• 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.

• 디지털융복합연구
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• 제15권7호
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• pp.351-358
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• 2017

본 연구는, 기존의 전통적인 패션쇼를 근간으로 빠르게 발전하는 컴퓨터 그래픽 기술을 접목, 새로운 형식의 패션쇼로 최근 연구되는 디지털 패션쇼를 위한 가상 한복 제작과 관련된 연구이다. 한국의 대표적인 전통의상을 소재로, 디지털 패션쇼를 진행하기 위한 가상의 한복의 제작을 위하여 필수적으로 적용되어야 하는 재질들을 분석하고, 사실성 검증을 위하여 전문집단 그룹을 통한 사용성 통계를 진행하였다. 이를 위해 선행연구로 가상 한복 제작에 요구되는 세 가지 필수 재질인 두께, 무게 그리고 색상을 정리한 후, 3D 한복의상을 제작하여 실재 복원된 한복 의상들과 비교, 40명의 피실험자들의 평가를 기준으로 만족도를 조사하여 사용성 통계수치를 통한 분석연구를 진행하였다. 최종적으로 사용성 통계의 분석을 통한 매우 긍정적인 만족도 결과는, 향후 디지털 패션쇼 가상의복의 제작에 필요한 구체적인 재질분석 가이드라인을 제시함에 본 연구의 목적과 의의를 두었다.

• 한국의상디자인학회지
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• 제22권4호
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• pp.63-78
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• 2020

Korean Chinese, immigrants to China, have developed their own traditional costume culture. This paper aims to analyze the traditional costume culture of the Korean Chinese and to provide data for posterity. The research methods are literature research, survey research, and analysis research. The results are as follows: According to the changes over generations, the top of women's Hanbok has changed in length as has the jeogori (jacket), the git (collar), and the gooreum (breast-tie). The width of the git, dong-jeong (thin white cloth-covered paper collar of Hanbok), the sleeve, and gooreum have also changed. The git and the barae (the curve part of the sleeve) have changed from straight patterns to curves. The skirt had changed in wrinkles arrangement, length, and silhouette. The men's Hanbok jeogori and sleeves were lengthened; the pants became wider and were lengthened, and the collar also became curved. The vest has not changed and the du-ru-ma-gi (coat) that once disappeared is being worn again; the bae-ja (vest) and magoja (over-jacket) are worn frequently in modern times. The garments mainly used natural fiber until the development of synthetic fibers, but the treand has been the use of luxurious natural fibers in modern times. The initial color pattern was achromatic, but that changed with the appearance of synthetic fibers, and nowadays it is mainly the garmetnt can display a variety of colors. In addition, hairstyles and shoes have been eveolved from traditional to modern styles.

• 한국의상디자인학회지
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• 제20권1호
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• pp.125-136
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• 2018

This study classified and analyzed the assignments for the Hanbok skill contests between 1998 and 2017 so that the Korean hanbok can be properly passed down. this study proposes a variety of useful values for the Hanbok culture industry by providing basic data on various Hanbok making techniques to the Hanbok artisan. The results of the analysis of 39 assignments for the Hanbok skill contest are as follows. Firstly, The 20 assignments presented in the Local Skills Competitions consisted of 13 tasks (65%) in formal wear and 7 tasks (35%) in casual wear. Formal wear is mainly comprised of men's and children's wear (85.7%). There are Pungcha Baji, Sagusam, Kkachi Durumagi, Jeonbok & Bokgeon, Durumagi, and others on the formal wear of men'schildren's wear. In casual wear, 66.7% of women's wear such as scarves, skirts, jeogori, Hwejang Jeogori & chima were on the list of assignments. Secondly, All of the 19 assignments presented in the National Skills Competitions were in adult suits. Thirteen tasks (68.4%) were in formal wear and 6 tasks (31.6%) were in casual wear. Nine out of the 13 formal wear tasks (69.2%) were men's clothes. In 6 assignments of the casual wear, men's and women's clothes were presented three times each. Formal wear that had many assignments was the men's Chulik, which was presented three times in 2006, 2008 and 2016. Thirdly, Eighteen (90%) of the 20 assignments presented at the Local Skills Competitions were for lined clothes, and the remaining 2 (10%) were for unlined clothes. Eleven tasks (57.9%) out of the 19 assignments presented in the National Skills Competitions were for lined clothes, and 8 tasks (42.1%) were for unlined clothes.

• 복식
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• 제60권10호
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• pp.100-117
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• 2010

This thesis has three main purposes: first, will show kinds, patterns, types, expression techniques of modern korean women's trimmings by every ten years. Second, it is to trace the effect of each decade on women's Hanbok trimming designs. Third, it will point out factors. that caused the change of modern Korean women's Hanbok trimming design patterns. Henceforth, there comes the result of the research and analysis. Trimming design patterns of modern women's Hanbok can be divided into three categories temporally: The first period of from 1910s to the first half of 1950s saw that design patterns did not changed much from traditional ones. It is because there were many catastrophes such as the invasion of Japanese Empire and Korean War. The compound design had expressed people's wish to earn many sons and babies at the end of Joseon Dynasty. But it turned to wishing luck for individuals affected by individualism and liberalism imported from the west. Realistic designs are the most frequently used and the least lines made up patterns. The second period of from the latter half of 1950s to 1970s saw that women wore their Jeogories and Chimas as suits. Screen printing technique enabled for various design patterns to come out. And the development of textile industry introduced various expression techniques such as making lace, meshing, flocking, burn-out etc cetera. The third period of 1980s saw that Hanbok became a kind of luxurious clothe as people's living standard rose. Hanbok again came into the spotlight, Hanbok designers came forward and their individualities are respected. The characteristic expression technique of grey-dying and geometric design patterns are more frequently used for the simple and modern beauty.

• 복식문화연구
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• 제29권4호
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• pp.572-584
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• 2021

The emergence of environmental and social issues has led to global discussions for the realization of sustainable development. The purpose of this study is to propose a method of sustainable fashion design using waste Hanbok, focusing on men's Hanbok with cultural values. The study utilizes literature research and fashion design development. From the literature study, reform was judged to be a higher concept encompassing reduction, recycling, and upcycling. Reduction is a design method through removal, and recycling design transforms from its original form into a completely different product. Upcycling design focuses on improvement and change in functionality. Accordingly, nine redesigns using men's Hanbok were developed from which three were produced. Consequently, the reduction design demonstrated a small range of variation without changing the item, and cultural sustainability was confirmed through the design that removed the components and recombined the Hanbok. Second, recycling redesign can be reconstituted into a different item. Third, upcycling enables various designs through module assembly, which prolongs the lifespan of the product and confirms its value as a raw material for waste Hanbok. This study is meaningful in realizing sustainable fashion and suggesting practical measures for the sustainability of Korean traditional culture and creative fashion design planning.

• 문화기술의 융합
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• 제9권5호
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• pp.83-90
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• 2023

최근 젊은 세대의 전통 복식 체험이나, 퓨전 한복의 일상복화 등의 추세에 따라 한복용 헤어 액세서리의 개발이 필요한 실정이다. 본 논문의 연구 목적은 왕실 여성의 머리 장식을 활용하여 한복과 어울리는 실용적이고 현대적인 헤어 액세서리 디자인을 개발하여 한복 문화를 활용한 패션 콘텐츠 개발의 영역을 확장시키고, 전통 문화의 다양한 경험에 대한 수요를 충족시키는 것이다. 연구 방법은 문헌연구를 통해서 전통 머리모양 및 영왕비의 전통 장신구들을 조사하였고, 실증연구로 실물을 제작하였다. 제작과정은 먼저 전통 머리모양을 응용하여 나일론 메쉬로 기본 형태를 만들었고, 그 위에 장엄하고 화려한 왕실 유물을 활용한 디지털 텍스타일 프린팅 원단을 접목하여 궁극적으로 전통 장신구를 착용한 듯한 트롱프뢰유 기법을 줄 수 있도록 디자인을 설계하였다. 결과적으로 총 6개의 헤어 액세서리 디자인이 완성되었으며, 헤어 밴드, 헤어 핀, 헤어 고무밴드의 구조로 제작하였다. 또한 착용자의 헤어 스타일에 관계 없이 간편하게 착용할 수 있도록 하였고 나일론 메쉬 소재의 특유의 빳빳하면서 유연한 재질을 이용하여 볼륨감 있는 머리 모양을 효과적으로 표현하였는데, 이는 마치 머리카락과도 같은 시각적인 착시 효과를 즐길 수 있다는 장점이 있다. 이러한 연구 결과를 통해 일상의 유희와 희소성 있는 가치를 추구하는 대중들에게도 독특한 미적, 문화적 경험을 제시할 수 있을 것으로 생각된다.

• 복식문화연구
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• 제31권2호
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• pp.228-247
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• 2023

In this study, an empirical analysis was conducted on the use of Korean design elements in the Hanbokwave project in 2022 in order to identify the expressed fashion characteristics and define Korean style. A case study was conducted on 98 items of clothing representing 10 Hanbok designer brands, and an analysis card was developed and used that classifies the silhouette of each item in detail. The analysis showed that in addition to the traditional skirt and Jeogori, the four stages of simulakr's image were prevalent in various fashion items such as shirts, blouses, jackets, crop tops, vests, dresses, and pants. In the composition of sleeves, many western clothing methods such as set-in-sleeve use and adjustment, hardcover buttons, and zippers were used to fuse the three-dimensional structure of western clothing and elements of traditional Hanbok to redefine it as postmodernism. It was recognized as a modern fashion, such as the trend of mixing and matching tops and bottoms, not a skirt and Jeogori set, by layering traditional clothes without hesitation or using them as a dress. As for the silhouette of the bottoms, the A-line showed a high frequency, and the prominent shape was identified as a traditional element widely used in modern Hanboks along with the element of wrinkles. This study is thought to be used as practical data for design development for the globalization of K-fashion in the future.

• 복식
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• 제62권6호
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• pp.53-66
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• 2012

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.

• 패션비즈니스
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• 제24권5호
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• pp.21-34
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• 2020

The purpose of this study was to develop a new Korean fashion design using forced-relationship techniques and the traditional hanbok Korean dress and Korean traditional images as the source of the ideas. The research methods consisted of literature research and design production. In the literature research for the hanbok composition and design elements, the concept and type of forced-relationship techniques were studied. The design development process was as follows. First, 'Developing a Korean fashion design' was set as the design theme. Second, the composition and design elements of hanbok and Korean motifs, which consist of Korean images were set as fixed elements of the forced-relationship technique. Third, among the various trends in keywords, 'punk' belonging to a subculture, was set as an arbitrary element of the forced-relationship technique. Fourth, the punk fashion design elements and items were listed. Fifth, a rough sketch was performed by selectively combining fixed and arbitrary elements. Sixth, a design evaluation process was conducted to select the designs out of 52 design sketches that fit the purpose of the study. Seventh, a total of six designs were selected after making design modifications. Through this, a total of six works of women's clothing was designed, made, and presented. This study offers the possibility of developing new Korean fashion design images, and a chance to share designs based on different cultural elements in the global market.