• 한국의상디자인학회지
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• 제9권2호
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• pp.115-125
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• 2007

A hat is a general term for what human beings wear on their heads in order to protect them from the cold or heat, to be used for ornament, or to symbolize social position. A hat represents the position of a man who wears it, attitude toward the society, and faith for a religion for males. Since men's hats can create their image and uniqueness in casual wear from current fashion items, they are proposed as a fashion accessory item of designers each season. The purpose of this study is to review hats, which are part of costume, in a more analytic method. The research range of this study is hats for men in the upper class in the 17th to 18th centuries from the history of costume when diverse periodic and characteristic costume changes occurred. In the 17th to 18th centuries in the middle of the Chosun Dynasty, changes in costume occurred as the feudal society of the dynasty had been dissolved since the Japanese invasion in 1592. Political power was established in France as the Baroque Age began in the 17th century. Since European costume, especially women's costume led fashion in France, the country represented the age better than any other countries. Aristocratic costume in the Rococo Age of the 18th century was changed to completely different shape of costume after the French Revolution. In this regard, this age was deemed to be the most appropriate for the comparison or costume. Another purpose of this study is to review the common and different features of periodic factors that affect changes in costume by researching the hats of the two countries in the same age in order to understand relation between periodic characteristics and costume throughout history of costume.

• 디자인학연구
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• 제9권
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• pp.401-418
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• 1994

구전이야기를 기원으로 하는 동화는 시대와 함께 많은 변화를 수용하며 오늘에 이르고 있다. 동화는 그 시대의 도덕관을 반영하며 어린이 교욱의 일면을 담당한다. 17세기 이후 프랑스에서는 고전작가들에 의해 구전이야기가 채집되고 어린이 문학장르가 정착되기 시작한다. 1697년에 빼로는 <교훈 붙인 \ulcornerx날이야기>를 출간하는데, <작은 빨간 모자>는 8편의 이야기 중 한편이다. 빼로는 이 이야기에 비유적인 암시를 첨가하여 여자 어린이에게 남자에 대해 주의할 것을 경고한다. 20세기의 사진작가 사라문은 일러스트레이션의 상징적 표현으로 이 주제를 표출해 주고 있다. 그녀의 일러스트레이션은 많은 의문점을 일으키며, 독자로 사고케 하여 문장의 감춰진 의미를 일깨워 준다. 그녀는 빼로의 교훈(Moralitez)을 삭제하고 침대사진으로 대치하며, 늑대는 자동차, 개, 그림자 등으로 표현한다. 사라 문의 일러스트레이션은 시대를 반영한 것으로서 조기 성교육의 근거를 마련하고 있다. 이제 일러스트레이터는 시대의 새로운 각색자로서 동화를 재탄생시키고 있는 것이다.

• 한국의상디자인학회지
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• 제21권2호
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• pp.123-138
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• 2019

The hat on the back of the upper jacket in Scythian, in of northern region surrounding the Black Sea, is described as a typical woolen hood, but until now has been overlooked in Korean costume studies. The purpose of this study is to analyze the hat on the upper jacket in Scythians and to recognize the meaning of the hat. A further purpose is to complete the basic framework of research concerning the Scythian costume by adding the part that was overlooked previously As for the research method, we collected literature, previous research results, the exhibition catalog, and the related artifacts for analysis. The literature was collected at the German Archaeological Research Institute. The analysis of artifacts was based on data collected by the researchers at the Heremitage Museum in Russia and data was taken by the staff of the Heremitage Museum. The conclusions of this study are as follows: Among the artifacts in the northern region of the Black Sea, it was perviously believed that Scythians status was signified by the wearing of hat-tops. Regardless of age, warriors and knights all wore upper jackets with hats, so it appears that the people who are active wore upper jackets with hats. On the other hand, it was assumed that the royal family, who wore ornamented, colorful, and decorative hats were not observed to have worn upper jackets with hats, and therefore did not require a hat. Therefore, it is considered that the hat in the Scythian society was a costume element emphasizing practicality, not necessarily a class symbol.

• 복식
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• 제37권
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• pp.181-190
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• 1998

The purpose of this study was to provide basic information for women's women's head type for mil-inary. The subjects were 141 college women aged from 19∼23. Data were collected from the real anthropometric measurements and 4 index. Correlation coefficientss, factor analysis, cluster analysis and analysis of variance in SAS package. The results were as follows : 4 factors were extracted from 20 anthrometric measurements and in index data, which explain 60.0% of variance. The subjectss were classified into 4 clusters by 11 measurement and 4 index data. Each charicteristics of cluster by the measurements was flat, big, thick, small types in women's head. Each charicteristics of cluster by the index data was mostly flat in head thickness and wide, midium, narrow, very wide type in face.

• 한국의상디자인학회지
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• 제7권1호
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• pp.41-54
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• 2005

The purposes of this study on various headgear at the age of the Persian Achaemenes are to analyze one cultural aspect of the Achaemenes Kingdom that made a great empire about 5th century B.C. and to understand the ancient Persian culture. It is widely recognized that the Persian region was an important place for cultural exchange between the East and the West through the Silk Road and its culture affected China and Korea. Therefore, it is necessary to study ancient culture in this region for further understanding of the Korean culture. However, research activities have not been satisfactorily conducted. This study is an attempt to elevate the interest in this subject. In this study, European archeological materials covering Naqsh-e-Rostam (a tomb of Darius), Apadana stairs, Darius palace in Persepolis, and Bistun(Behistun), the relief at the age of the Achaemenes Kingdom, were collected and analyzed. From this study, the following results were obtained. For crowns at the age of the Achaemenes Kingdom, two kinds of shapes are observed; Mitra, a kind of headband, in the early period and a cylindrical one in the later period. Mitra was also worn by chiefs trusted by the king. Further, slightly different styles of cylindrical crowns were observed, which is considered that kings might wear unique crowns to symbolize new period of their reign. In addition to crowns, various styles of headgear for subjects are observed, meaning that tribes conquered by the Persian empire used their unique headgear. Further, such different styles of headgear might be a tool for social classification. Representative styles of headgear include the semicircular one worn by the Median nobles, Strophion originated from the Elam's headband, and nomadic tribes' Baschlik observed in the Median relics.

• 한국의상디자인학회지
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• 제18권4호
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• pp.141-158
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• 2016

The objective of this study is to examine the type and characteristics of hat, and also to analyze the formative characteristics of hats shown in $Pr{\hat{e}}t-{\grave{a}}$-porter Collection. The literature review focused on the relevant technical books and preceding researches while the case study targeted 1,561 photos of hats shown in the 'Donga TV Collection'. The research range was from the S/S season of 2012 to the F/W season of 2015/16. The results of this study are as follows. 1. A hat is composed of crown and brim. In the results of classifying hats based on it, there were 572 crown-type hats, 533 hat-type, 219 cap-type, 156 irregular-type, and 81 brim-type in the order. 2. For the crown-type hats, they were mainly like cylindrical-type, bell-type, dome-type, and circle-type, using colors like black, beige, brown, red, mustard, and grey, and materials like wool, fur, velvet, straw, and metal while they were decorated with bead or lace. 3. For the hat-type hats, they were mainly like bell-type, ladder-type, and hemisphere-type, using colors like peach, white, gold, brown, and khaki, and materials like silk, cotton, straw, and wool while they were decorated with feather and ribbon. 4. For the cap-type hats, they were mainly like hemisphere-type, using colors like white, black, khaki, mustard, and purple, and materials like fur, leather, and wool while they were decorated with wappen and chain. 5. For the irregular-type hats, they were mainly like sandglass-type, box-type, animal-type, trumpet-type, and bell-type, using colors like purple, orange, pink, yellow, and sky-blue, and materials like metal, feather, mesh, plastic, straw, and linen while they were decorated with ribbon, net, bell, and flower. 6. For the brim-type visor, they were mainly like square-type, using colors like transparent, yellow, and black, and materials like plastic, cotton, leather, and metal.

• 한국화예디자인학연구
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• 제41호
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• pp.61-92
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• 2019

조선시대 의궤(儀軌) 도식(圖式)과 도병(圖屛)등에서 꽃꽂이의 양식을 찾아보았다. 의궤의 도식과 도병에서는 국연(國宴)이 열리는 궁궐 정전(正殿) 중앙의 어좌(御座) 좌우를 장엄하는 선형, 둥근형, 타원형의 준화(樽花)을 확인, 음식 위를 장식하는 상화(床花), 관이나 모자 등을 장식하는 잠화(簪花), 화안(花案)이라고도 하며, 궁중 행사시 차일을 받쳤던 기둥장 식인 화가(花架) 등의 양식을 확인할 수 있었다. 화가는 초기에는 찾아볼 수 없었으며, 1848년 무신진찬도병에서부터 나타나고 있다. 1795년 원행을 묘정리의궤와 화성능행도병에서는 테이블장식과 현대 공간장식으로 볼 수 있는 바닥공간장식과 어사화, 왕이 하사한 꽃을 지팡이에 묶은 꽃 장식등이 나타나는 것을 알 수 있었다.

• 복식
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• 제59권8호
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• pp.66-81
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• 2009

The purposes of this study were to analyze the formative relationship between Surrealistic clothes and hat with the focus on the period from the 1990's to 2008 and to find out the development direction of next hat design. The method to analyze the relationship between clothes and hats was the formative analysis by Marian L. Davis and Marilyn R. Delong. Hat design of surrealism was cylindrical or tear drop in a shape according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and was similar with the Form of a jacket, a sleeve, or a skirt. In color, accent color coordination mainly appeared and sometimes contrast color coordination induced illusion effect. In material, a variety of materials were used according to the principle of $D{\acute{e}}paysement$ and Trompe l'oeil, and contrast was widely used like color. In Decoration, the decoration or pattern of clothes was intactly applied to hats. The results suggest that clothes and hat have an organic relationship, and a hat style is changed with formative elements of clothes.

• 문화기술의 융합
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• 제8권3호
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• pp.83-89
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• 2022

우리나라의 고유한 전통 한지의 우수성을 전 세계적으로 알리기 위한 목적으로, 예술 분야 등에서 폭넓게 활용되고 있는 전통 한지를 소재로 하여 현대적 감각에 맞는 문화상품으로 제작 제시함으로써 '전통의 현대화'를 도모하고자 하였다. 먼저 한지를 소재로 하여 줌치기법에 의한 줌치한지를 만든다. 만든 줌치한지를 제작하고자 하는 문화상품-노트북 케이스, 핸드폰 케이스, 모자 및 가방-에 따라 일정한 폭으로 자른다. 자른 줌치한지를 용도에 따라 평직, 능직 및 헥사곤으로 엮는다. 엮은 줌치한지를 인조 가죽, 면직물, 데님 등과 매치시켜 문화상품을 제작하여 제시하였다.

• 감성과학
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• 제25권4호
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• pp.3-20
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• 2022

세계적으로 알려진 한국의 갓의 기원과 상징성을 찾아보면 고조선까지, 또 상투와 관자는 홍산문화까지 올라갈 수 있다. 본 연구의 목적은 영어 Hat의 어원, 갓과 옥 머리빗의 상징성, 갓 부속품의 발달 역사를 살펴보고자 함이며, 연구방법으로는 문헌고찰, 유물과 벽화, 주변의 발음 변화 사례수집 등을 행하였다. 홍산문화에서 발굴되는 유적 대부분이 한국에서 발견되는 유적과 상당 부분이 일치하고 있다. 변한 사람들은 고깔형태의 삼각형 모자 변(弁)을 착용하였는데, 이는 상투의 머리형태에 맞춘 것이다. 변의 테두리는 접어져 있는데 이를 아래쪽으로 내리게 되면 갓이 된다. 뾰족한 추 상투는 동북아시아 사람들의 독특한 머리양식이며 한국인의 '하늘 자손' 이라는 민족정체성을 나타내므로 수천년간 전통이 유지되었다. 새와 구름형의 홍산문화 옥 머리빗은 종교적 특성과 홍산인의 머리양식에 관한 예법 제례에서 사용되었다. 영어 'Hat'는 '갓' 발음이 변화한 것이다. 'ㄱ, ㅎ, ㅋ'의 발음은 상호 밀접한 관계를 갖고 있는데, 고대의 'ㄱ'음은 점차 'ㅎ, ㅋ'음으로 변천하게 되었다. Hat와 갓은 '관, 고깔'의 중고음인 '가사>고사>곳' 으로부터 변형한 것이다. 홍산문화에서 시작된 독특한 머리양식은 단군 고조선시대에 대중적으로 유행되었으며, 갓의 착용과 머리양식 요소는 전승되면서 지속적으로 발전하였다. 갓의 제작 방법 및 창의적인 망건, 동곳, 관자, 머리빗 등 갓 착용을 위한 필수 부속품들의 상호 발전사도 주목할 필요가 있다.