• 복식문화연구
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• 제29권6호
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• pp.779-794
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• 2021

In this study, the sales status of female ball-jointed dolls and their parts were investi- gated and analyzed. Baseline data from 194 products and 54 brands on domestic and international Internet sites was gathered for the manufacture of ball-jointed dolls and the development of prototype costumes for them. The results are as follows. First, the sizes used for ball-jointed dolls are SD, USD, MSD, 13SD, and 70SD together with height. This study analyzed 39 sizes (15~70cm) by classifying them into numbered groups: 1 (15~22cm), 2 (23~33cm), 3 (35~51cm), 4 (53~62cm), and 5 (63~70cm). The price varied depending on the size; for example, 50cm dolls were approximately 45,000 won, while limited editions were sold at high prices, regardless of their size. They were classified into designs according to their body proportions and facial features as follows: 7- or 8-head-figure, 5-head figure, and 3-head figure, and were presented proportionally as images of women, adolescents, and infants. Second, the head was incised so that the top could be removed horizontally or the facial region vertically, allowing attachment of the eyeballs (which were either glass, resin, or acrylic) to the inside. More than 30 different colors were sold. Various wig styles were provided, including cut, short hair, and perm. These were made from human hair, heat-resistant fiber, and artificial hair. For the hands, there was a design expressing human hand gestures. For the feet, heels were in the form of wearing either high-heels or flat soles.

• 한국의류산업학회지
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• 제24권1호
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• pp.1-14
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• 2022

K-pop stars are an important influence in the era of digital culture based on emotions. The purpose of this study is to visually express the identity and worldview of their music in the virtual and real world, and to promote Korea's current and past culture. The study also intends to appeal to the emotions of the global fans by designing original textile in their music video 'IDOL' on Tiny TAN - a symbol of world pop star BTS. For design development, traditional Korean images shown in the 'IDOL' video were collected, patterns for each member were selected, and a motif was designed on Adobe Illustrator. We selected the dragon as the motif for V, cloud for Suga, chrysanthemums for Jin, mask for Jung Kook, hanok pavilion for RM, fan for Jimin, and Sam Taegeuk for J-Hope. The selected motifs were designed as per the four textile design arrangement methods: square pattern, 1/2 half drop pattern, turn-around pattern, and panel pattern. The design was presented by mapping Kwaeja to Tiny TAN character. The developed textile design can be used not only for character costumes in virtual space, but also for various products such as clothes, accessories, bedding, cosmetics, stationery, and food. By using it to produce goods inspired by K-pop stars, it can be used as basic data for the development of high value-added competitive products in the global market and create synergy effects of K-Design, which would lead a new trend in the design world.

• 헤리티지:역사와 과학
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• 제52권1호
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• pp.120-147
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• 2019

연구는 현전하고 있는 선조대 공신 초상화를 임란 이전과 이후로 나누어 초상화에 표현된 복식 양상을 초상화와 관련 유물, 문헌자료를 토대로 살펴본 것이다. 공신초상은 공신 책록 당시에 그려진 공신화상도 있었으나 후대에 그리거나 이모된 것도 있었을 것으로 판단되지만 해당 시기의 모습을 어느 정도 보이고 있다고 판단되는 경우에는 연구 대상에 포함시켰다. 공신초상은 사모와 단령, 품대, 흑화로 구성되는 의례용 단령인 흑단령 차림으로 묘사되어 있었다. 흑단령 관복을 분석하기 위해 사모의 높이와 모정의 형태, 양각(兩角 사모뿔)의 형태와 문양, 단령의 문양과 무의 양식, 단령의 옆선 처리방식과 흉배 품대, 단령의 받침옷인 답호(??)와 철릭[帖裏]의 색상, 흑화 등을 살펴보았다. 임란 이전 광국 평난공신 초상화는 한응인(韓應寅) 초상화(1점)가 분석 대상이었는데 사모는 조선시대 사모 중 가장 높은 높이였으며 사모뿔에서는 당상관 이상만 사용할 수 있는 운보문(雲寶紋)을 확인할 수 있었다. 흑단령은 '밖주름무'가 달린 만자운문(卍字雲紋)의 아청색 단령에 운안흉배(2품)가 달렸다. 허리에는 학정대(종2품)를 띠고 있었는데 학정대는 "국조인물고(國朝人物考)"에 기록되어 있는 자헌대부(정2품) 품계와 일치하지 않았다. 당상관용 홍색 답호와 녹색 철릭의 단령 받침옷, 그리고 흑화 등을 확인하였다. 임란 이후 호성 선무 청난공신 초상화는 이항복(李恒福) 초상화를 포함하여 18점을 분석하였다. 사모의 높이는 이전 시기보다 낮아졌고 운보문의 사모뿔은 상대적으로 넓어 보이는 형태였다. 흑단령은 '뒤뻗침무'가 달린 만자운문의 아청색 단령이었으며 흉배와 품대는 공신 책봉 당시의 품계와 거의 일치하였으나 2점(신잡 김새신)의 예외가 있었다. 따라서 공신초상은 책봉 당시의 품계로 그리는 것임을 재확인하였다. 흑단령의 받침옷 중 녹색 답호(11점), 남색 답호(4점), 다홍색 답호(3점)가 확인되었으며 철릭은 남색(10점), 녹색(6점), 홍색(1점), 유청색(1점)으로 확인되었다. 그러나 삼공신의 흑단령 받침옷으로는 임란 전과 동일한 당상관용 홍색 답호와 녹색 철릭으로 표현되는 것이 옳다는 견해를 제시하였다.

• 복식
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• 제55권7호
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• pp.156-170
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• 2005

As contemporary art tends to diverge from its fixed genres and intends to appeal to the public, fashion comes to contribute to the contemporary art area, by playing an important part in the creation of artistic value of art work. Nowadays, it is not unusual to see fashion work shown in an art exhibition parallel with art work, since some artists adopt costumes as the medium of their work in order to explore various means of expression. The occurrence of philosophical, sociological theories concerning human body parallelled with the prevalence of the post-structuralist ideas and occurrence of various styles of artistic expressions of body encouraged active research and attracted social attention to body. With such background, fashion art was formed by a means of the integration of body and fashion in order to create extreme artistic expression. 1 intend to investigate a variety of trends in fashion art from the viewpoint of body space. This study developed criteria for fashion image in contemporary art. Those criteria are based on the dichotomy that divides body into inner aspects and outer aspects. According to the criteria, Firstly, the extension type of body shape includes enlargement and reduction as its sub-types. Secondly, the opening-closure type includes opening type and closure type as its sub-types. Thirdly, the intensity type categorizes clothes into uniqueness and hybridity. Dynamism type classifies fashion art into fixation and moving. The various expressions of clothes type are interpreted as a means by which we can criticize many phenomena of modern society, such as loss of humanity, isolation of individuals, loss of identity, commercialism, and materialism. In the latter period of modern society, the integration of the double-faced nature of body and spirit was attempted and popular fashion was introduced into art in order to express desire, death, gender, identity, and sexual pleasure.

• 복식
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• 제56권7호
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 복식
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• 제56권7호
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• pp.1-17
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• 2006

This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.

• 패션비즈니스
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• 제19권1호
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• pp.95-105
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• 2015

This study investigated the color culture in the Japanese Medieval Age. The Japanese Medieval Age included the Kamakura period (1180-1333) and Muromachi period (1336-1573), and the leading group transitioned from the Kuge families to the Buke families. The taboos about colors from ancient times became nominal, and forbidden colors, such as purple, celadon, and red, became the colors of the samurai, leading to beautiful soldier gears that were unparalleled in history. In the Kamakura period, colors that conveyed a strong impression were created and preferred with the combination of a samurai's reasonable spirit and zen thoughts. The period was also called "the era of hari", and cross dyeing based on basic colors such as suou (red), ai (blue), and kuchinasi (yellow) was popular. In both the Kamakura and Muromachi periods, conspicuous and strong colors were sought for costumes, and embroidery was used with gold leaf, silver leaf, gold threads, silver threads, and background color. The colors of costume preferred by Buke men in the period included green, blue, and brown. In the characteristics of the kosode, the sugan and hitadare were used for men's formal dress, while kosode was used for the grooming of the working class. In these periods, additionally, the working class began to be socially engaged in actively wearing the one-layer kosode, which became popular, and the characteristics of the Japanese Medieval Age, during which functionality and practicality was valued, were also reflected in the dressing.

• 패션비즈니스
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• 제22권4호
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• 복식
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• 제65권7호
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• pp.129-144
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• 2015

This study is aimed to better understand the lifestyle and fashion trend of Korea in 1954 and 1955, a period right after the Korean War. The study examined "The Journey of Duty", which was a color slide film of Seoul and Suwon made by a US soldier stationed in Korea during that time, as well as various documents. The films are assumed to be outcomes of the US Army wanting to record the situation in Korea, and the study was able to use 110 of the slides to examine the fashion trend of the times. There are three noticeable trends shown on "The Journey of duty". Koreans in western clothes, women wearing work pants called Momppae, and black color being in fashion. Most of the men and the children either wore only western clothes or western clothes with the Hanbok. But women rarely wore western-style clothing, such as blouse with skirt. They usually wore Hanbok or wore reformed Hanbok. The work pants, Momppae, becoming an everyday wear is the most unique finding from the slides. Women either wore just the pants or over the traditional Korean skirt. Black-colored clothes were in fashion. This color first spread after the Costume Reform Movement in the 1920s' and the prohibition of white robe. The wearing of white clothes did increase after the Korean liberation in 1945, as national spirit was promoted. However, many people still wore black due to economic reasons, as we as practical reasons. So the Korean fashion in 1954-1955 was in a transition period, as people were beginning to change their daily wears from traditional Korean costumes to western-styled clothes. The reasons for this change could be attributed to people only having access to western goods, as well as their awareness of western-styled clothes being more practical.

• 한국의류산업학회지
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• 제13권4호
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.