• 복식
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• 제56권5호
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• pp.44-58
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• 2006

Dolls which were recognized as children's toys are recently also recognized as one of the cultural products of adult's hobby. Thus this research is about dolls' fashion and the possibility of their industrial expansion. Moreover, the object of the research is to develop and manufacture high quality fashion doll products in Korea which are mostly imported from foreign countries. The research studied the origin and the path of the development of fashion dolls with the history of clothing and special books for dolls. By organizing the character and the fashion of dolls' costumes, the research has a meaning for not only to make an academic approach of dolls' costumes which was insufficient in Korea but also to provide useful information to toy enterprises. The conclusion of this research is as followed. First, dolls have a lot of possibilities to be developed as a high value added cultural product industry by emerging from their children's toy image. Second, since costumes of dolls also have a trend, it is necessary to develop products with the trend to satisfy customer's willing. Third, organization of both the books about the dolls' costumes and the information for their DIY is urgently needed for the domestic fashion doll manias. Forth, the necessity to scheme the expansion of fancy industry has been raise by using dolls' characterization and fashion. Fifth, the researcher who has researched the above necessities has manufactured 8 pieces of dolls' costumes and provided the actual solutions to the each point of the discussions. In sum, I suggest expanding the scope of both research subject and product manufacturing of the research results and also recommend for further researches to develop the products which consumers want.

• 복식문화연구
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• 제29권6호
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• pp.779-794
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• 2021

In this study, the sales status of female ball-jointed dolls and their parts were investi- gated and analyzed. Baseline data from 194 products and 54 brands on domestic and international Internet sites was gathered for the manufacture of ball-jointed dolls and the development of prototype costumes for them. The results are as follows. First, the sizes used for ball-jointed dolls are SD, USD, MSD, 13SD, and 70SD together with height. This study analyzed 39 sizes (15~70cm) by classifying them into numbered groups: 1 (15~22cm), 2 (23~33cm), 3 (35~51cm), 4 (53~62cm), and 5 (63~70cm). The price varied depending on the size; for example, 50cm dolls were approximately 45,000 won, while limited editions were sold at high prices, regardless of their size. They were classified into designs according to their body proportions and facial features as follows: 7- or 8-head-figure, 5-head figure, and 3-head figure, and were presented proportionally as images of women, adolescents, and infants. Second, the head was incised so that the top could be removed horizontally or the facial region vertically, allowing attachment of the eyeballs (which were either glass, resin, or acrylic) to the inside. More than 30 different colors were sold. Various wig styles were provided, including cut, short hair, and perm. These were made from human hair, heat-resistant fiber, and artificial hair. For the hands, there was a design expressing human hand gestures. For the feet, heels were in the form of wearing either high-heels or flat soles.

• 한국의상디자인학회지
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• 제6권2호
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• pp.49-62
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• 2004

By delivery means of fashion information, fashion dolls appeared in 18th century. According to development of printing, delivery means of fashion information changed from fashion dolls to fashion plates. Fashion plates offer a colorful and in depth view of the stylish fashions of the past. First fashion plate was Hollars print that was inserted to $\ulcorner$La Galerie des Modes et Costumes Francais$\lrcorner$ and that was published at England in 1643. First fashion plate in France could assumes as winter deshabill that was inserted to $\ulcorner$Le Mercure Galant$\lrcorner$ in 1678. The widespred publication of fashion plates began in England and France in the late 18th century. The first true fashion magazine $\ulcorner$The Ladys Magazine$\lrcorner$ was published at London in 1770. And suddenly similar plates were being published all over Europe. Fashion plates reached their height of popularity in the mid-1800s. Modern age in Europe for fashion magazines golden age, hundreds kinds of fashion magazines published in Europe. Copyright laws in Europe were not enforced, resulting in widespread piracy of fashion designs and plates. After 19th century, America and Europe used much Paris imitation plate. $\ulcorner$The Ladys Magazine$\boxUl$, $\ulcorner$La Gallerie des Modes et Costumes Francais$\lrcorner$, $\ulcorner$Les Cabinet des Modes$\lrcorner$, $\ulcorner$Journal des Dames et des Modes$\lrcorner$, $\ulcorner$The Ladys Monthly Museum$\lrcorner$ were the important fashion magazines in 18th century. $\ulcorner$The Ladys Pocket Magazine$\lrcorner$, $\ulcorner$La Mode$\lrcorner$, $\ulcorner$Le Follet$\lrcorner$, $\ulcorner$La Mode Illustree$\lrcorner$, $\ulcorner$$\ulcorner$The Queen$\lrcorner$ were the important fashion magazines in 19th century. $\ulcorner$Journal des Dames et des Modes$\lrcorner$, $\ulcorner$Gazette du bon ton$\lrcorner$ were the important fashion magazines in early 20th century.

• 사상체질의학회지
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• 제11권1호
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• pp.25-40
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• 1999

이제마(李濟馬)는 사상인(四象人)의 장부성리(臟腑性理)와 그에 해당하는 사상인(四象人)의 외형(外形)을 발견하며 사상체질론(四象體質論)을 성립시켰다. 사상인(四象人)을 감별하는 변증(辯證)에 있어 용모사기(容貌詞氣)와 체질기상(體質氣象), 성질재간(性質才幹), 지행(知行)의 취상판증(取象辦證) 방법을 제시하면서 형상(形象)을 이용한 형상의학(形象醫學) 정신을 제시하고 있다. 따라서 이제마(李濟馬)의 형상관(形象觀)은 사상의학(四象醫學)을 이해하는데 중요한 단서가 된다고 할 수 있다. 저자는 동무공(東武公)의 형상관(形象觀)이 이루어진 배경을 알아보기 위해 주역(周易)과 중용(中庸) 그리고 주돈신의 태극도설(太極圖說)의 정신을 의사학적으로 비교하고 격치고(格致藁), 동무유고(東武遺藁), 동의수세보원초본권(東醫壽世保元草本卷)에 나타난 형상관(形象觀)과 비교 고찰하고자 한다. 형상(形象)은 형(形과) 상(象)으로 구분하여 볼 수 있는데 형(形)은 가시적으로 나타나는 눈에 보이는 것을 말하고, 상(象)은 공통적인 분모로 유추하여 간접적인 그림자로 느낄 수 있는 것을 말한다. 따라서 눈에 보이는 물상(物象)과 눈에 보이지 않는 의상(意象), 정신적인 면도 형상화 할 수 있다. 이제마(李濟馬)의 형상관(形象觀)이 형성되는 과정을 살펴보면 우선 시전(詩傳)에 유물유칙(有物有則)인데 물(物)은 형기(形氣)이고 칙(則)은 이(理)이다라는 말이 있는고 초본권(草本卷)에 보면 유물유칙(有物有則)에서 인형(人形)은 물(物)이고 인성(人性)은 칙(則)이라고 하였다. 형기(形氣)와 인형(人形)은 상(象)이 되고 이(理)와 인성(人性)은 상(象)이 나타나는 내재적인 이치가 되는 것이다. 이것을 황로학파(黃老學派)의 내경(內景)과 동의보감(東醫保鑑)의 기리형표(氣裏形表)라는 말에 비교하여 말하면 이상상표(理喪象表)라 할 수 있다. 이제마(李濟馬)는 주역(周易)을 유학적(儒學的)으로 해석한 공자(孔子) 이후의 의리학파(義理學派)의 개념과 도교적(道敎的)인 음양오행(陰陽五行)사상을 유학(儒學)적으로 해석한 주돈신, 중용(中庸)의 재물(載物), 복물(覆物), 성물(成物)의 개념과 유학(需學)적 요약정신(要約精神)을 계승하여, 황로학파(黃老學派)의 상수역학적(象數易學的)인 수리적(數理的)인 음양오행(陰陽五行)사상은 받아들이지 않고 취상정신(取象精神)만 받아들여 사심신물(事心身物)의 사상(四象)만으로도 모든 사물과 의학을 설명할 수 있다고 보아 사상의학(四象醫學)을 제시하였고 그 방법으로 형상의학정신(形象醫學精神)을 도입했다고 볼 수 있다. 결론은 다음과 같다. 1. 주역(周易)의 해석방법(解析方法)에 수리(數理)와 상(象)을 수단으로 하는 상수역학(象數易學)과 괘(卦)의 의미(意味)를 성정(性情)이나 괘덕(卦德)으로 설명하는 의리역학(義理易學)으로 나눌 수 있다. 2. 이제마(李濟馬)의 형상관(形象觀)은 주역(周易)의 유교적(偏敎的) 해석의 도입과정에서 중용(中庸)에 나타난 요약 정신을 바탕으로 이루어진 새로운 사상학적(四象學的) 인식체계라 할 수 있다. 3. 주역(周易)은 천(天), 지(地), 인(人) 삼재(三才)에 음양(險陽)을 배경으로 하여 상(象)과 수(數)로써 사물을 설명하고 있는데 이제마(李濟馬)의 형상관(形象觀)은 천(天), 지(地), 지(知), 행(行)의 사재(四才)에 사상적(四象的) 요약정신인 사심신물(四心身物)의 배경을 통하여 수(數)보다는 상(象)을 이용하여 사물을 인식하고 있다. 4. 사상의학(四象醫學)에서 사상변증(四象辯證)의 방법에는 음양론(陰陽論)이나 대대적(待對的)인 설명보다는 사상적(四象的) 요약정신의 형상관(形象觀)으로 설명되고 있는데 이는 인체를 구조(構造)와 기능(機能)을 동시에 설명하는 방법이다.