• 한국콘텐츠학회논문지
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• 제22권1호
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• pp.405-414
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• 2022

본 연구는 프로이트(Sigmund Freud)의 언캐니(Uncanny) 개념과 그로테스크 이미지가 특징적으로 드러나는 마기 마랭(Maguy Marin)의 작품(1981)를 분석함으로써 무용작품의 미학적 해석 지평을 확장시킬 가능성을 발견하는 것에 목적을 두었다. 언캐니와 그로테스크 이론은 문헌연구와 함께 호프만의 『모래 사나이』(1816)를 사례로 제시하였다. 무용작품 분석에서는 무대공간, 움직임, 의상, 음성 등 다양한 요소들을 활용하였다. 이를 통해 이 작품이 언캐니와 그로테스크를 통해 전통적 무대미학의 고정관념에서 벗어나 관객의 정신적 참여를 제공하는 실험정신을 가진 작품이라는 점을 발견해 낼 수 있었다. 아울러 시대에 따른 관점변화가 무용 창작에 영향을 주듯이 작품 분석을 통한 다양한 미학적 해석방법의 담론화는 향후 무용 연구에 다양한 방향성을 제공하리라 사료되며, 이 연구가 무용예술의 미적 가치와 위상을 올리는 데 도움이 되기를 기대한다.

• 복식
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• 제56권1호
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• 한국콘텐츠학회논문지
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• 제19권5호
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• pp.562-571
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• 2019

예술과 미디어 기술을 융합한 새로운 장르의 공연콘텐츠 시장의 확장은 전통적인 무대미술 표현범위의 한계를 넘어 창의적인 시공간적 표현을 자유롭게 하며 공연예술분야 내 블루오션으로 성장하고 있다. 이러한 시대적 변화와 요구에 따른 공연예술 산업 발전에 이바지할 예술 기술 융합 콘텐츠 제작이 가능한 융합 인재 수요가 급증하고 있다. 이에 따라 대학의 무대미술 전공 관련학과에서는 기존의 미술교육 외 시대에 상응하는 무대영상 및 다양한 미디어 매체 기술(가상현실. 홀로그램, 인터렉티브 모션센서)등을 공연예술 분야 시각화 과정에 접목시키는 역량제고를 위한 교과목 개발이 시급하다고 판단했다. 본 논문은 최근 10년간 미디어기술 융합공연 사례분석을 통하여 구체적인 기술융합 무대미술 전공 교과목 개발에 관하여 연구하고자 한다. 무대미술과 미디어 기술 융합교육 시도는 기존의 전통적인 무대미술 개념을 기반으로 작품성과 더불어 창조적인 시각적 표현의 한계를 뛰어넘는 융합인재 양성의 초석이 될 것이다.

• 복식문화연구
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• 제3권2호
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• 한국엔터테인먼트산업학회논문지
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• 제14권5호
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• pp.87-102
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• 2020

세계화 시대에 걸맞게 문화 원형을 보존한 콘텐츠 제작으로 가장 한국적인 이미지를 재고하고자 지역 문화가 살아 있는 문화예술교류를 적극적으로 진행하고 있다. 지방자치단체는 지역의 특성을 반영한 콘텐츠 개발을 위한 노력을 기울이기 시작했다. 이러한 노력은 지역 정체성을 강화하고 지역의 특성을 찾음으로써 지역을 대표하는 춤과 음악, 미술, 대중문화, 축제, 역사기록 등 다양한 문화적 요소를 원천으로 하였으며, 이는 자연스럽게 생성되어 창의성과 기술력을 바탕으로 고부가가치를 창출하는 그 지역의 대표브랜드이자 문화콘텐츠로 자리매김하였다. 본 연구자는 이러한 세계화 시대에 지역 문화자원의 원초적 근원을 찾고, 그에 대한 흔적을 보전하고자 서천지역을 중심으로 충청남도 무형문화재를 활용하였다. 그리고 우리나라 전통춤 움직임을 통해 서천공작부채춤 모형을 콘텐츠 개발하였다. 현시대 보존가치가 있는 충남 무형문화재 제21호 이광구 장인의 작품 서천공작부채는 둥근 모양 부채로 손으로 쥘 자루와 공작새 머리의 모양을 하고 있는 공예작품이다. 무형문화재인 공작부채 공예작품을 소재로 활용 제작된 다양한 예술 장르 개발이 문화상품으로 확장될 수 있을 것이다. 그리고 콘텐츠의 효과적인 전달을 위해서는 관객의 흥미를 유발할 수 있는 소재들이 잘 엮어져 있어야 하기 때문에 스토리텔링 또한 문화콘텐츠의 중요한 부분을 차지할 것이다. 본 연구는 역사 속에서 내려져 오면서 원형을 보존해온 충남 서천지역의 무형문화재 공작부채가 급속한 도시화와 현대화의 변화에도 지역의 관심을 받고 재조명되기 위해 개발된 지역춤 콘텐츠로 총 4개 연작으로 이루어져 있다. 대표적인 4개 연작의 형식은 독무, 2인(人)무, 군무, 창작으로 이루어지며 각 작품의 제목은 기본 형태의 춤 <서천공작부채춤>, 남·녀 사랑의 춤 <월·하·정·인>, 군무 형태의 춤 <바람의 멋>, 마지막으로 한국 창작 춤 <휘영>이다. 4개 연작의 공통점은 공작부채를 활용한 전통춤으로 각각의 춤은 형식이 다른 주제와 음악, 의상 및 무대 등을 통해 고유한 정서와 분위기를 보여주었다. 우리의 전통문화자원인 무형문화재를 활용해 다른 지역적과 차별화된 지역춤 콘텐츠 개발을 통해 콘텐츠로서 국제교류와 미니어처, 캐릭터 제작을 통해 문화상품으로서의 성장 가능성과 지역과 국가 경쟁력을 제고 하는데 기여할 수 있는 무한한 잠재력을 가지고 있음을 확인하였고 지역경제 활성화가 될 수 있도록 문화예술 현장뿐 아닌 국제교류를 통한 세계화 작업을 통해 대중이 접근하기 용이하도록 콘텐츠로 제작하여 지역 고유문화를 이용한 지역춤 외에도 다양한 콘텐츠로 개발 활용할 수 있음을 알 수 있었다. 지역 문화유산의 특성을 반영하여 재창조된 지역 춤 콘텐츠 개발이 앞으로도 현대화 작업으로 꾸준히 활성화될 수 있는 환경을 조성하고 우리의 전통문화자원인 무형문화재를 활용해 지역적 차별화라는 성장 가능성과 지역과 국가 경쟁력을 제고 하는데 기여 할 수 있는 무한한 잠재력을 가지고 있음을 연구를 통해 알 수 있었다. 이러한 연구를 통하여 세계화 작업을 위해 현존하는 문화자원을 보존하고 이를 대중이 접근하기 용이하도록 콘텐츠로 제작한다면 지역 고유문화를 이용한 지역춤 외에도 다양한 콘텐츠를 개발 활용할 수 있을 것이다.

• 복식
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• 제16권
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• pp.221-229
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• 1991

This thesis aims at reviewing the wearing aspect and formation of Chosun ceremonial dresses for meal and finding out the thought reflected by them from the standpoint that dresses themselves should be taken as one of the phenomena in culture. That is men's ceremonial costumes and confucian costumes of the royal family and the gentry family in Chosun is reviewed focused on the formation and the wearing aspect of Po, Which is a kind of them. And in the context of the phase of the times. I also considered the thoughts reflected on the clothes such as confucianism, Ying & Yang Theory, and the symbol and the thoughts of patterns in relation to the clothes. Confucian influence was the main force for the Chosun prohibitions for clothes. The major reasons for the prohibitions for clothes were as follows. First, they reflected confucian Chung myoung chooui(the principle that everything should be where it belongs). That is the prohibitions for clothes were used in the means to maintain feudalistic social order. influenced by social rank system. Second, they reflected confucian ethics in the means to recover social disciplines with the maintenance of traditional customs. This shows well in the restriction of luxurious items in dressing included the prohibitions for clothes. Third, they reflected Chosun's toadysm toward China. With the influx of Chinese style of dressing then government even changed the style of uniforms for public officials into that of Chinese resulting in dual styles of dressing. Ying & Yan Theory greatly affected the colors of Korean clothes and reflected toadysm toward China. too. The theory was embodied by prohibition of such colors for clothes as white, gray, and jade green. I reviewed the twelve patterns on Myunpok, Ten-Longivity patterns and Four-Gracious plants patterns in order to analyze the symbolism and thoughts of patterns for clothes. Nansam, Dopo, and Shimui worn by confucian scholars ensures that those clothes bears confucianism and philosopical factors. As shimui was worn by many people it appears in Chosun scholars' studies and a Chinese book called "Yeki". I reviewed the origin, procession, and ornaments of four ceremonial clothes and tried to find out the confucianism in them. First, In Kwanrei (the coming-of-age ceremony) remained ancestor worship and respect for manners. The clothes for this ceremony granted the rights and responsibilities of and adult to the wearer. The royal Kwanreipok had different dresses for each rank. As Samgapok, the crown prince wore Iksunkwan and Konryongpo for the first ritual, Wonryukwan and Kangsapo for the second, and Myunrukwan and Konpok for the third. The rank of the King's grandson was lower than the crown prince's. This example shows that Chosun people respected manners and thought the basic confucianism "God and people are equal." at the Royal court. Second, as Honreipok(wedding gown), the crown prince wore Myunrukwan and Konpok for Daereipok, Wonyukwan and Kangsapo for Napjing and Tongwoo, and Iksunkwan and Konryongpo for Chekbinui. But common people were allowed to wear an official outfit only for wedding in the means of congratulation on the most important day of their life. Wedding gowns which reflected Ying and Yang Theory emphasized the thought that union of a man and a wife is the most important event in life. Third, Sangrei(funeral) was the last ritual of a human being to send off the deceased. The mourning dresses expressed lamentation of the people left behind. Five-Dress-System for each the relative degree of familarity showed the solemnity and formality, which represented the formality of confucianism and ancestor worship. I reviewed the mourning dresses by dividing them into royal, Yangban's, and commons. They were featured by the fact that there was only one style for every walk of life. It is construed that anyone in mourning can wear the same clothes since he feels the same way regardless of his social rank. Fourth, Chereipok(sacrificial rite dresses) had different styles for each social rank. The King wore Myunpok(Kuryumyun and Kujangpok) were recorded to be worn first in the fourth year of King Taecho's ruling. The crown prince wore Palryumyun and Chiljangpok for sacrificial rite dress which was finally settled when King Sejong was in power. Common people wore Dopo, Shimui for the rite dress in the beginning of the Chosun Era and wore Dopo after Japanese invasion of Korea in 1592. In conclusion, confucianism played the main role in ceremonial dress system of Chosun and that was because it emphasized the ethics of action in life, which was different from other religions. It is true that cause-oriented thoughts and Chung myoung chooui in confucianism drove all ceremonies to extreme manners, discriminating the people who belonged to the lower social rank, and resulting in extremly luxurious life style. However, they also created a unique trend and clothes culture in the Chosun Era. I wish that this thesis provieds important information and direction for furthur studies in the future.

• 한국식품영양과학회지
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• 제36권11호
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• pp.1472-1481
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• 2007

동래파전의 유래에 대한 문헌이 없어 문헌적 고찰이 이루어지지 않았다. 사례연구에 의하면 조선조에서 삼짇날 임금님께 진상한 음식(동래할매파전 옥호의 주인의 구술)인 상류층 음식으로, 벚꽃 피기전의 초봄의 계절음식 및 재실음식(이씨 및 왕씨 부부, 추씨 등의 민간구술)으로 이루어졌고 이로써 부산 향토음식임이 입증되었다. 동래파전의 식재료는 조선쪽파, 미나리, 해산물(대합, 홍합, 조갯살, 굴, 새우, 논고동), 쇠고기, 계란, 찹쌀 및 멥쌀가루, 맛국물(멸치, 다시마 국물)등이며, 이들 식재료를 조리 순서대로 얹어 참기름으로 구워낸 것으로 5가지 기초 식품군이 골고루 배합된 음식이다. 동래파전의 표준화에서 맛에 관련된 인자는 식재료 인자와 열원인자를 들 수 있다. 식재료 인자 중 찹쌀 및 멥쌀 가루에 멸치와 다시마의 국물을 섞은 반죽에서 쌀가루의 전분과 파가 어우러져 파전에 깊은 맛을 주고, 맛국물은 구수한 맛과 칼슘을 공급하여 파전에 맛과 영양의 상승효과를 주고 있으며, 참기름은 불포화지방산의 공급과 함께 파전에 유지맛과 고소한 맛을 주고 있다. 또한 조리 시, 강한 열원에서 번철을 달구어 식재료를 순서대로 얹어 뒤집고, 다시 반죽을 얹어 뚜껑을 덮은 후 열원을 약하게 하여 쌀 전분의 완전호화를 도와 파전의 깊은 맛을 배가시킨다 동래파전의 100g 당 에너지는 148 kcal, 단백질 8.8 g, 지방 2 g, 식이섬유 8.6 g, 칼슘 57.7 mg, 철분이 1.8 mg이었으며 1인분(245 g)당 에너지는 364 kcal, 단백질은 21.6g, 칼슘은 141 mg, 철분은 4.4 mg으로, 철분과 단백질의 함량이 우수한 것으로 나타났다. 아미노산 조성은 시스틴, 리신, 루이신, 발린, 이소루이신 등의 필수 아미노산의 함량이 높았으며 필수 및 비필수 아미노산의 조성이 균형된 음식이다. 구성 지방산 중 올레인산, 리놀레산, 리놀렌산의 함량이 각각 20.5%, 20.1%, 10.4%로 불포화지방산이 58.3%이었으며 P/M/S가 0.73/0.67/1이었다. 동래파전의 섭취 증가를 위하여서는 자주 먹을 수 있는 일상의 음식으로, 또 저 연령층의 섭취확대를 위한 급식메뉴로, 그리고 때와 장소의 구애 없이 간편히 이용할 수 있고, 우리국민은 물론 외국인의 입맛을 공략할 수 있는 조리방법 개발에 많은 노력과 연구가 필요하다고 생각한다. 본 연구에서는 전통적, 향토적 동래파전의 식재료 종류와 분량, 조리법에만 중점을 둔 조리표준화를 행하였으나 향후의 연구는 동래파전의 산업화에 중점을 두고 젊은 층을 중심으로 고 연령층 등 각 연령층이 선호할 수 있는 우리전통음식인 동래파전 패스트푸드화에 노력을 기울여야 할 것이다.

• 공연문화연구
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• 제32호
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• pp.209-241
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• 2016

'낭자군(娘子軍')과 더불어 '여성농악'이 탄생했다. 본고에서는 남성들의 전유물이나 다름없던 농악의 주체로서 여성이 등장한 내력, 특히 국극단 출신 여성농악예인의 출현이 주목된다. 이 연구에서는 낭자농악대와 소녀농악대의 활동 내력에 대하여, 새로이 발굴한 기사자료들을 전면에 제시하고 실증적으로 다루었다. 본고에 소개하는 '여성 농악예인'들은 기존에 알려진 남원여성농악단 성립 이전의 여성 농악인들과, 그 이후의 세대들을 아우른다. 여성 특유의 매력을 발산하며 인기를 누린 예인들은 각종 농악경연에 참가하고 포장걸립을 전전했다. 여성농악인들은 우도농악 명인들로부터 전수를 받아 기량을 갖추고, 화려한 복색으로 이목을 끌었다. 농악계의 여성들은 특히 시대의 흐름을 간파하여 활동무대를 넓히고, 다양한 장르와 융합하면서 융통성과 순발력을 발휘했다. 여성 농악인들은 세대와 성별, 지역과 국가의 경계를 넘나들며 활동했다. 소녀부터 기혼녀에 이르기까지 팀원으로 편성될 수 있었고, 때로는 어린 소년들을 영입하거나, 원로 남성농악인들과 연대하기도 했다. 또한 이들은 지역을 넘어, 국내외의 무대를 누비면서, 해외 순방에도 박차를 가했다. 특히 어린 소녀농악인들은 한국문화의 상품성을 선보이고, '순결한 농악예술무대'를 장식하는 문화적 매개자로 동원되기도 했다. 이들은 스스로의 활동에 대한 실리와 경제적 이윤을 추구하거나, 정치적 선동을 할 수 없는 '천사 같이 춤추는 예쁜 인형'이나 다름없었고, 그 후원자는 국내외 정계 인사들이었다. 여성농악인들은 국내외 전반에 걸쳐 각계각층의 인사들과 교류하면서 농악의 저변 확대에 기여했다. 해외로 파견된 소녀들의 농악공연이 대개 어린이들이나 학생들 위주였던 반면, 국내에서 기성세대와 연합하여 공연활동을 하던 소녀들은 그저 농악이 좋아서 여성농악단에 입단하여 기예를 습득하고, 공연하며 실전 경험을 쌓으면서 스스로 입지를 다져갔다. 해방 이후 낭자농악, 소녀농악이라는 이름을 걸고 농악의 무대화를 선도한 여성예인들은 대중적 인지도를 얻어 농악의 저변 확대에 기여했다. 사당패, 협률사, 낭자농악대, 소녀농악대, 여성농악단 등 한 세기를 풍미한 여성 농악예인들은, 농악판에 팽배하던 '남존여비(男尊女卑)'의 관습을 뒤틀고 농악문화의 새 전통을 일군 주인공들이다.

• 복식
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• 제30권
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.

• 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.