of Costume)

  • 격월간
  • /
  • 1229-6880(pISSN)
  • /
  • 2287-7827(eISSN)

과학기술표준분류

  • 문화/예술/체육 ＞ 의상디자인
  • 생활 ＞ 의류

Aim & Scope

한국복식학회 학술지 ‘服飾’은 복식전공분야의 학문적 교류를 통한 복식학 분야의 발전에 이바지함을 그 목적으로 하고 있습니다. 즉 각 전공분야의 정보를 신속하게 공유하여 복식 산업발전에 기여하며 패션산업 현장에서의 디자인을 비롯한 여러 분야의 연구에 실질적인 도움을 주고자 합니다. ‘服飾’ 학술지에는 복식사, 복식미학 및 패션디자인, 패션마케팅, 및 심리, 의복구성 및 텍스타일, 복식일반을 비롯한 복식 전반에 걸친 학자들의 연구 성과를 싣고 있습니다. ‘服飾’은 2003년부터 한국연구재단 등재학술지로 지정되었으며, 지금까지 연 10회 발행되던 학술지를 게재논문의 질적 향상을 위하여 2020년부터는 연 6회 발행하고 있습니다. 또한 논문 Full-Text등을 전산화하여 인터넷에서도 검색이 가능한 정보화사업을 하고 있습니다. The purpose of the Journal of the Korean Society of Costume (JKSC), the academic journal of the Korean Society of Costume (KSC), is to contribute to the development and diversity of the study of costume by becoming a means to scholarly exchange. In other words, the goal is to contribute to the development of the fashion industry and to give practical assistance to various design-related research by prompt exchange of information from the various fields of costume studies. JKSC covers a broad spectrum of research outputs from the field of costume studies, such as the history of costume, dress aesthetics, fashion design, fashion marketing, psychology, clothing construction, and textiles. First published in 1977, JKSC has been listed on the Korean Citation Index (KCI) by the National Research Foundation of Korea (NRF) since 2003. Once published as frequently as 10 times per year, the JKSC has, since 2020, been published six times per year in order to better promote the qualitative improvement of its academic papers. KSC is now in the process of informatizing a system to provide a range of online services, while its full-text electronic resources are already available online.

http://onkjournal.co.kr/sobis/ksc.jsp KSCI KCI

제60권7호

  1. 김정연;제갈미;이연희 1
    PDF KSCI
    The purpose of this study is to review changes of gender identity of men as a sexual role changes and their cognition on fashion and to analyze changes and features of their fashion required in the diversified era and suggest implications for future men's fashion design. To understand a correlation between a change of men's gender styles and fashion and aesthetic features and differences by gender style, this study analyzed significant brands of the men's design market. The results of this study are as followings. First, metrosexual and uebersexual were mixed in the 1990's and the 2000's. The ratio of uebersexual in the 1990's was higher as three times as metrosexual. On the other hand, the ratio of metrosexual in the 2000's was higher than uebersexual by about 3.5%. It implicates that there were significant changes in design of men's clothes between the 1990's and the 2000's. Second, aesthetic properties and differences of metrosexual and uebersexual obtained from the survey. Metrosexual fashion uses almost all details and has no limit in using materials and accessories. The other side, uebersexual fashion rarely has details. In conclusion, this study showed that the relationship between male and fashion on the social and cultural phenomena. which have been recognized that there is a low correlation, is being newly established as a sexual role changes by gender.
  2. 신하나;이민선 14
    PDF KSCI
    The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.
  3. 박주희;문희강 31
    PDF KSCI
    Fashion industry is faced with issues of raising the competitiveness of established designers recently. As well as the change of business system, the specialization of professionals in design team increases the needs of in-service training of fashion designers. But, the education programs of enterprise are generally focused on adaptability to the organization and harmony among men as an introduction level. Furthermore, there are few professional institutions that give an education to the working-level designers. Thus, this study aimed at development of specialized in-service training program that could educate established designers for more integrated thought to cope with rapid changes in the fashion field. Firstly, the theoretical study on the in-service training and changes of fashion environment had been studied through literature review. Then, the current state of in-service training of fashion enterprises and the courses for established designers in fashion institutions were analysed. Finally, a comprehensive framework of in-service training program for fashion designers has been established as a result of this study. The program was designed in accordance with the previous research which reached 4 different educational needs for in-service training: brand planning and management, understanding production, understanding practical fabrics & colors, computer program. The study went further to apply the program to each design group divided by career: new designer, junior designer, senior designer, design leader. This study also suggested evaluation process to confirm the effects.
  4. 김정미;김민자 47
    PDF KSCI
    The goal of this dissertation is to analyze various Romantic styles appearing in modern fashion based upon the 'Difference' theory developed by Gilles Deleuze. A new framework for analyzing the changes of dress style based upon the 'Difference' theory derived from Deleuze's theory and from his interpretations of paintings was developed. The characteristics that represent 'difference' in change of dress style are deformation and hybridization. They are derived from the Deleuze's interpretations of 'difference' represented in the paintings by Bacon. The aesthetic values of the Romantic style in the 19th century dress are subordination, sensuality, and maternity. And the formative characteristics of the Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to deformation and hybridization and the results are as follows: first, deformation caused by exaggeration or emphasis in the modern Romantic fashion creates changeability of the form, destruction of the 19th century style, volume, and ornamentation. Second, hybridization by combining heterogeneous characteristic between times and genders (for example, the 19th century and modern times or masculinity and femininity) frees body from the dress and changes the dress silhouettes and ornamentation. Thus totally new and different Romantic style is created. The Romantic style in modern fashion changed into the appropriate style to the modern society under various conditions such as designer's will, postmodernism, changes of femininity and technology. It can be said that this is an example of the Deleuze's 'becoming' theory.
  5. 김영인;김희연;한은주 61
    PDF KSCI
    This study aims to develop an fashion color design system based on personal color and sensorial images. This web-based system has a parallel structure which a user can search her own personal color, sensorial, and fashion images. The fashion image was presented according to the type of personal color image and sensorial image: futuristic fashion image from alluring image on all of personal color images; elegant fashion images from calm with pure/splendid images or faint/calm with alluring images; modern fashion image from pure/calm with alluring images or faint with lively images; plain fashion image from plain images with all personal color images but pure image; romantic fashion image from calm image with all personal color images but calm image. Fashion color and color combination palettes based on personal color images were presented with the each of those fashion images.
  6. 김지연;홍나영 74
    PDF KSCI
    Jeokgwan(翟冠, crown decorated with pheasant motifs) is a queen's ceremonial headdress during the early Joseon dynasty. It originated from Bong-gwan(鳳冠, crown decorated with phoenix motifs) worn by the Chinese empress. Bong-gwan(鳳冠) was originally various types of hairpins worn with the topknot hair style, such as Bongchae(鳳釵) Hwasu(花樹) Bakbin(博鬢), but during the Sung dynasty(宋, 960-1279) these ornamental hairpins were combined with the crown worn by the empress. Bong-gwan(鳳冠) worn during the Ming dynasty(明, 1368-1644) varied according to the wearer's social status and it was worn both by the empress and other court ladies. Jeokgwan(翟冠), one type of Bong-gwan(鳳冠) worn by the queens and princesses of Ming dynasty, was given to those of the Joseon dynasty as a gift until the early 17th century. According to the portraits and remains of China, when women wore the Jeokgwan(翟冠), they were supposed to place the crown onto the hair, and then, fix the crown to the hair by putting on gorgeous hairpins. The lower edge of the crown was wrapped around with Gu-gwon(口圈), which was decorated with kingfisher's feathers. There are several flowery decorations on Gu-gwon(口圈), and this style is similar to Daeyobanja(大腰斑子), a queen's ceremonial hairband during the late Joseon dynasty.
  7. 박나나;조우현 88
    PDF KSCI
    The research examines the characteristics of the sewing methods used for women's Jeogori in modern Korea. The results are following. In the 1920s sewing of shoulder parts was started, and in the 1930s sewing by hand had reduced by dissemination of sewing-machine, and in the 1940s the Som-jeogori declined by the matter of economic and sanitary issues. In the 1950s four-fold sewing emerged, and during the 1960s the gause-lined triple-layered Jeogori was in fashion, and in the 1970s the Ggaeggi-jeogori and much elaborated Jeogori became in vogue. The characteristics of the sewing methods are changed by following factors. First, the dissemination of sewing-machine in the 1930's enabled fast and precise sewing of Jeogori which reduced the rate of clothes mending and the production period. Second, by development of washing method, the dry cleaning became common, resulting cleaner washing and better preservation. Third, introduction of western clothes gave rise to modernized Han-bok which was changed into practical and simple one. Fourth, by the introduction of synthetic textile and industry development, Jeogori with no armhole line or right Seop line was made using wide selection of textiles. Fifth, in 1945~60s, women learned' good wife and wise mother' education and the use of sewing machine in school. The clothing lifestyle affected the sewing method's change, for example, clothes sewed strongly by sewing machine not to take clothes apart, and attaching button instead of Go-reum to save clothes.
  8. 오은경;곽태기 103
    PDF KSCI
    Recently, the art of the Latin America Culture is being actively introduced into our country. Many concepts in the fashion field contain Latin American culture and their influence is growing. This present study, based on a correct understanding of and research on Latin American culture, is an attempt to expand the expression of fashion design and explore the use of works of art in fashion. The case study is on Frida Kahlo (1907~1954), who was a Mexican woman painter who gives us some inspiration in contemporary fashion design. The scope of this case study investigates the Haute couture and the Pr$\hat{e}$t-$\grave{a}$-porter women's wear collections and photos from 1998 to 2009 which were greatly influenced by Frida Kahlo and analyzes through the formative elements of dress, color, form, pattern and material. Frida Kahlo was a painter whose composition of surrealism held the world of life and death, pain and pleasure, love and parting, thought and freedom, and tradition and modern, etc. As a design inspiration, her influence reaches into accessories, and hairstyles, as well as the Pr$\hat{e}$t-$\grave{a}$-porter. This current study for the correct understanding of the new culture and the introduction of art into the fashion design might be helpful in making fashion a work of art and in extending the expression of the fashion design concept which is based on commercial art.
  9. 김용문 117
    PDF KSCI
    The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.
  10. 강정현;박명희 131
    PDF KSCI
    The ethnic image in modern fashion can be interpreted as a trend of post-modernism, which appeared after modernism's established style. It has relativity, pluralism and variety, and it tries to revive style of the past. This makes style that borrows and combines image and style of different era and culture as distinctive feature, and in turn is expressed by a new image that is combined with the country's clothes. Also, thanks to the customers who are tired of artificiality and convenience, gift of modern science and technology, simple and natural sensitive marketing and being 'raw' are getting popular as new trend. Today's ethnic image is not merely borrowing visual, superficial image of culture and clothes of other ethnic group, but pursuing natural as purely created by human senses rather than being polished. In terms of ethnic image's formative beauty and aesthetic value, foreign and domestic collections are compared. But for domestic image, only Korean ones are researched, and for foreign designer's fashion image, there are ethnic styles of Japan, China and Korea. Although the documents of domestic designers that I investigated is not sufficient, canonic simple being of oriental image that is seen by the westerners is summarized.