• 복식
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• 제64권1호
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• pp.106-122
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• 2014

This study is based on the official Chinese history of the ancient Korean(中國正史朝鮮傳) clothing and ornaments, and also tries to discover, study, and adjust the system of the ancient Korean clothing and ornaments. Ancient Korea has very poor official records of its clothing and ornaments. Therefore, this study had no choice but to rely on the official Chinese history to cover for the lack of resources. The official Chinese history documents are not only important for studying ancient Korean history, but also important for studying about the ancient Korean clothing and ornaments. This research selected historical documents about the ancient Korean clothing and ornaments from fifteen different Chinese dynasties' official documents, and then systematically classified the documents in order to compare them. All these processes confirmed the following subjects. In regards to the Kwan(冠: general hat), the hat types included Check, Byun(弁), Jeol-poong(折風), Jowoo-Kwan(鳥羽冠), So-gol(蘇骨), and Na-kwan(羅冠). These Kwan(冠) were influenced from Chinese clothing and ornaments. Gold and silver decorations on the Kwan(冠) were influenced from the Scythai culture. The feather decorations on the hat were residual of the bird worshiping culture or the hunting lifestyle. These things show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the North. But the use of Jo-woo(bird feather) was common around the globe in many ways during the ancient times, regardless of area and period. The official Chinese history describes men's hair style as Choo-gyul (椎結) or sometimes pronounced, Choo-gyul(椎結). These seem to describe the topknot. Women had various types of hair styles such as Yu-byun-bal-su-hu (wear women's hair in a braid). The official Chinese history show that the ancient Korean clothing and ornaments originated the clothing and ornaments from the north. The ancient Korean clothing and ornaments influenced and were influenced by its neighboring countries.

• 복식
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• 제54권3호
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• pp.27-42
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• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• 비교문화연구
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• 제19권
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• pp.149-179
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• 2010

This article is concerned about the symbolic meaning of the transvestism Renaissance perspective through analysis of Triumph Over Persecution work and The Merchant of Venice, and Jealous Ioan Tornese. The transvestism is frequently present in the comedies of the golden age. A woman author Maria de Zayas has a special interest in female identity with critical and defying view. Also the subject of the transvestism in Spanish literature originated in Italian tradition. In Italian literature, there were two types of disguised women, who urge for love and warrior-heroine(amazon). Both types are also listed in Spanish literature. The dress-crossing heroine of Triumph Over Persecution displays a type of heroine, who corrects a male prejudice and reset a harmonious order. Shakespeare is also one of the Renaissance writers under the influence of the Italian Renaissance novel. Heroine of Merchant of Venice symbolizes a triumphant challenge against the blocks of the patriarchal system. In spite of the social system blocks, cross-dressing women may receive in the patriarchal scenes without problems. Based on the notion of paradox and irony, the Italian novel reflects popular psychology of the time when the link between the internal identity and social outside puts into question. The cross-dressing Torneses' wife, symbolizes the mockery or renaissance deception. Their deception emphasis on an ironic way in the point view of inhuman man who consider women material belongs to the man without any free-will. The costume of the characters make it possible to change their original identity into the other. From this point of view, we can say that the transvestism in these works could be interpreted in two ways: first, the destruction of the traditional categories of women's identity and second, the burlesque contempt on the patriarchal renaissance society.

• 한국의류산업학회지
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• 제9권1호
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• pp.49-54
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• 2007

In the 21th century, the age of image, people express and evaluate with images. Image is a symbol of a person or a thing. It simulates people's visual sense most quickly and precisely and is shared in the society. At the time, since it is acknowledged that there are few books available and lack of theoretical system with regard to image making, the purpose of this study was to get a theoretical access to image making by taking as an empirical case the case of Choi Byeongryeol, a candidate running for the congress in June 4, 1998 and combining it with theories of costume. Research methods employed here were to investigate the theoretical system of image making and fashion direction, and to analyze empirical cases. The boundary of the empirical case was limited to the candidate's fashion direction during the election period for 50 days from April 1998 to the election date June 4, 1998. The results of this study are as follows. First, personal image making aims at the establishment of one's own identity through building up an ideal image. Second, it is found that personal image making can make a complete image possible through fashion direction. Third, it is found that fashion direction functions as a symbol and communicative means with a result that the effect can penetrate to the society accurately and quickly. Fourth, it is found that fashion direction fit for a situation can enhance personal values and reinforce his or her competitive power to carry out the ultimate goals in the society. This study proved that fashion styling for personal image making expresses a person in a symbolic image, enhances his/her personal value in the society and, ultimately, contributes to the establishment of an individual's identity.

• 복식
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• 제17권
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• pp.29-43
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• 1991

Yu was a type of dress worn on the upper part of the body which was commonly used in Northeast Asia. It was originally used by the Northern race for the need of courtesy as well as protecting cold. It was believed that Yu in Northeast Asia, which was called Kaftan, was came from Scythai lived in North Eurasian land around the Black sea. Scythians were the first-formed horse-riding race in the world and their civilization influenced those of far Asiatic sector along the steppe route. As their power expanded, their costume culture transmitted to the East(China, Korea, Japan). The upper garment, Yu, was characterized by the left-sided collars, narrow sleeves belted at the waist to the length of the hip line and the tight trouser on the lower part, which we commonly called HoBok(胡服) style. 1. Yu in Northeast Asia was originated from the Eurasians, Scythian Culture. Being exchanged, active style costumes were widely used among Chinese, Koreans and Japanese throughout centuries' including $4{\sim}8$ century. 2. Chinese Yu had a style of wide-sleeves and right-sided collars. The traditional costumes of Han race are consisted of wide-sleeved Yu on the upper and long-skirt on the lower part of the body. Before the adoptation of HoBok during reign of King Jo Mooryung in 307. B.C., HoBok style had already found in the remains since the Sang period. There were various names among Yu during the Han period. Seup, Sean Eui, Kye, Kyu were one of the styles and several names were meant for collar and sleeves. During $4{\sim}8$ centuries, clothes of right-sided collar were found, superior to that of left-sided and narrow sleeves were widely used both the royal and the humble. Various styles of decoration were seen in Yu around neck, back and sleeves comparing other nations. 3. Yu, in Korea, was typical style of Northern-bound HoBok. Both men and women had similarity in Yu style, narrow sleeves, left-sided collar, belted at the waist and to the length of hip line. Influenced by Han race, in the $4th{\sim}8th$ centuries, dual system of collar was found. But we cannot see major change in Yu and finally was connected to the present. 4. The original design of the Japanese costumes was not similar to that of Northern nomadic hunting race, which was suitable for horse-riding activities. Owing to the climates along the island, we could see various conditions ranging from the cold and to the warm. Influenced by the climates, pulling over the neck(Pancho style) were major design in Japan. As Korea was advanced earlier than Japan, Korean landed Japanese territory showing clothes. So primitive costumes had changes in style. During the $4th{\sim}8th$ period. The Korean mode was found in Haniwa (which was built to make sacrifices to the dead King) and costumes in Jeong Chang Won. Among the costumes in Jeong Chang Won, we put 3 or more costumes to the category of Yu characterizing elements of Korea and Tang period. From the $4th{\sim}8th$ century, China, Korea, Japan fell into the same cultural category, Scythai. Styles in Yu among three nations, we saw little differences, basically along times. Originated from the West Asia, Yu was transmitted to the far East changing Chinese costumes, Koreans melted it into the traditional elements and then influenced Japan.

• 헤리티지:역사와 과학
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• 제53권3호
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• pp.142-163
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• 2020

조선 전기 적개공신(1467, 1476 초상 제작)과 정국(1506)·정난공신(1507), 위사공신(1545) 초상까지를 아청색 흑단령 차림이 등장하여 정착하는 '관복 제2기' 공신 초상으로 규정하고 적개공신 손소, 오자치, 장말손 초상 3점, 그리고 정국·정난공신 유순정과 홍경주, 정국공신 이우와 유홍의 초상 4점, 총 7점을 대상으로 분석하였다. '예복 흑단령' 차림의 적개공신 초상의 사모는 성종 초 높아졌던 모체가 다시 낮아졌고 모정은 둥글게 표현되었다. 너비가 넓은 타원형의 사모 양각에 무늬는 표현되지 않았다. 아청색 단령과 답호, 철릭에도 무늬가 표현되지 않았다. 단답호와 철릭의 색상이 각각 녹색과 홍색으로 통일되었으며 단령과 답호의 무는 '안팎주름무'로, 신발은 백화로 표현되었다. 적개공신 초상은 책록 시의 품계가 아닌, 초상 제작 시의 품계로 그려졌음을 보여 주었다는 점에서 주목할 만하다. '시복 흑단령' 차림의 정국·정난공신 초상은 사모의 경우, 적개공신 초상에서 낮아진 사모 모체의 형태는 그대로 유지되었으나 모정 부분이 조금 좁아지고 앞으로 휜 형태로 변하였으며 사모 양각은 전체적으로 너비가 균일한 타원형으로 표현되었다. 그리고 전 시기와 마찬가지로 사모 양각에도 무늬가 표현되지 않았다. 당하관 초상의 복식에는 무늬가 표현되지 않았으나 당상관 초상의 복식에는 운문(雲紋) 등이 표현되기 시작하였다. 또 단령은 안감 없는 홑단령으로 표현되었다. 당상관 초상에서는 홍색 답호와 녹색 철릭을, 당하관 초상에서는 녹색 답호와 남색 철릭이 표현되었다. 따라서 당상·당하 신분에 따라 받침옷의 색상이 구별되었음을 알 수 있었다. 단령과 답호에는 '안팎주름무'가 그대로 유지되었다. 신발은 흑화로 표현되었으며 흉배와 품대는 공신 책록 당시의 품계가 반영되어 있었다. 한편 위사공신 초상은 확인할 수 없었으나 명종대의 기록화를 통해 중종대의 단령 제도와 유사함을 알 수 있었다. 이상으로 살펴 본 제2기 적개공신 공신 초상을 통해 흑단령 차림을 공신 초상의 관복으로 사용하기 시작하였다는 점, 공신 초상 제작 시기의 품계를 초상에 반영하였다는 점을 확인할 수 있었다. 정국공신 초상 이후 복식에 무늬가 표현되기 시작하였는데 특히 흑단령의 무늬 유무로 당상·당하를 구별할 수 있게 되었다. 그리고 표현된 관복 모습은 당시의 관복 규정이나 관행과 일치함을 확인할 수 있었다.

• 복식
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• 제20권
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• pp.31-47
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• 1993

1. The relationship between Korea and Buk-Song had maintained for 164 years(964 1126 A.D). The period of relationship was from KwangJong Year 13(4years after establishing Buk-Song), Song Tae-Cho 1 year, to HeumJong Cheong Dang 1st year(InJong 4years in Koran). Author divides into three periodic terms, and remarkable diplomatic facts are as follows. 1) KwangJong year 13(963 A.D) SungJong year 13(994 A.D) : Normal relations, Song needed Korea's armed support. 2) MokJong year 6(1003 A.D) HyunJong year 9(1018 A.D) : Not steady relations and broke up, by MunJong year 26, Dang requested to resume the diplomatic relations. 3) MunJong year 25(1017 A.D) InJong 4(1126 A.D) : Song utilized Korea as a back supporter, but Song destructed by Keum. 2. Korea was donated knightage without offcial clothing by BukSong 10 times(KwangJong year 13 SungJong year 11). However during 164 years. Song presented some clothings Korea friendly. 3. Even though Korea cound not continue the steady diplomatic relations, Korea had been influenced the social systems including cloth-ing systems by Dang. Song dynasty. 4. The author studys historical materials which show that TongilSh-Shinra adapted social systems of Dang dynasty including clothing systems, which was succeeded to Korea for 200 years. Details are as follows ; 1) Original clothing color-systems which were Ja(purpil), Cheong(blue), Hwang(yellow), Pi, called 4-clored-system, of Tongil-Shinra, was suceeded to Korea, Above mentioned clothing systems of three countries of Korean peninsula. 2) When Korea unified the certificate of Pisam holders were superior from those of Tongil-Shinra and Hoo-Bakjae. There two classes used same seried-color 'ja, (Dan, Pi), Cheong(blue), Hwang(yellow)', or 'ja, (Dan, Pi), Cheong' and lasted to KwangJong year10 as a of-ficial clothing. 3) KwangJong year 7, according to the three colored official clothing system of Hooju, accepted Hooju's KwangJong year 11, that shifted 'Ja, (Dan, Pi), Cheong, Hwang', or, Ja, (Dan, Pi) Cheong', to 'Ja, Dan, Pi, Rok(green)'. 4) The clothing systems which are ja, (Dan, Pi), Rok which established KwangJong year 11 shifted to Song's, Ja, Ju(orange), Rok, Cheong, which had happened SungJong year 14 to MokJong 1st year. 5) 4-colored systems ('Ja, Pi, Rok, Cheong (distictable : sky blue, ocean blue)' shifted to 3 colored system which established Song ShingJong 1st year, which succeeded to Nam-Song and Keum. 5. The relationship between Korea and Yo had maintained for 207 years(918 1125 A.D). The period of relationship was from TaeJo 1st year to InJong year 3. 6. Yo, and Korea were called for king(15 times), prince(7 times). 7. Korea was donated knightage by Yo. The time when HyunJong year 13, Yo donated official clothing. From that time had used to do. The author divides into three periodic terms and discrives the shifting the formal clothing systems. Details were as follows ; 1) HyunJong year 13 MunJong year 8 : Even donating clothing systems from Yo had maintained for 35 years, Yeo, Song, Yo, three countries had not have formal cloth-ing, because they had been on the strug-gling. So that Korea had followed the same way of informal clothing. 2) MunJong year 918 : Yo donated the formal clothing to Korea for the King. Diplomatic condition was in the control, so that whole three countries used formal clothing. 3) MunJong year 19 YeaJong year 3 : Korea was donated 'Kuryumyun Kujangbokje', which became the formal clothings vs China.

• 한국인터넷방송통신학회논문지
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• 제20권6호
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• pp.85-91
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• 2020

최근 범죄예방과 안전문제 등으로 CCTV와 같은 영상장비가 다양하게 활용되고 있다. 영상기기들은 대부분 24시간 작동되기 때문에 경비 인력을 절감할 수 있지만, 녹화된 영상에서 특정 인물과 같은 객체를 검색하는 업무는 여전히 수동으로 이루어지고 있어, 실시간 검색이 요구되는 상황에서는 정확하고 빠른 대처가 미흡하다. 본 논문에서는 최신 딥러닝 기술과 OpenCV 라이브러리를 이용하여 사용자의 의해 입력된 의상정보를 바탕으로 특정인물을 영상에서 빠르게 검색하고, 그 결과를 실시간으로 전송하는 기술을 제안한다. 개발된 시스템은 YOLO 라이브러리를 이용하여 실시간으로 인물객체를 탐지한 후, 딥러닝 기술을 이용하여 인간의 의상을 상/하의로 구분하고 OpenCV 라이브러리를 통해 색을 검출하여 특정 인물 객체를 자동으로 인식하도록 구현하였다. 본 논문에서 개발한 시스템은 특정 의상을 갖춘 인물객체를 정확하고 빠르게 인식할 뿐만 아니라 기타 객체 인식에도 활용할 수 있는 확장성을 갖추고 있어 다양한 용도의 영상감시시스템에 활용될 수 있을 것으로 기대된다.

• 한국의류산업학회지
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• 제8권3호
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• pp.269-274
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• 2006

The purpose of this study is to examine the costumes and trading goods of the Korean envoys in 1811. The findings of the study are as follows: The Korean envoys, as shown in literature, were dressed up three different types of costumes: Pyongbok, Gongbok, Jobok. They put on different kinds of clothes depending on the purpose of the events such as for ceremonial purpose or for traveling purpose. For traveling purpose, the envoys wore Pyongbok like Waryonggwan and Hakchangeui, which were commonly used as Pyeonbok in those times of Chosun era. For ceremonial purpose, they chose to wear Danryeong, Gongbok, Geumgwanjobok in this order following the order of the importance of the ceremony. The design of Jobok and Gongbok of Jeongsa and Busa were different from that of the early Chosun era. This difference in the Jobok and Gongbok demonstrates that Gwanbok has been transformed with the change in the general Po system in the late Chosun era. When the costumes of Korean envoys in 1811 were compared to those in 1711, there were similarities in terms of the design of Jobok and Gongbok, which indicated that little had changed for the period of 100 years. The most popular exchanged Byeolpok of Chosun was articles of clothing such as Daeyuja, Daedanja, Baekjeopo, Sangjeopo, and Baekmyeonju, while that of Japan was mostly objects of craftwork and a small amount of Po. The fact that cloth was one of the main items from the early Chosun era to the early 19C shows the highly developed clothing culture of Chosun era.

• 패션비즈니스
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• 제17권1호
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• pp.131-144
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• 2013

The purpose of this study was to analyse the structure and contents of clothing construction field in the middle-school textbook of technology and home economics with curriculum revised in 2007. 10 kinds of textbooks certified by Ministry of Education, Science and Technology in 2010 were selected and home economics field in them was the subject of this study with the external characteristics such as textbook system, instruction area and contents included. This study was content analysis-oriented and descriptive with data calculated by frequency and percentage. The findings are as follows. In 'Reality of Home-Life', food life area showed highest as 34.4% followed by clothing life(28.7%) and dwelling life(28.7%). The portion of present teachers in writing staffs was highest while there was no textbook where professors of each field were included in writing staffs. The contents of costume society, clothes material, clothes management from section 'Choice and Management of Clothes' in the chapter 'Family Life' and clothing construction from the section 'Making and Modifying Clothes' of the chapter 'Reality of Home-Life' were analysed in this study. Clothing construction-related fields were suggested separately by method of measurement, construction theory, drafting theory, drafting an original form, fabric trimming, utilization of the original form, length measure, cloth cutting, hand stitching, how to use a sewing machine, basting and correction, needlework process, completion, and evaluation. The contents of the unit 'Making Shorts' were about clothing construction theory, human body measurement, drafting an original form, process of making shorts and activity/research/experience. The contents of the unit 'Wearing Clothes after Fixing' in clothing construction-related field were about how to fix and recycling.