• 한국의류학회지
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• 제32권6호
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• pp.902-910
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• 2008

Orientalism은 동양을 서양과는 다른 이질적 인 대상, 괴상하고 후진적이며 수동적 인 특성을 지닌 열등한 타자로 서양인의 무의식 속에 내면화되어 왔다. 아시아를 일정한 지배의 틀 속에 가두는 문화적 장치와 담론의 체계인 Orientalism은 원래 남유럽과 북아프리카를 포함한 서남아시아에 해당하는 서유럽 중심의 용어였으며, 비 서구사회는 서구문명을 수용함으로써만 발전할 수 있다는 논리의 사상이다. 따라서 이러한 용어의 무분별한 사용은 부적절하다. 또한 아시아의 이미지나 복식양식을 차용한 서구의 아시안 룩에 아시아 본래의 정신은 사라졌다고 하여도 아시아를 저급한 타자로 인식한 것에서 비롯된 것이 아니다. Asian Ethnic Look은 동양적 미학에 매료되어 동양의 이미지나 양식을 차용한 서양의 복식이므로 Orientalism의 속성과는 차이가 있다. 국내의 패션계에서는 이에 대한 분별없이 혼용하여 사용하고 있고, 특히 Orientalism Fashion 또는 Oriental Look이라고 자주 사용하고 있다. 아시아의 복식이나 이미지를 기괴하게 조작한 일부 특정한 복식만을 Orientalism Fashion 또는 Oriental Look이라 해야 하며, 이를 제외하고는 'Asian Look', 'Asian Fashion', 'Asian Ethnic Look' 등으로 바꾸어 쓰거나, 'Korean Look' 등의 개별 국가나 지역 명으로 바꾸어 쓰는 것을 분명히 해야 한다 한국을 비롯한 아시아는 서구 중심의 수동적 입장이 아니라, 세계 패션산업의 중심축 중 하나로써 세계 패션을 리드하고 있다. 이제는 우리 스스로가 서구중심의 이분법적 편견을 해체해 나가야 할 것이다.

• 한국의류산업학회지
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• 제18권4호
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• pp.424-437
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• 2016

The study will analyze the costumes of the Scythians tribes who lived in the region of Altai in the 3-5 century BC. The purpose of this study is to prepare new material to re-examine the theory, which claims that the origin of the circular motives of korean costumes are to be found in the typology of the Scythian costumes. In this study, we analyzed the most recent reports of archaeological excavation about the unearthed clothes in the Pazyryk region and compared its information with european literature. The conclusion of this study is as follows: The jackets of the Pazyryk region are classified in two types, (1) opened jacket with narrow sleeve and (2) enclosed jacket with narrow sleeve. Trousers were separated by (1) narrow and (2) extreme wide trousers. The enclosed jacket of tunic form and extreme wide trousers are newly excavated. It proves, there was a vivid exchange between the Scythians and their neighboring cultures. It can be noted, that there existed a diverse Scythian culture of costumes, besides the commonly known clothing culture of the "Pazyryk-rider". Based upon the results of the previous research, it can be said that the opened jacket with narrow sleeve and narrow trousers are costume typologies which are common for all Scythian tribes of the whole Eurasian region. The hem of the edge of jacket is proven to be a connective element, which is common to all Scythian tribes.

• 한국의류산업학회지
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• 제16권5호
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• pp.745-755
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• 2014

The purpose of this study was to observe school education system, higher education, and fashion education in Germany to find a good model for an desirable future education to lead a creative students in Korea, thereby reshaping curriculum. We also analysed the curriculum of the fashion design offered in Hochschule Pforzheim and Berlin University of Art. We used secondary data collection by literature reviews of articles and web sites on the internet. Results of this study are as follows: German school and education system oriented with differentiation even though there are variety of them. Students can select their education system, considering work field and their own life & humanities. Various fashion education institutions were found to have their own education concept to enhance creativity with different system. Our results of analysis of the fashion design program of Hochschule Pforzheim and Berlin University of Art show their creativity education in their curriculums with module basis. Two universities have a differentiate education direction for the same aim to do creative design study and research. We realized that students learn and get the knowledge and apply to the field with a long term internship, communication skill and presentation development courses. Project based modules enable students to be creative, and active human. Strong design basis, and humanities disciplines will support people to creative design works. These two universities offer a good model of program to build up self education drive, academic and practical ways of training, and project based, internship, etc.

• 복식문화연구
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• 제24권1호
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• pp.54-66
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• 2016

This paper examines the transition of the Hungarian men's costume. Transition of the Hungarian men's costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men's costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men's costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men's costumes. Since the nineteenth century, Hungarian men's costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men's dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

• 복식
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• 제61권8호
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• pp.45-56
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• 2011

This study is about the features of hybridization of ethnic-cultural elements in Korean fashion magazines. Its purpose was to embody more creative and newer images in fashion by promoting better mutual understanding of foreign cultures and addressing the issues of fashion design from multicultural perspectives. In doing so, the present study conducted a literature review and analyzed a total of 130 photographic images with any hybrid ethic element from two Korean fashion magazines, Vogue Korea and Harper's Bazaar Korea, issued between 2005 and 2009. The analysis revealed that there were 66 images(50.8%) with a mixture of two different cultures and 64 images(49.2%) with a mixture of three or more different cultures. As seen from the results, the two categories had a similar number of cases. In regional terms, the use of two different cultural elements included a mixture of Asian and Western cultures in 32 images(24.6%), a mixture of Western and African, Middle Eastern or Latin American cultures in 23(17.7%), and a mixture of Western and Russian or European folk cultures in 11(8.5%). In the use of three or more different cultural/national elements, the present study found a mixture of Asian, African, Middle Eastern, Latin American and Western costume items in 20 photo images(15.4%), a mixture of African, Middle Eastern and Latin American elements plus Western costume items in 19 images( 14.6%), a mixture of all regional cultures in 13 photos(10%), and a mixture of Asian ethic cultures plus Western costume items in 12 cases(9.2%). The results of this analysis indicated that the hybridization of ethnic-culture elements in Korean fashion magazines consisted of diverse clothing and accessories from various ethnic groups. The expression of these multi-cultural hybrid images that consists background images and models from different cultures well-portrayed the multi-cultural elements based on total coordination and broke the stereotypical aspects of styling.

• 한국의류산업학회지
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• 제9권6호
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• 무역학회지
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• 제41권3호
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• pp.63-107
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• 2016

본 논문에서는 우리나라의 15개 FTA를 대상으로 HS코드 6단위, 15가지 품목군 별로 엄격성지수를 도출, 분석하고 이를 토대로 원산지결정기준의 국가별, 시기별, 품목별 현황과 특성을 제시하였다. 분석결과 EU와 터키와의 FTA가 가장 높은 엄격성을 나타낸 반면 뉴질랜드, 페루, 인도와의 FTA는 가장 낮은 것으로 나타났다. 또한, 유럽권 FTA를 제외하고는 시간이 지남에 따라 엄격성 정도가 완화되고 있는 추세로 나타났다. 산업별로는 1차산품과 가공식품, 의류/직물/잡화의 품목에서는 엄격성지수가 높았고 반면 일반기계, 전기기계, 화학제품, 정밀기기에서는 낮게 나타났다. 이러한 결과는 관세율이 높고 경쟁력이 취약한 민감품목은 엄격하게, 교역활성화를 위한 품목들은 유연하게 설정하고 있음을 의미한다. 본 논문은 방대한 분량의 우리나라 FTA의 원산지결정기준을 체계적으로 분류하고 이를 근거로 국가별, 품목별로 엄격성지수와 원산지결정기준을 도출, 집대성했다는 데에 그 의의가 있다. 또한 향후 우리나라 FTA의 원산지결정기준의 방향성에 대한 시사점을 제공할 수 있는 2차 자료로 활용될 수 있을 것으로 기대된다.