• International Journal of Costume and Fashion
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• 제8권1호
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• pp.36-52
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• 2008

Writer Hong Myung-hee, author of the novel Im Kkeok Jeong, provided an excellent description of the costume customs of the Chosun era, based on an understanding of various historical texts and literature by practical science proponents, and experience gained from the Hong household of Pungsan, a noble family of high standing during the Chosun dynasty. However, there is a tendency towards descriptions of late Chosun era customs, rather than 16th century customs, with the intent of heightening the image of what most people felt to represent Chosun and its prestige, thereby generating greater reader sympathy. Therefore, information on the costume customs of the novel 1m Kkeok Jeong is analyzed and re-formed to fit with the temporal setting of the 16th century. By providing data to aid visual understanding and re-creation, the intent is to accept it as material for the rumination of our ancestors and their lifestyles in the 16th century. The novel provides a good description of Chosun economic customs, in which cotton and hemp were used not only as fabric for clothes, but also as currency. The trade value of cotton drapery or hemp drapery with dimensions of 5 strand density at a length of 35 ja per roll was designated as 5 mal (about 90 liters) of rice by national law, but the actual value varied depending on the production of rice. Also, it is possible to confirm the existence of sang po with dimensions of 3 strand density at a length of 30 ja per roll, or 2 strand density seochongdae cotton, which was used only as currency due to the rough quality. Characteristics of the Chosun dynasty, a class-based society, are described through distinctions of attire. The writer's intent regarding the symbolic nature of attire reflecting social position, a characteristic of the entire Chosun period, is analyzed with the presentation of visual material.

• 복식
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• 제17권
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• pp.209-219
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• 1991

The purpose of this study was to identify the constructive principle and techniques of Vionnet's works. According to analysis of Vionnets works, it was found that Vionnet conceived of the human body as a continuous shaping of a cylinder. Vionnet's drapery denied the planner presumption of woman and gave real three-dimension to form and to fashion. The techniques of Vionnet's works were as fallow : (1) She introduced the diogonal "bias cut" and changed dress design by her sensuous use of fabrics. (2) She eliminated interfacing to keep the silhouette and the fabric soft. (3) She manipulated the fabric to remove the excess for fit and decoration at the same time. (4) She treated the fabric with a synthesis of geometry and grace. (5) The sale luxury allowed was to note the choice of seams, facings, hems, and stitches. (6) Vionnet's dresses were not lined.

• 한국의류학회지
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• 제22권1호
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• pp.49-60
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• 1998

This study found through that Fortuny's art world with design aesthetics was devided into historicism, purism, exoticism and mysticism of color. \circled1 Fortuny's aesthetic observation dazzled at that time and he apply well-grounded opinion in historicism of his all creation and then accomplish on the whole mysticism of art and technique dwelled creativity, \circled2 Fortuny's Delphos gown realized new creation of beauty intact by that the simplicity and contingency was inquired into the art at that time. He revived that aesthetic was included in the drapery of ancient Greece, so indirectly express outline of the human body and realized pure image used a natural curved line of the human body. \circled3 Fortuny's creations included a exotic special quality. His clothes expected so many characteristics of 20C fashion and exotic, visionary fashion revolution in addition influenced on stage costume. ㉧ Fortune created new color specially "Tempera" and expressed mysticism of color that found a harmonious color character and texture through the ancient techniques included experimental mind of a multilateral try.teral try.

• 한국의류학회지
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• 제18권5호
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• pp.727-738
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• 1994

It has been representing the delicate changes which express new sentiments through the floating, fluid, free look with the transparent, sheer material in fashion during the early 1990's. The concept of lightness is selected to describe the phenomenon of recent fashion. The purpose of this study is to identify the distinctive characteristics of lightness as external forms and internal meaning in fashion of the early 1990's. The data were collected from fashion magazines such as American Vogue, Italian Vogue from 1987 to 1994. The characteristics of lightness of fashion in the early 1990's are as follows; The external forms are consisted of the material such as the transparent, sheer, soft material, of slim and bell silhouette which occupying the more space in bottom, of the drapery, pleats to shape the unfitted look and is identified as the open, whole, indeterminate and planar intergration form according to the category of clothing form suggested by Belong. It is also the reflection of the social changes which is getting out of the modernity. It is the results of the dominant social state which are diffused the sensual pleasures, transitoriness.

• 동굴
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• 제70호
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• pp.55-62
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• 2006

The Wooro cave speleothem displays comparatively very less developed characteristics due to its unactive fluviation, less soluable carbonate rocks, 3nd disconnected short voids. The Weoro cave consists of stalactite, stalagmite, flowstone, rimstone, and moonmilk, however, it is not exhibite soda straw, cave pearl, pisolites, curtain, drapery, cave flower, anthodite, cave coral, helictite. heligmite, boxwork, pendent and, cemented shield. The main cause of the underdevelopment speleothem of the Wooro cave probably less peneturated waters or less calcite compostion of the carbonate rocks.

• 패션비즈니스
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• 제5권3호
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• pp.129-143
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• 2001

The purpose of this study is to pigeonhole theoretical notions of asymmetry and historical flow of asymmetry designed dresses, understand the trend of asymmetry design in modern fashion and find out its plastic character. The result of this study is as follows. The asymmetry is un-harmony artistic structure that unbalanced left and right in designing. The asymmetry fashion were seen that drapery dress of Egypt, Greece, Rome in ancient times and design by strong color contrast in heraldry and hose, accessory in the middle ages. In modern times, it was seen as complicated and mixed appearance by the influence of post-modernism. The asymmetry designs in modern fashion are shown varied styles by asymmetry of silhouette, detail, fabric, wearing method. The characters of these are a sense of de-construction, formative sense, and exaggeration The asymmetry design must be made by cutting, sewing, and high degree of technique through the latest skill and study.

• 미술자료
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• 제98권
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• pp.130-153
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• 2020

본 논문은 공주 마곡사 명부전에 봉안된 불상에 관한 문헌 검토와 양식적인 접근을 통하여 목조지장보살좌상과 석조시왕상의 제작 시기 및 조각승에 대해 살펴보고자 한 연구이다. 명부전 내에는 목조지장보살좌상을 중심으로 석조무독귀왕과 도명존자가 서 있고, 벽면을 따라 시왕상 및 권속 등이 배치되어 있다. 이 불상들은 1930년대 후반에 목조지장보살좌상은 청양 정혜사에서, 도명존자와 무독귀왕 및 시왕상 등은 임실 신흥사에서, 시왕도는 논산 정토사에서 옮겨온 것이다. 이제까지 마곡사 명부전 목조지장보살좌상은 석조시왕상 조성 시기인 1677년에 함께 제작된 것으로 알려져 있지만, 이목구비에서 풍기는 인상, 신체 비례, 착의법 등을 살펴보면, 17세기 전반에 활동한 수연(守衍)이나 그 계보에 속하는 조각승이 1620~30년대 만든 불상일 가능성이 높다. 특히 하반신을 덮은 대의자락의 두 번째 주름이 수직으로 늘어지고 끝자락이 하트 모양으로 마무리된 점과 그 옷주름을 중심으로 좌우 대칭을 이루며 낮게 펼쳐진 옷주름 처리 방식은 수연이 제작한 서천 봉서사불상(1619년)이나 익산 숭림사 불상(1634년, 옥구 보천사 조성)과 유사하다. 석조시왕상과 권속 등은 1677년에 조각승 성일(性日)이 수화승으로 제작한 것을 조성발원문을 통해 알 수 있지만, 성일이 수화승으로 만든 유일한 불상이고, 같이 제작에 참여한 작가들의 활동을 정확히 알 수 없어 새로운 자료가 공개되어야 구체적인 조각승의 계보가 밝혀질 것이다. 기존 연구에서 성일이 불상 제작과 중수에 참여한 활동을 살펴보면, 혜희(慧熙) 계보 또는 운혜(雲惠)(운혜(雲慧)) 계보에 속하는 조각승들과 함께 공동 작업을 하여 두 조각승 집단과 밀접한 관련성이 있을 것으로 추정된다. 마곡사 시왕상은 호남이나 영서 지역에서 주로 제작되는 흙이나 나무가 아니라 돌로 제작되었으며, 영남에서 유행한 시왕상의 형태나 착의법 등과 유사하여 호남보다 영남에서 주로 활동한 조각승들의 작품으로 보인다. 앞으로 충남 지역 목조지장보살좌상과 석조시왕상의 체계적인 조사가 이루어진다면 조성 시기와 작가에 관한 심층적인 분석이 가능할 것이다. 그리고 이러한 특징들에 대한 분석이 진행된다면, 17세기 후반 영남 지역 석조불상과의 비교를 통해 호남에서 제작된 석조불상을 주도적으로 만든 조각승과 활동 내용이 밝혀질 것이다.

• 복식
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• 제56권4호
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.

• 복식
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• 제1권
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• pp.131-150
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• 1977

The new sense of costume is controlled by silhouette. The sense of the times is sensitively reflected in silhouette. For we can perceive the transition of the times through silhouette it is significant to know what course of changes the western costume, which almost became the international costume today, had been going through. I began with the definition and condition of silhouette in this study of silhouette. I took a general survey of silhouette study-ing various kinds of silhouette and the relation between the material and silhouette. I sought the factors which causec the changes in costume and also studies the process of the changes The process of the costume changes is studied by the order of ancient times, mediaeval times, mordern ages and present days. I selected one representative silhouette of women's costume of each period. The darpery form of the ancient time's costume became the tunic form and the tunic form became the tight tunic form today. From this we can perceive that the Gothic period was the limitation of westrn costume. It means that the ancient times was the period of drapery, the midiaeval times was the period of transition from tunic into tight tunic and the modern ages is the period of development of tight tunic. In Egyptian period thin materials were used for costume which was worn in exposed style. In Greek period the costume had the drapery style. The Roman's magnificent costume resembled the Greek's. The mediaeval costume was formed in Byzantium where the northern Europe style of costume was mixed with the gay oriental costume. The Romanesque and Gothic period followed the Byzantine period completing the midiaeval costume. Tight tunic is developed in modern ages. Italian fashion of tight tunic was the first fashion of the modern ages. Germanic and spanish fashion came after it. As Baroque period opened the French royal costume became magnificent and added Brition fashish to it. With the commencement of the modern ages the royal fashion came to an end. Modernages became peaple's period and the costume was simplified. After the First world wav designers and fashion books appeared with the development of technology. Thus the period of fashion industry came. For the designers in 20th country competed to create new designs, the fashion was changed year by year. The simplicity and practicality are not ignored in design, arid the designers added more atristic sense to dresses.

• 패션비즈니스
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• 제14권2호
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.