• 복식
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• 제55권2호
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• pp.1-17
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• 2005

The realistic plan to establish a silver market in the clothing industries has not taken concrete shape, although the interest in the establishment of a silver market targeting the aged as a new custom group Is gradually Increasing because the rapid development of science and medical technology in the 20th century has led to an extension of lift and improvement of living conditions. The specialized business which produces and sells the clothing for the elderly is of small number and most of the clothes for the elderly are manufactured and sold by the companies for women's clothing in which change the size or length of the original works rather than reflect the bodily features of the elderly. The findings indicated that domestic brands showed the coordinated concept of a suit of jacket and slacks or skirts while the clothes were formed with a variety of coordinations centering around single article in the U.S brands. But, there was no difference in the use of natural materials centering around cotton and silk etc. and in the use of embroidery, lace and decorative details between the two countries. The knit brands of knit suit style in Korea were formed with the items focused on pull over and cardigan twin set, while the U.S brands were mainly formed with the design of knit suit style. The domestic knit brands were mostly developed with complicated patterns and gorgeous colors, while most of the U.S. brands were presenting a single or two tone color suit style and evening one-piece dress with a simple and modern style. The sporty casual brands of sporty casual style in Korea had a variety of colors and patterns focused on function and comfort for diverse leisure activities and daily life, while the U.S brands were established to present a variety of styles with the items of single article because they had a separate brand for casual even though it was not a exclusive brand for the elderly This study has a meaning in the presentation of the design idea considering the bodily shape of the elderly compared to the ready-to-wear considering the size alone, by examining the characteristics of bodice according to the physical change of the elderly women, analyzing the design of madam brand and the style of the ready-to-wear, researching the general circumstances of the brand for the elderly women, and highlighting the necessity of the elderly clothing market.

• 복식문화연구
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• 제19권2호
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• 복식
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• 제18권
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• pp.373-381
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• 1992

Woman in Choson era had various kind of accdssories like rings, ear ring, ornamentak hairpins and so on. Among them their favorite was the Norigae, the pendent trinket. With the embroidered ornament at its center, beads and knots were attached to the upper and lower part, and it was hung with a tassel. It was carried on the string of the Chogori. norigae oreginated in waist string of Three Countries era(Sills, Paekje and Koguryo) ; had been changed with the development of fashion, embroidery and the influence of Buddhistic culture. The differences between Embroidered Norigae and Norigae are following. If the ornament at its center is made of such jewels as gold, silver, jade and the like, it is called Norigae. But if the ornament at its center is made of the embroidered Norigae. Such a Embroidered Norigae in which perfume was contained, was as a perfume box or a perfume bag and was carried on the strings of Chogori by Danjak(single work). The Differences between ancient Embroidered Norigae of late Choson era and modern Embroidered Norigae are Following; 1) The type of main body-the embroidered ornament at its center was mainly embroidered with the shape of animals in both of ancient Embroidered Norigae was usually formes like a bat and that of modern Embroidered Norigae like butterfly. 2) plants were adapted as the main design of ancient Embroidered Norigae, but plants and animals as that of modern Embroidered Norigae. 3) The colors of the background and the design are usually red in both ancient and modern Embroidered norigae. 4) The tassels of ancient Embroidered Norigae were mode in the shape of srick and a strawberry. but the tassels of modern Embroidered Norigae were mainly made in the shape of a stick. 5) Nowadays the beauty of external form is considered more important while the symbol of main body was considered more important in Choson era. 6) The role of Thidon in the composition of Embroidered Norigae is declined and a lot of main bodies are used in modern Embroidered Norigae. 7) Modern Korean people are apt to choose Embroidered Norigae depending upon the design of main body and the traditional Korean beauty. 8) Modern people who desire to get new thing, try to make the design of main body various. As their cognition of Korean tradition is of the increase, the restoration of ancient Embroidered Norigae to its original form has been accom

• 복식
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• 제51권2호
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• pp.149-167
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• 2001

Today, every culture has taken on the compromise form by means of the cultural difference, variety, and pluralism according to the internationalization and the advance so that it has been developed toward the half-blooded and multilayered the aspect. In accordance with this current of the times, this thesis observed the feminism found in the multiculturism of the end of the 20th century, the third world, and technology with the side of the tendency of modern fashion, considered the hybride phenomenon which is pulling down the wall between culture and genre due to the social diversification. and predicted the fashion trend do 21st century serf on it. Multiculturism is the movement that began to arise in the academic world of America and the literary world form the close of 1980's in accepting the variety of culture and regarding the culture with the more balanced and wide view and just as it is, it means the attitude of accepting one or more cultures of variely and the position of taking interest in the culture of minority race not the culture of a governing race. It is the fashion of feminism adapts dualism like unisex, androgynous look, etc of bisexual lendency in the 1980's, it shows new style with crossover of liberal sense because there is not the difference of sex in fashion. The eco-feminism pursues the natural sexuality not being instrumental and dismantling and expressed it in the Gender expression of an integrated human being. The trend of ethnic fashion in the close of 20th century is that the element of hippie is working so strongly. By adding embroidery of Oriental style, accessories of Indian style, feathers, beads, a hempen hood to the ethnic costumes of Asia and Latin, is shows the figure of ethnic hippie. As the cycler fashion is the future clothes through technology of computer, it uses a cool glass material bringing up the image of a spacesuit in order to expresses cyber image through artificial color combination of sheen colors, Though this techno-color fashion has established the fresh stimulation and the innovative aspect with ultramodern materials and image of futurism, it transmits a hope of estranged people and the natural elements. Hybride means a cross and mixture of animal and plant in Korean and is also called fusion. The phenomenon of hybrid predicts to comes the period of a cross and variation because something completely new comes into the world by contamination, mixture and compromise through meeting something different each other and it has on advantage of developing something existing to one more stage. It is prospected that in the society of 21st century, the borderline of traditional gender will be disappeared, variety and individuality will determine the individual behavior, and the masculine value will be substituted by feminine value. In the society giving priority to feminine value, a fashion stuck closely to women is what must reflect lives of woman under the proposition of woman's beauty, being on original function. So, it is considered that a fashion with added convenience and practicality having the function which is easy to put on, comfortable to act, able to express solves so much, and able to show various appearances according to T.P.O will get into the spotlight.

• 복식
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• 제19권
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• 복식
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• 제24권
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• pp.59-82
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• 1995

All kinds of art are the creatures of the daly and reflect the society and the life of the day in literary works. So, in which literary works, we can find the styles of those who lived in the specified days. And the styles of its character's costume are expressed with the day'mood and cultural backgrounds. In this study, we studied on the general meaning, which was shown in the Costume of early Ch'ing Dynasty that was forming the Costume of dress through dividing into the underwear and the outer garment in $\ulcorner$Dream of the read Chamber$\lrcorner$. During the Ch'ing Dynasty, according to the rule : Men followed it but women not" , they held on to the costume of them (both the Man and the Han) with a high pressure and a conciliatory policy. As a result, I have known that there is the Soojean clothe(수전의), which is the late Myung Dynasty's one and their is also Skirt (군), which held on the Costume of the Myung's. Hence in the Ch'ing , there are a lot of difference in the Costume , the economy and the politic because the ruler was not the han but the Ch'ing. Those characters are as follows. first, on the side of the style , it is occured in the coat and the over jacket of the round neckline. The style of the sleeves are also the tightly(고착). Second, on the side o f the material, the use of the furs are found. It seems that are influence of the north area. Third, it is involved not the traditional Costume of the Han, but the over jacket(which is waistlength), These characters had taken root into the Costume of the Ch'ing Dynasty. In case of the jacket, which are found in the novel most frequently , it was represented by the tight jacket (소오), the long jacket (대오), the short jacket(단오) and the Sam (삼). The skirt was used by women only. the Slacks were trousers only for men, so it was not foujnd in the women's wear. In the vest, the over jacket and coat, which are for putting on, its material, insiqnia and varied embroidery are very brillant and elaborate. The used materials are the silks , furs, wools and cottons. Among the dick silks are used most frequently . in case of the over jacket, the precious and varied furs are used for the collar, the sleeve or the decoration and the lining cloth. In the novel, mean followd the Costume of the Man and women followed the Costume of the Han. Especially, it is a special costume that there were women in male attire. Finally, the costume of the Ch'ing had built the unique one with holding on the advantage and the short point s of the northen race and the Han's. Also , I can find the brilliant , eleborate Customes of the aristocratic class in the novel.

• 대한가정학회지
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• 제31권2호
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• pp.1-14
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• 1993

The purpose of this study is to find the differences between home economics before and after korean Independence of the dominance of Japanes Empire. The specific aimes are to compare the subject organization, educational purpose and subject contents etc. of home economics in korean school before with after the Korean Independence of the dominance of Japanes Empire. The methods to study were to analyze some documents(laws or regulations)and textbooks etc. at that time. The result of this study is summerized as follow. 1. The subject of home economics in primary school were‘Jaibong(sewing)’,‘Kasa(household affairs)’just before Korean Independence of Japan in 1945. But the subject of home economics changed to‘Yori(cooking)’,‘Jaibong’after Korean Independence in 1945. In 1946,‘Yori’and Jaibong were integrated in‘Kasa’. In 1954, ‘Kasa’changed to ‘Silkwa(Practical Course)’. The subject of home economics in middle or high girl school were‘Kajeong(home)’, ‘Yuga(nursing)’,‘Bogeon(preservation of health)’,‘Pibok(clothing)’just before Korean Independence in 1945. But the 4 subjects changed to‘Kasa’,‘Jaibong’,‘Suye(embroidery)’and the 3 subjects changed‘Sileop and Kajeong(home affairs)’again. 2. The hours per week assigned to home economics education were higher in high school years than in low school years both in primary schools and middle or high schools. 3. Among various home economics subjects, the hours assigned to‘Jaibong’were higher than any other home economics subjects. But The hours assigned to the‘Kasa’tended to increase in high school years. 4. The purpose of home economics education in schools before Korean Independence of Japan focused of fostering korean's loyalty to Japan Empire in the end and on cultivating womanly virtue etc. This tendency was more prominant in middle or high school than primary school. 5. Korean home economics education during about 10 years generally followed the home economics education of Japanes Empire. 6. The home economics education in primary school for school boys was practised after 1955(The period of 1th curriculum). Before that time was practised home economics education for school girls. 7. Generally home economics education in Korean schools was weakened after Korea became Independant of Japanes Empire in 1945. 8. The contents of home economics education after Korean Independence tended to follow those of Japan. Among domains of the home economics the rate of contents of‘siksainghwall(life of foods)’tended to be largest, the rate of‘Jusainghwal(life of house)’lowest in primary, while the contents of‘oeusainghwal(life of clothing)’tended to be largest, the rate of‘Jusainghwal(life of house)’lowest in middle education.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 19th International Costume Association Congress
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• pp.11-13
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• 2001

For those unfamiliar with the shoe world, Pinet (1817-1897) was a contemporary of Worth, the great Parisian couturier. So I look at the glamour shoes and the world of haute couture, and indeed the development of the named designer. That is a concept we are all familiar with now. So it is not easy to comprehend the lack of names for the exquisite work before 1850. Straightway I have to say that the number of noted shoe designers is far fewer than famous dress designers, but I will introduce you to some of them, against the background of contemporary shoe fashions. Franc;ois Pinet was born in the provinces (probably Touraine) in 1817, two years after the end of the Napoleonic Wars. His father, an ex-soldier, settled to shoemaking, a comparatively clean and quiet trade. It had a tradition of literacy, interest in politics, and was known as the gentle craft, which attracted intelligent people. We should presume father would be helped by the family. It was usual for a child to begin by the age of 5-6, tying knots, sweeping up, running errands and gradually learning the job. His mother died 1827, and father 1830 when he was 13, and at the time when exports of French shoes were flooding world markets. He went to live with a master shoemaker, was not well treated, and three years later set out on the tour-de- France. He worked with masters in Tours and Nantes, where he was received as Compagnon Cordonnier Bottier du Devoir as Tourangeau-Ia rose dAmour (a name to prove most appropriate). He went on to Bordeaux, where at 19 he became president of the local branch. In 1841 he went to Paris, and in 1848, revolution year, as delegate for his corporation, he managed to persuade them not to go on strike. By now the shoemakers either ran or worked for huge warehouses, and boots had replaced shoes as the main fashion. In 1855 Pinet at the age of 38 set up his own factory, as the first machines (for sewing just the uppers) were appearing. In 1863 he moved to new ateliers and shop at Rue ParadisPoissoniere 44, employing 120 people on the premises and 700 outworkers. The English Womans Domestic Magazine in 1867 records changes in the boots: the soles are now wider, so that it is no longer necessary to walk on the uppers. There is interest in eastern Europe, the Polonaise boots with rosette of cord and tassels and Bottines Hongroises withtwo rows of buttons, much ornamented. It comments on short dresses, and recommends that the chaussure should correspond to the rest of the toilet. This could already be seen in Pinets boots: tassels and superb flower embroidery on the higher bootleg, which he showed in the Paris Exposition that year. I think his more slender and elegant Pinet heel was also patented then or 1868. I found little evidence for colour-matching: an English fashion plate of 1860 shows emerald green boots with a violetcoloured dress.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.

• 디자인학연구
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• 제14권2호
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• pp.163-174
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• 2001

월리엄 모리스(1834-1896)는 19세기 영국의 지식인중에서도 가장 다재다능한 사람이었다. 그의 사후 백년이 지났지만, 화가 디자이너, 제조업자, 상회경영자, 시인, 작가, 출판인, 인쇄업자, 수집가, 교사, 자원보호론자, 사회운동가, 환경보호론자 둥으로 활약했던 그의 삶과 일은 아직도 전세계에 영향을 미치고 있다. 모리스는 오늘날 그의 매력적인 컬러풀한 패턴으로 가장 잘 알려져 있다. 1861년 모리스는 모리스 마샬 포크너상회(1875년부터 모리스상회)를 설립하여, 스테인드 글라스를 비롯한 타피스트리, 카펫, 프린트물, 직물 둥을 생산해 냈는데, 그러한 디자인은 영국 디자인의 향방에 큰 지침을 주었다. 모리스의 초기의 텍스타일 디자인은 비전문가로서 자신의 필요에 의한 자수작업이었으나, 곧 상업적인 기초를 갖고 텍스타일 제품을 생산해내기 시작한다. 모리스는 제작을 적절히 콘트롤하기 위해서 다양한 텍스타일의 테크닉을 배웠는데, 처음에는 염색, 블록 프린팅, 수직 자카드 둥을 배웠고, 나중에는 카펫과 타피스트리까지 배웠다. 이러한 비상한 제작에 대한 직접적인 참여는, 모리스와 당시의 다른 디자이너들과의 차이점이었고, 그의 성공에도 크게 기석하게 된다. 모리스의 텍스타일 디자인은 자수, 염색, 직물, 카펫 타피스트리 둥의 작품으로 상업적으로 생산되어 널리 상찬을 받았고, 오늘날에도 복제되고 있다. 이것은 그의 디자인이 시대를 초월한 질과 테크닉으로 존중되고 있기 때문이며, 또한, 그의 패턴의 세부에서도 볼 수 있는 자연에 대한 사랑의 중요성 때문이다.