• 한국의상디자인학회지
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• 제17권2호
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• pp.111-124
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• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.

• International Journal of Human Ecology
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• 제11권1호
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• pp.23-33
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• 2010

Articles from The New York Times and magazines including Consumer Digest, Journal of Home Economics, Scholastic, Time and Woman's Home Companion were analyzed in this study and focused on the following research questions: How did the social situation influence American women's adoption of pants during World War II? How were the social opinions of women's adoption of pants? How did American women's adoption of pants and the social opinions on women's pants represent the process of change in the definition of femininity during World War II? Women were encouraged to wear pants in work places because many women had to work in defense industries and farms. Women had to wear pants during the winter to keep warm in order to conserve oil, rubber, and other materials. In addition, wearing men's clothes became a fashion trend among college women during this period. However, practicality was often not the primary thing alone to consider in women's fashion. Femininity was still important in women's fashion. There were criticisms over the women's adoption of pants. Regulations against pants were imposed on women, while there were women who wanted to dress like ladies even at defense industries. An abrupt change in women's gender roles and the increased adoption of trousers aroused social ambivalence about the traditional definition of femininity. Even though many women returned to their homes after the war, the social demand of practicality in women's day-time clothes during the war offered women the experience of comfort and practicality in pants. These experiences contributed to paving the way for more women to adopt pants and helped establishing a new definition of femininity after the war.

• 패션비즈니스
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• 제12권3호
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• pp.153-166
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• 2008

The purpose of this research is to analyze the overall process of the wedding industry - arranging domestic wedding firms and formulating a database related to the business. Simultaneously, with all the data in hand the research attempts to seek flaws within the wedding industry and tries to offer solutions to revitalize the industrial section. Because the list of articles is enormously expansive, for the purpose of basic research, objects have been selected according to the process presented below. Wedding-product firms have been classified within the boundaries of dresses, studios, and makeup firms; distributing channels are mainly focused on wedding planners and related-consulting firms; related departments of universities and wedding organizations are illustrated as well. Due to the unorganized system of this particular field, the research process has been conducted with materials from personal experiences, newspapers, magazines, Internet websites, documents, and interviews with wedding-related firms and organizations, and professors. As a result, over 13 subjects which formulate a market structure of over 30 trillion won. However, due to lack of systemization of the industry, as it expands, numerous problems occur. Excessive competition between wedding-consulting firms and the lack of reliable education for wedding planners, unnecessary external investment and the lack of product research, false Information from the Internet puts the entire industry in a inefficient position. Organizations such as Korea Traditional clothes Industrial Union, Korea Wedding Consulting Association, Korea Martial Industrial Promotion Association(KOMIPA) etc, are made to seek for solutions. For the wedding industry to revitalize, wedding-product firms, wedding planners and consulting firms must maintain an organic relationship every season. They must systemize a proper distribution system, with wedding-product companies enhancing the quality of products, wedding planners organizing wedding plans with responsibility, and consulting firms focusing not only on profits. In order to make high-valued products, wedding-product companies must put their greatest effort in producing talented minds, and universities with related departments must do so as well. In other words, the industrial and educational section of our society must cooperate through a sophisticated system. In addition, related organizations must act to receive governmental support in order to support the industry.

• 디지털융복합연구
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• 제18권12호
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• pp.533-541
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• 2020

본 연구는 K-POP 가수의 신한복 스타일에 대한 국내·외 소비자들의 반응을 알아보는 것을 목적으로 한다. '블랙핑크 한복'을 키워드로 포함하는 유튜브 영상과 사용자 댓글을 수집했으며, 소셜 네트워크 분석과 감성분석을 적용했다. 첫째, 블랙핑크의 신한복 스타일은 안무하기 편하도록 미니드레스 형태로 제작되었으며, 전통적 요소를 더해 현대적으로 재해석한 것으로 나타났다. 둘째, 블랙핑크의 신한복 패션에 대해 국내 반응에서는 노출에 대한 이슈가 논란이 된 키워드로 등장한 반면, 해외 반응에서는 나타나지 않았다. 셋째, 감성분석 결과 국내보다 해외 반응에서 신한복 스타일에 대해 더 긍정적인 평가를 보였다. 본 연구는 광범위한 소비자들의 반응을 알아보고 신한복에 대한 긍부정 요소를 파악하여, 신한복이 나아가야 할 방향을 제시했다는데 의의가 있다.

• 복식
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• 제39권
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• pp.113-123
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• 1998

This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

• 한국조경학회지
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• 제45권3호
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• pp.80-91
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• 2017

본 연구는 최근 젊은 층을 중심으로 확산되고 있는 한복나들이의 행위 주체인 한복나들이객과 그들이 방문하고, 선호하는 장소의 특성을 밝힘으로써 경복궁에 한복나들이객이 집중되는 요인을 규명하는 것이다. 한복나들이객의 자발적 취미활동을 경관 프로슈머적 관점에서 해석하고, 도시경관적 의의를 고찰하고자 한다. 한복나들이객을 대상으로 심층인터뷰, 현장인터뷰, 현장관찰조사를 실시한 결과, 한복나들이객은 다양한 층위가 있었다. 한복나들이객은 한복에 대한 인식, 이용방식, 활동에 따라 선도그룹, 진입그룹, 단순체험그룹으로 구분되며, 선도그룹과 진입그룹은 한복나들이 활동의 지속성에 따라 자발적 취미계층으로 분류된다. 한복나들이 장소로서 경복궁 방문 목적과 요인에 그룹별 차이가 있었다. 선도그룹은 홍보, 모임, 문화 활동을 위한 장소와 주변 목적지에 방문하기 위한 집결장소로 경복궁을 방문하는 경우가 많았다. 이 경우, 경복궁의 전통적인 경관 외에 교통 편리성, 경복궁과 주변지역의 전통문화 전시 및 행사가 주 요인으로 나타났다. 진입그룹은 경복궁의 전통적인 경관과 주변 문화시설 이용을 목적으로 방문하는 경우가 많았다. 단순체험그룹은 경복궁의 전통적인 경관과 한복 착용자가 많은 점이 방문 요인으로 작용했다. 단순체험그룹은 한복나들이 장소로 경복궁을 최초로 방문하고 있어, '한복나들이 입문 코스', '한복놀이터'로서 경복궁의 새로운 장소성을 확인하였다. 한복나들이 향유계층은 오프라인의 실제 장소에서 장소와 경관을 소비하고, 동시에 새로운 경관을 생산하며, 소셜미디어와 1인 미디어 등 온라인에서 경관 이미지를 생산함으로써 '경관 프로슈머'적 성향을 지닌다. 이들의 다채롭고 자발적인 움직임은 도시경관에 역동성을 부여하며, 이는 도시의 새로운 문화자산이라는 의미를 지닌다. 그동안 국내외 소비자학 및 마케팅 분야에 국한되어 연구된 프로슈머의 개념을 한복나들이객이라는 자발적 취미계층을 통해 '경관 프로슈머'를 개념화하고, 도시경관적 의의를 고찰하였다는 점에서 본 연구의 의의가 있다.

• 미술이론과 현장
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• 제8호
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• pp.89-119
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• 2009

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

• 한국컴퓨터정보학회논문지
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• 제14권12호
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• pp.97-107
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• 2009

TV뉴스는 매일 전 세계의 소식을 불특정 다수에게 전달함으로써 시청자의 정보 해석에 중요한 영향을 미친다. 방송환경의 급격한 변화로 HDTV로 불리는 고화질 시대에 앵커의 미세한 표정과 옷차림까지 들춰질 수 있는 시각적인 집중도가 있는 점을 감안할 때, 해상도에 더욱 신경을 써야하는 세심함이 요구된다. 따라서 HDTV에 더욱 중요한 조명 기술이 가지는 표현의 미는 강조의 여지가 없다. 보도방송에서도 이러한 변화추세에 따른 현상으로, TV 뉴스 제작 행태는 DLP(Digital Lighting Processing)나 LED(Light Emitting Diode)기법을 통해서, 기존 TV뉴스 제작 행태를 탈피하고자 하는 변화의 길을 모색해 왔다. 이와 같은 노력은 HDTV에 적합한 화질을 구현하는데 기여하였다. 요즈음 디지털영상에서는 조명 장치만을 사용하던 기존 아날로그 기반의 조명 환경이 IT기술의 발전과 더불어 디지털화된 조명 장비의 개발로 TV뉴스 제작행태에 활력을 불어 넣고 있다. 이러한 변화는 HDTV 스튜디오 구축과 세트 및 조명 시스템을 설비하기에 이르렀다 1990년대 이후, HDTV의 등장으로 필름 세트와 스크린에 영상을 투사하는 프로젝터와 최근 들어 그 활용도가 커진 PDP, LCD, DLP등이 있으며, 뉴스 외에 다른 프로그램에서 자주사용되는 LED 배경화면이 그 예이다. 본 논문은 이러한 방송환경 변화에 따라 텔레비전 영상 구성 요소가 TV뉴스 시청자의 화면 집중도에 미치는 영향을 탐색하기 위해서 KBS9시 뉴스의 조명 기법을 분석하였다. 분석 결과를 토대로 앵커가 정보를 전달하는데 있어서 앵커 이미지 형성의 범주를 조명 기법으로 제안한다.

• 패션비즈니스
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• 제5권4호
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• 대한가정학회지
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• 제8권1호
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.