• 패션비즈니스
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• 제4권1호
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• pp.13-24
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• 2000

The purpose of this research is to offer basic data for study of men's suits by investigating the wearing conditions of men's suits. For data collection, a questionnaire was composed of a number of times and the reason of the suit wearing, and a number of suits they posses etc. The subjects of this research were male who aged 20-59 and resided in Seoul and the capital region. The results of the research are summarized as the following : 1. The mean age of suit wearing for the first time is 22.7 years old. The younger began to wear the suits earlier than the older. 2. A number of times of suit wearing for a week is more than 5 days mostly. Being educated higher, the ratio of suit wearing is getting higher. And In the case of job, office men, sales men and men whose job of specialization are wearing suits many a time more than a graduate student and a technician. Most of tne men especially 30's$\sim$40's is wearing the suit as a working garment. 3. Most of men is wearing jacket, dress-shirt and necktie in spring and fall, dress-shirt and necktie in summer, and jacket, vest, dress-shirt and necktie in winter. 4. As a general rule, men have about 2 suits for spring/fall and winter, and about 1 suit for summer. Also male has more than 6 ready-made suits and about 1 custom suit. The last, men almost do not use the suspender with suits.

• 패션비즈니스
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• 제18권2호
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• pp.14-28
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• 2014

This study analyzed the group of experts who were related to cubism, selected among the works of 2010~2013 Paris Collection based on F.G.R.(Focus Group Research). According to the results of this study, there were appeared first, 'a one-piece dress' second, 'H silhouette' third, 'cotton', in case of item distribution and frequency. The analysis was done by using the manner of expression, cubical expression, exaggeration, distortion, dismantlement, geometrical division of face, mix-match look, wraparound repetition, asymmetric structure, etc. Based on the outcomes of the analysis on figurative design elements, this study adjusted three manners appearing on cubism fashion style. First, it was 'avant garde manner' of constitution or 'dismantlement' which was compiled into multi-view representations of overlaps and viewpoints by repetitive use of color tone trimming detail. Second, it was 'geomagnetic block placement' which expresses cubism with geometric partitioning of surface and separation of panel by cutting disintegration. Finally, it was 'distortion and simplification of silhouette' which is a distortion created by constitution-line pressed thin with silhouette. It maximizes the beauty of human body outline, which was distorted by three-dimensional-manipulation, and simplified by ellipsis for another shape for the extension or expansion of detail trimming.

• 한국의류학회지
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• 제22권6호
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• pp.691-698
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• 1998

This study investigated the clothing constructional characteristics of contemporary folk Jogori design retailed at the market. This study focussed on comparison of style variation between contemporary Jogori and traditional Jogori. The data were collected from five top contemporary folk dress makers's 997-1998 fall-winter collection. The results of this study were as following. 1) The traditional folk clothing constructional elements remained most among the con- temporary Jogori design were center back seam(Deung-Sol) and attached front bodice extensi on(Sup). Neckline shaping(Geet) and neckline binding(Dong-Jeong) were also observed frequently. 2) The most obvious changes from the traditional Jogori design were elimination of the ribbon fastener in front, adaptation of various neckline shaping used in the Yi dynasty, and lengthened garment length. 3) The western garment construction techniques applied to the contemporary Jogori design were use o( pocket and button closure. The center front extension was replaced with attached front bodice extension(Sup) for a few Jogori design.

• 한국의류학회지
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• 제40권5호
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• pp.936-953
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• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• 복식
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• 제62권3호
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• pp.112-119
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• 2012

Dresses reflecting human aesthetic consciousness are used as a way of expressing the inner desire of human beings. The desire to attract the opposite sex through sexual appeal among the human inner desires is the one innate characteristic that all human beings have. We may say that the $See-through$ look emphasizes a sense of softness and femininity by exposing the skin and expresses bodily beauty by way of using see-through cloth. It is a fashion style that can express sexual appeal and eroticism of female most effectively. In this study, after observing the motivation of dress wearing and $See-through$ look in the perspective of bodily concept and eroticism, colors of $See-through$ look shown in the $Pret-a-Porter$ Paris S/S collection from 2006 and 2007, a fashion style expressing eroticism was newly re-analyzed as romanticism and glam look particularly in 60, 80s compared with other times were re-created and evaluated. As a result of analyzing colors of the $See-through$ look, Yellow Red(close to skin color) was revealed to be the highest( 31.3%), followed by Red(9%), Purple Blue(7.2%), Yellow(7.2%), Purple(5.4%), respectively and in terms of color tone, pale and gray tones that have a sense of femininity and softness was revealed to the highest(20%) followed by ltg(11%) and dkg(9%). We may find the meaning of this study in analyzing colors of the $See-through$ look, and the typical look of eroticism, which has never been tried before. It is required to identify chronological color features of the $See-through$ look and the diversified characteristics of skin colors expressed in them to prepare useful data by which a sense of the $See-through$ look can be utilized for color coordination through the relationship between skin tone and dress by pursuing a more detailed method based on the result of this study.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 대한가정학회지
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• 제39권4호
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• pp.1-18
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• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• 복식문화연구
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• 제13권2호
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• pp.269-279
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• 2005

Okso, Keun Seob($1671\sim1759$) was descended from a noble family of Noreun(노론) and learned from his uncle, Keun Sang-ha who is a disciple of Song Si-Yeol, Kim Chang-hyeub and Kim Chang-heub. His $\lceil$Oksoko$\rfloor$ remains in the form of a transcription or a lithographic printing, and documents on 'Hakchangeui' are recorded in jabeui(잡의), Euijedogi(의제도기), which is a part of it. He left Seoul in 1714, settled in Chungpung, journeyed to many places, including the Hwang river area and Jecheon and led a literary and artistic life as Sadaebu(사대부), which was written in a collection of his works where the record about 'Hakchangeui', the most suitable clothes for the life of a retired scholar remains today to express one part of his life. This study introduces data about Hakchangeui written in $\lceil$Oksoko$\rfloor$, pursues the reason why Okso, Keun Seob told about it and intends to embody the figure of Hakchangeui based on the system, measure, material, and sewing method according to the records in a collection. Hakchaneui described in $\lceil$Oksoko$\rfloor$ reveals a structure that is different from old Hakchaneui, showing characteristics like the following. It is a Sadaebu's costume for field amusement in which the length of a former part is longer than that of a later part and the side seam of a garment rips. Black Yeon is attached to the white texture. Yeon widths of Git(collar), Sugu and Gil are varied, respectively. Yeon's figure attached to Gil and Somaejindong is a mountain. Git is Bangryeong and link parts between Git and Gil is connected with Sangchim. This Hakchangeui is considered to playas a gown because it has no string or support to adjust his dress. Especially we can identify that Hwayanggun(화양건) was used in this Hakchangeui.

• 복식
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• 제55권8호
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• pp.112-126
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• 2005

The purpose of this study is to analyze the aesthetic characteristics of 'movement' expression in modern fashion(1910-2004) based on a study of modern fine arts which adopted 'movement' element in their work. In this study the meaning of movement was defined as motion, changing position and transformation. Literature survey through books and research papers and demonstrative study with fashion collection photos were undertaken. The results wert as follows ; 1) Kinetic art, optical an, light kinetic art and technology art such as video and computer art have adopted 'movement' element in their work. 2) The plasticities of 'movement' fine arts were identified as mutual penetration, increase of visibility, use of non-traditional materials and dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of fine art, optimistic attitude on technology, spectator participation and integration of art and life. 3) The 'movement' expression in modern fashion was distinctively found in 1910s-20s(avant-garde fashion), 1960s (kinetic and optical art fashion) and mid 1990s to 2004 (techno-cyber fashion). 4) The plasticities of the 'movement' expression in modern fashion were identified as non-definition, use of non-traditional materials, dynamism. The internal meanings were identified as expansion of aesthetic experience and the concept of dress, optimistic attitude on technology, playfulness through participation. In conclusion, the expression of 'movement' in modern fashion has optimistic viewpoint on the development of modern society and is one of the interesting design points which will be pursued in the fellowing years.

• 헤리티지:역사와 과학
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• 제56권3호
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• pp.76-98
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• 2023

국립중앙박물관 소장 《회혼례도첩》(덕수6375)에 묘사된 남녀 등장인물의 복식을 분석하고 《회혼례도첩》의 제작 시기를 추정한 결과는 다음과 같다. 첫째, 주인공 노신랑은 <전안례도>와 <교배례도>에서는 평소 관원으로 착용하던 흑단령을 착용하였다. 그 외 <헌수례도>와 <접빈도>, <중뢰연도>에서는 패영 없는 자립에 옥색 포, 홍색 세조대를 둘렀다. 기럭아범은 자립에 귀 옆에 묶은 패영을 달고 흉배를 부착한 무문 흑단령을 착용하였다. 성인 남자 자손과 하객들은 도포 등 당시의 대표적인 포 종류를 착용하였는데 특히 무관으로 추정되는 인물들은 철릭, 직령을 착용하고 붉은 색 띠와 청색 계통의 띠를 신분에 맞추어 착용하였다. 징씨(徵氏) 등 안내자는 중치막과 홍단령을 착용하였으며 어린 동자들과 시동(侍童)은 중치막을 착용하였다. 술을 따르고 음식을 나르는 총각들은 땋은 머리에 소창의(小氅衣)를 입고 성인들은 전립(氈笠)에 소창의를 착용하였다. 군영 소속의 세악수들은 소색 소창의에 흑색 전복, 그리고 허리에 남색 포대 등 군복을 착용하였다. 둘째, 노신부는 <교배례도>에서는 거두미와 초록원삼 차림을 하였고 <헌수연도>에서는 남치마·옥색저고리 차림이 확인되었다. 여자 자손들은 어여머리에 비녀와 반자, 진주댕기 등의 칠보장식을 하였고 다양한 색상의 저고리에 남색과 홍색, 옥색 등의 치마를 입었다. 남치마에 초록 장옷을 입은 부인도 확인되었다. 홍치마에 초록색 회장저고리를 입은 <교배례도>의 동녀(童女) 4명은 낭자머리에 비녀 꽂고 도다익 댕기를 길게 드리웠으며 칠보족두리를 썼다. 비자(婢子)들은 어여머리에 가리마를 썼으며 양반 부인들과 유사한 치마·저고리를 착용하였으나 색상이 연했고 치마의 길이가 짧았으며 치마의 부풀림 정도가 약하였다. 기녀는 양반 부인과 비슷한 모습이었으나 색상이 덜 화려하였으며 어여머리에는 칠보장식이 없었다. 셋째, 주인공의 자립 착용, 철릭과 직령을 입은 하객들, 군영 소속 세악수 참여 등에 근거하여 회혼례의 주인공이 병조나 군영과 관련된 인물이었을 가능성을 제시하였으며 군영 악대의 전복의 소매 길이와 잠화 사용, 어여머리의 형태와 댕기, 저고리의 길이와 치마의 부풀린 형태 등에 근거하여 《회혼례도첩》의 제작 시기를 1760년대~1780년대로 추정하였다.