• 복식
• /
• 제50권7호
• /
• pp.195-218
• /
• 2000

This study investigates the characteristics of European knitted works from a historical perspective. Specifically, this study deals with the following research topics: 1) the origin and development of knitting. 2) the characteristics of knitting industry according to the change of times, 3) the comparison of local knitting patterns and cultures. 4) 7he symbolic meaning of the designs in the knitted works and theire functions. This research is barred on the survey of the relevant literature and photographs. The results of the study are summarized as follows. 1) The introduction of knitted works was closely connected with the climatic and socio-economic conditions of the places of the origin. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. 2) In ancient times, abstract and geometric patterns have developed in Europe under the influence of Arabian knitted work. Middle Ages saw the flourishing of Arabian knitted works representing the authority of the church. In early modern times, the knitted work assumed the wealth of the royal families and the nobles. But afterward it was gradually Popularized among the middle classes. Knitting was then regarded as one of the women's major cultural activities. However, recently in the interwar periods. the knitting industry did not flourish and the knitted works came to serve merely as comfort goods by political urge. Knitted works were introduced in Korea around 1870 (the 7th or 8th year of king Kojong era) by Catholic missionaries and they started to be made by machine in 1917. 3) As for the propagation of the knitted work into Europe, there are three routes estimated. The traditional knitting patterns of local areas and their characteristics are summed up as follows : (1) England Guernseys are thick dark blue wool, whereas Jerseys are thinner and of various colors. The knitted shawls of Shetland are world-famous for their fine, lace-like texture that they can be through a wedding-ring. The knitted work of Fair Isle shows several distinctive features, such as the use of no more than two colors, patterns with diagonal lines. symmetry within the patterns, the prominent OXO patterns, and horizontal bands of patterning. The representative knitted work of Aran is Aran sweater made for fishermen to developed from guernseys of Scotland. (2) Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. (3) Baltic area : The Latvian and Lithuania stockings have very ornate patterns. Many of the Estonian knit stockings and mittens share designs. Komi was well-known for its symmetric diamond pattern. Komi patterns include colored stripes, borders of pattern and all-over designs of complex diagonals. (4) Balkan area : In Yugoslavia, the patterns of roses, leaves and flowers were used for stockings, gloves and leggings. Greek knitting resembled southern Russian knitting, which utilized light colored patterns with dark colors for a background. Turkish patterns are symmetric vertically or horizontally. 4) The traditional knitting patterns net only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns also represented Power or authenticity Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns.

• 한국콘텐츠학회논문지
• /
• 제19권8호
• /
• pp.332-344
• /
• 2019

지리적 위치로 인해 한국과 중국은 오랜 문화교류의 역사를 가지고 있으며, 오랜 기간의 교류를 통해 중국의 전통문화는 다양한 방식으로 한반도 선조들의 일상생활에 스며들고 있다. 중국의 전통문화 중 하나인 도교는 한반도의 삼국시대에 전파되기 시작했다. 도교가 한반도에 녹아들고 발전하면서 한반도만의 특징을 지닌 도교 문화를 형성하게 되었고, 한반도 선조들의 전통적인 이념 및 문화적 생활의 일부가 되었다. 한반도의 가구발달 과정에서 도교의 음양오행설, 풍수지리설 등 도참설(圖讖說)은 한반도 전통가구의 용도, 조형, 재질, 문양 등에 중요한 영향을 미쳤다. 조선왕조 후기는 한반도 수공업 발전의 전성기였다. 이 시기에는 가구류가 증가하여 도교적 특성이 뚜렷하고, 모양이 아름답고, 디자인이 우수하고, 용도가 다른 가구들이 많이 출현하였다. 본 연구는 조선후기 가구의 조형, 재질, 문양, 도장, 디자인 등에 대한 연구를 통하여 도교사상이 한국의 전통가구의 형태와 문양의 발전에 영향을 준 주요 요소 중의 하나임을 확인하였으며, 여러 가지 자연물이나 동식물을 가구 디자인의 문양으로 활용한 것은 가족들이 화(禍)를 피하고 하늘로부터 복(福)을 받기를 기원하는 도교의 기복(祈福)사상으로부터 영향을 받은 것임을 알 수 있었다.

• 한국가정과교육학회지
• /
• 제32권1호
• /
• pp.51-76
• /
• 2020

본 연구는 2015 개정 고등학교 가정과 교육과정에 적용할 수 있는 전통 생활 문화 교육 프로그램을 개발해 제안하는 것이다. 가정 교과는 전통 생활 문화를 교과 내용으로 다루고 있으며, 현대생활에 적합한 새로운 문화를 재창조할 수 있는 능력을 함양하는 것에 목적을 둔다. 기존 학교에서의 전통 생활 문화 교육은 이론 교육 위주 혹은 일회성의 체험 위주의 교육이 이루어져 왔다. 또한 주로 초등학생과 중학생 대상의 프로그램이 개발되어, 고등학생을 위한 프로그램은 부족한 실정이다. 이에 본 연구는 고등학생을 위한 가정과 프로그램을 개발해 전통 문화 교육의 발전적 방향을 제시하고자 하였다. 이를 위해 한식, 한복, 한옥에 공통적으로 다룰 수 있는 전통 문양과 오방색을 전통 생활 문화 교육 주제로 선정하고, ADDE의 단계를 따라 전통 생활 문화교육 프로그램을 개발하였다. 분석 단계에서는 2015 개정 고등학교 가정과 교육과정과 12종 가정 교과서의 만들기 활동, 교사와 학습자의 생활 문화 교육에 대한 경험과 요구를 분석하였다. 설계 단계에서는 프로그램 개발을 위한 스토리텔링 기반 메이커 교육 모형 설계와 수업 주제 도출, 만들기 활동, 메이커 도구와 재료를 선정하였다. 개발 단계에서는 전통 의·식·주 생활문화 교육을 위한 프로그램을 개발하였다. 평가 단계에서는 가정과 교육 전문가 12명을 대상으로 타당도 검사 및 피드백을 받아 수정하여 프로그램을 완성하였다. 추후 연구로 이 프로그램을 적용해 학생들의 전통 생활 문화에 관한 인식과 전통 생활문화의 발전과 계승 의지 등의 효과를 살펴보는 연구를 제언한다.

• 복식
• /
• 제59권4호
• /
• pp.1-13
• /
• 2009

The purpose of this study is to examine the types of and figurative characteristics of in women's embroidered handicrafts of Korea. It also aims to revive Korean traditional beauty, to examine the applicability of Korean traditional design that has both modern beauty and practicality, and to develop Korean women's embroidered handicrafts. The types of women's embroidered of Korea include Jumoni (pouches), Bojagi (wrapping cloths), and other accessories made by sewing. Jumoni consisting of 55.51% of them was the most frequently used handicraft followed by Bojagi (8.66%), and other accessories (35.83%). In terms of the patterns used, animal pattern and plant pattern were used the most frequently. In addition, complex patterns using two or three patterns together(70.49) were more frequent than singular patterns (29.53%). Pictorial type of pattern arrangement (58.24%) was used the most frequently and dense type (39.76%) and sparse type (2.00%) were followed. In terms of the materials on which embroidery was used, Dahn (85.82%) was used the most frequently followed by wool (5.67%), cotton (4.26%), silk (3.55%), and Sa (0.70%). Various techniques of stitches were used such as outline stitch (40.56%), satin and running stitch (29.32%), French nut stitch (28.11%), long and short stitch (21.28%), double leaf stitch (20.88%), and so on. Among them, satin stitch (63.05%) was the most popular type of stitch techniques. Strings (23.56%), maedeup (Korean traditional knots, 8.62%), or tassels (9.77%) were also attached for the purpose of both practicality and of decoration. There were some cases that added cloissone or red-pepper shaped decorations.

• 한국주거학회:학술대회논문집
• /
• 한국주거학회 1998년도 International Housing Conference
• /
• pp.7-10
• /
• 1998

• 패션비즈니스
• /
• 제5권4호
• /
• pp.56-72
• /
• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• 패션비즈니스
• /
• 제17권6호
• /
• pp.158-175
• /
• 2013

The purpose of this study is to provide basic information to Korean fashion designers who wish to advance to the overseas collection. This is done through analyzing the design characteristics of Japanese young fashion designers, Tsumori Chisato, Commuun, and Limi Feu, who have successfully launched their designs into the Paris collection and became global fashion brands. Collections of each brand were analyzed by the overall fashion style and design elements. For the overall fashion style, Tsumori Chisato used a romantic style using details with various ornaments, whereas Commuun shows minimal style with a simple silhouette. Limi Feu expressed avant-garde style with experimental patterns. Moreover, these brands expressed different style to other brands by applying Japanese traditional clothes, patterns, and Japanese techniques in modern view point. In terms of design elements, these three brands used the H-line silhouette. Tsumori Chisato used loose fit; Commuun, slim line; and Limi Feu, boxy silhouette. In the case of colors, materials, patterns and details, Tsumori Chisato showed mix & match with various colors, materials, patterns and details. Commuun used mono tone with black & white using only one or two materials. Limi Feu usually used the color black with cotton. According to the style of the brand and region of the collection, the main characteristics of the design and the application of Japanese traditional elements can be different.

• 한국의상디자인학회지
• /
• 제11권1호
• /
• pp.169-179
• /
• 2009

In order to preserve the Korean traditional gold foil, to develop as Korean traditional textile art by utilizing in modem fashion for textile industry, and to examine utility of the material which can be used in the modem wearing, interior goods and fashion terms, Textiles Applied Korean Traditional Gold Foil were developed. The results are as follows: First, important factors of the gold foil image should be extracted as materials quality, color and pattern, and modem and practical qualities should be proceeded when developing the image of the gold foil into modem quality material. Second, since gloss of fabric developed by a traditional method is somewhat strong, uniformity being a little bit low for hand-made manufacturing, and practical quality is low for high cost, deletion of the gold foil, etc. So it hasn't been appropriate for studying modem fashion material. Third, Jacquard weave has been examined as the most appropriate method in order to present the gold foil image among a number of textile manufacturing techniques Fourth, considering factors deciding the image of the gold foil and a sense of beauty of modem society, gloss of the foil has been lessened by expressing pattern to lower traditional quality and primary color. Fifth, pattern motives of developed materials have been extracted tram traditional gold foil patterns, and materials have been chosen considering of concepts and motives, and dragon pattern, crane pattern and bat pattern, Sixth, wearing, pin-up works, bed linen, fabrics for chairs, ties, bags, shoes, umbrellas, etc. are produced with the developed materials, and practical use and modern quality have been examined. The result is very satisfactory.

• 한국의류산업학회지
• /
• 제21권4호
• /
• pp.412-419
• /
• 2019

This study is to help maintain the identity of traditional Korean culture and develop fashion culture products by applying images and composition forms of traditional lattice patterns for vest designs. Lattice can be distinguished as a shape created through intersecting vertical and horizontal lines, in the form of oblique lines in vertical and horizontal structures, and in the form of an oblique line. Lattice patterns represent the overall unity and order as well as the beauty of small spaces created by simple lines. Traditional lattice patterns of the Joseon Dynasty were examined theoretically through the literature. Based on theoretical grounds, there is study illustrates vest designs using Adobe Illustrator CS6 as well as works on a 3D virtual costume using CLO Trial 4.2, a 3D virtual dressing system of CLO Virtual Fashion. This study developed an easy to wear vest design categorized as clothes for both men and women. The geometric formality of the lattice pattern has been applied to fashion culture products. In this study, the design was developed focusing on lattice, kotsal (flower pattern), sosulbitsal (diagonal), sotdaesal, tisal (horizontal & vertical). This study can be used as basic data in the domestic fashion cultural product market that can help maintain the originality of Korean culture in the global era that also assists in the successful promotion of Korean culture and traditions.

• 복식
• /
• 제52권1호
• /
• pp.129-143
• /
• 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.