The Aesthetic Characteristics of Little Black Dress through Fashion Trend from 1920 to 1990 리틀 블랙 드레스(little black dress)의 계보(系譜)를 통(通)한 미적(美的) 특성(特性) 연구(硏究)
박혜원 Hye Won Park , 김여숙 Yeo Sook Kim
5(2) 1-14, 2001
Title
The Aesthetic Characteristics of Little Black Dress through Fashion Trend from 1920 to 1990 리틀 블랙 드레스(little black dress)의 계보(系譜)를 통(通)한 미적(美的) 특성(特性) 연구(硏究)
박혜원 Hye Won Park , 김여숙 Yeo Sook Kim
DOI:
Abstract
The purpose of this research is for confirming the aesthetics of `little black dress` as one of the important items in contemporary women`s fashion lives. Through the work, what is the aesthetic value that women really needed can be found. This research was processed by literal material with fashion photos, fashion books and articles which were related fashion trend from 1920 to 1990. The results are as follows ; The birth period of little black dress was 1920s to 1930s. Freedom and modernity was represented by little black dress. European elegance and American smartness were expressed on this item through 1950s to 1960s. In the end of 20th century, `little black dress` has diversity just like fashion trend. As the aesthetics characteristics of little black dress, ① contemporary woman`s identity through chic and modernity ② strong power of passing image ③ dual values of temptation and tatoo were found. Therefore this research can be useful to extent the meaning of little black dress in fashion study and to recognize contemporary women`s needs.
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A Study of the Personal Ornaments and Make-up of Maroccan 모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究)
이순홍 Soon Hong Lee
5(2) 15-34, 2001
Title
A Study of the Personal Ornaments and Make-up of Maroccan 모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究)
이순홍 Soon Hong Lee
DOI:
Abstract
Ornaments are accessories for the decoration of the body or dress. They aren`t unavoidably required one, but serve to make one`s dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one`s dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one`s property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family`s wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people`s faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman`s being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.
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A Study on Women`s Underwear Structures by Ideal Beauty -Focused on period 1850 - 1910- 이상미(理想美)에 따른 여성(女性)속옷구성(構成)에 관(關)한 연구(硏究) -1850년(年)-1910년(年)을 중심(中心)으로-
김지연 Jee Yeon Kim , 전혜정 Hei Jung Chun
5(2) 35-48, 2001
Title
A Study on Women`s Underwear Structures by Ideal Beauty -Focused on period 1850 - 1910- 이상미(理想美)에 따른 여성(女性)속옷구성(構成)에 관(關)한 연구(硏究) -1850년(年)-1910년(年)을 중심(中心)으로-
김지연 Jee Yeon Kim , 전혜정 Hei Jung Chun
DOI:
Abstract
The purpose of this research is to understand the importance and structure of underwear which is the closest cloth to the body. Scope of this research is from middle of 19th century to the beginning of 20th century. Firstly, I studied background of the times and change of women`s status and duty. Secondly, I examined the outer garment closely by the ideal beauty of each period based on the study, and thirdly I looked into structure ways of underwear. Then lastly, I took a close look about the relation of outer garment and underwear, comparing with and researching both. I studied this research, focusing on corset, crinoline and bustle based on main characters such as reform and transform among several functions of underwear. The research results are such as follows. First of all, when women`s social and economic status was subjected to men, women had worn corset and fashionable dresses even though there was many object movements and vices in women`s garment. Secondly, according to those movements, the ideal beauty had changed little in the same sort emphasizing on breast and hip. Thirdly, structure method of underwear changed by ideal beauty and shape of outer garment. Due to increasing sports participation, improvement of women`s position, achievement of practical use, women used more drawers and stopped wearing hoop. And the weight of underwear like combination and suspender attached to corset had decreased and advanced into the more practical way. Because of industrialization, function seemed to be granted by technology development, social position change of femininity.
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Neck-Collar Fitness According to the Neck Movement of Adult Males -Centered on Neck Surface Changes- 성인(成人) 남자(男子)의 경부(頸部) 동작시(動作時) 밀착형(密着形) 칼라 적합성(適合性)에 관(關)한 연구(硏究) -경부(頸部) 체표면(體表面) 변화(變化)를 중심(中心)으로-
심부자 Boo Ja Shim , 이소영 So Young Lee
5(2) 49-65, 2001
Title
Neck-Collar Fitness According to the Neck Movement of Adult Males -Centered on Neck Surface Changes- 성인(成人) 남자(男子)의 경부(頸部) 동작시(動作時) 밀착형(密着形) 칼라 적합성(適合性)에 관(關)한 연구(硏究) -경부(頸部) 체표면(體表面) 변화(變化)를 중심(中心)으로-
심부자 Boo Ja Shim , 이소영 So Young Lee
DOI:
Abstract
This thesis aims to reveal the unsatisfactory unfitting factors in the tight collars of adult males` dress shirts for the purpose of improving neck-collar fitness. For this study, nine adult males were chosen as the subjects. When the subjects erected their necks upright, the researcher conducted an experiment, using the direct anthropometrical measuring method and the gypsum method by turns, in order to understand neck shapes by way of right-neck lateral flection, left-neck lateral flection, neck flection, neck extension, right neck rotation, and left neck rotation. And then, the propriety of allowances from body surface alteration was verified by analyses through the measurement of wearing comfortableness and clothing pressure in two sorts of ready-made dress shirts, which had different allowances. The consequences of this study are as follows: 1. In length alteration to movement, a decrease was found in the opposite (and an increase in the identical) directions of right-neck lateral flection, left-neck lateral flection, and neck flection movements. Also, when the subjects shook their heads, an increase was seen by 0.42~0.63cm in neck girth, 0.31~1.12cm in 3cm-above-the-neck base girth, and 1.16cm in neck extension of 3cmabove-the-neck base girth. 2. As a result of the drafts of surface measurement, the alteration ratios of dimensions and vertical length dropped in the identical directions of the movement, but grew in the opposite directions. A reverse change was shown in horizontal length. The rough widening gaps for making drafts were 0.7cm in front left and right, and 0.2cm in back left and right of 3cm-above-the-neck base girth. On the whole, the space was about 1.8cm, while there was no significant variation between the upright stationary test and the movement test. 3. There were important differences between the two kinds of ready-made dress shirts (Type A: 1cm allowance in neck girth; Type B: 2cm allowance) in clothing pressure and wearing comfortableness. That is, Type A had higher pressure and more uncomfortable sense of wearing. In other words, as clothing pressure and wearing comfortableness are negatively related to each other, Type A`s greater clothing pressure led to worse wearing comfortableness.
Key Words
The Bio-Softning Finish of Tencel Fabric(2) - Change of Mechanical Properties - 텐셀직물(織物)의 바이오-유연가공(柔軟加工)에 의한 물성변화(物性變化)(2) -역학적(力學的) 특성(特性)의 변화(變化)-
송화순 Wha Soon Song , 김인영 In Young Kim , 오수민 Soo Min Oh
5(2) 67-72, 2001
Title
The Bio-Softning Finish of Tencel Fabric(2) - Change of Mechanical Properties - 텐셀직물(織物)의 바이오-유연가공(柔軟加工)에 의한 물성변화(物性變化)(2) -역학적(力學的) 특성(特性)의 변화(變化)-
송화순 Wha Soon Song , 김인영 In Young Kim , 오수민 Soo Min Oh
DOI:
Abstract
Tencel fabric was treated with cellulase and softener. And then Mechanical properties were investigated. Basic characteristic values of clothing wearing were calculated. With the treatment of cellulase and softener treatment, WT, RT, LC, WC, RC of mechanical characteristics were increased, and G, 2HG, 2HG5, B, 2HB were decreased. B/W, 3√B/W, 2√HB/W, 2HB/B, W/T of Basic characteristic values of clothing wearing were decreased. WC/W, WC/T were increased, Therefore, drapability, crease resistance, pressing softness, air content were improved. In consideration of mechanical characteristics and basic characteristic values of clothing wearing depending on the softener, values of WT, WC/W, WC/T were bigger with the treatment of epoxy and snow softener than with the treatment of cation and blend softener. LC, WC, RC, B/W, 3√B/W, √2HB/W, 2HB/B, W/T were bigger with the treatment of cation and blend softener than with the treatment of epoxy and snow softener. Thereofre, with the treatment of epoxy and snow softener, drapability, crease resistance, air content were improved. With the treatment of cation and blend softener, pressing softness were improved.
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A Study on the Kitsch Characteristics of Hair Style and Head Dress in the 1990s 1990년대(年代) Hair Style과 Head Dress의 키치특성(特性)에 관(關)한 연구(硏究)
구인숙 In Sook Koo
5(2) 73-86, 2001
Title
A Study on the Kitsch Characteristics of Hair Style and Head Dress in the 1990s 1990년대(年代) Hair Style과 Head Dress의 키치특성(特性)에 관(關)한 연구(硏究)
구인숙 In Sook Koo
DOI:
Abstract
This study aims at reviewing the Kitsch aesthetics, grasping the relation between the Kitsch and consumption culture, and pursuing the intrincis meanings and expressive characteristics of Kitsch in the hair style and head dress in the 1990s. Kitsch generally implies a vulgarity, and a bad taste, and can be considered to be a kind of vicarious experience, the aesthetic deception and self-deception. In spite of these negative inplications of Kitsch, the aesthetic categories of Kitsch have been spread to public and been accepted by the public, with the help of the powerful promotion of the modern day mass media. 1. The intrincis meanings of Kitsch convey 1) escapism, 2) conformity, 3) amusements, 4) identification. 2. The expressive characteristics of Kitsch represent 1) aesthetic inadequacy: hair style and head dress showing the imperpectness, accumulation(superfluous ornaments), vulgarity, untidines. 2) resistance: hair style and head dress featuring deconstructional and violent forms revealing the uneasiness, and unsatisfaction of the given regularity. 3) humor: hair style and head dress featuring the innocence, humor, and fun for a relaxation and diversion. 4) hedonism: hair stlye and head dress with the erotic and sexual feelings. 5) retro, romantism: hair style and head dress featuring the elegance, femininity, folklore, ethnic, and nostalgia.
Key Words
Fashion Market Research of Kwangju Metropolitan City - Focusing on the Distribution and Characteristics of Each Market - 광주광역시(光州廣域市) 패션상권(商圈) 조사연구(調査硏究) -패션상권(商圈)의 분포(分布)와 특성(特性)을 중심(中心)으로-
배수정 Soo Jeong Bae , 최미성 Mee Sung Choi
5(2) 87-104, 2001
Title
Fashion Market Research of Kwangju Metropolitan City - Focusing on the Distribution and Characteristics of Each Market - 광주광역시(光州廣域市) 패션상권(商圈) 조사연구(調査硏究) -패션상권(商圈)의 분포(分布)와 특성(特性)을 중심(中心)으로-
배수정 Soo Jeong Bae , 최미성 Mee Sung Choi
DOI:
Abstract
The purpose of this study is to understand the distributions of fashion market and it`s characteristics by investigating the attributes and changes of three representative fashion markets i. e. Chungjang Street Market, Underground Shopping arcades, Department Stores in Kwangju Metropolitan city. This study might contribute to the construction of more attractive fashion markets and also to consumer convenience by providing information about fashion. The method of investigation is by direct market visiting and interview from 2000. 7. 11 until 7. 30. The result is as follows; 1. Chungjang Street: This is the most famous and fashionable area, situated mainly on Chungjang street and Hwangkum-dong. The various kind of designer`s boutiques, national brands, wedding shops, multi-shops etc. take place. Teenagers and people in their early twenties are the main customers. This point should be born in mind in a strategy of marketing. 2. Underground Shopping arcades: This market is open to customers of all ages and to the passengers crossing the streets and the purposeful visitors, even in rainy or snow days. However it is hard for novices to find it. 3. Department Stores: There are three department stores which are very competitive with each other by granting not only spacious and comfortable shopping areas but also places for children and cultural activities. The strategy of exhibiting unique items unparalleled in it`s quality, might be needed with providing a comfortable parking lot, high quality commodes, appropriate sales program and more effective sales managements.
Key Words
The Study of Costume in a Mill Yang Kobumri Mural Painting 밀양(密陽) 고법리(古法里) 고분벽화(古墳壁畵)에 나타난 복식(服飾) 연구(硏究)
조오순 Oh Soon Jo , 유주리 Joo Lee Yoo
5(2) 105-115, 2001
Title
The Study of Costume in a Mill Yang Kobumri Mural Painting 밀양(密陽) 고법리(古法里) 고분벽화(古墳壁畵)에 나타난 복식(服飾) 연구(硏究)
조오순 Oh Soon Jo , 유주리 Joo Lee Yoo
DOI:
Abstract
When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo(□) that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.
Key Words
A Study on Self-Image of the Eldery Women 노년(老年) 여성(女性)의 자아(自我) 이미지에 관(關)한 연구(硏究)
위혜정 Hye Jung Wee , 손희순 Hee Soon Sohn
5(2) 117-127, 2001
Title
A Study on Self-Image of the Eldery Women 노년(老年) 여성(女性)의 자아(自我) 이미지에 관(關)한 연구(硏究)
위혜정 Hye Jung Wee , 손희순 Hee Soon Sohn
DOI:
Abstract
This study identified self-image of the eldery wemen by relatied to body-satisfaction, self-image, shopping-orientatons. For study, a questionnaire was used a method of mearsurement and eldery women in seoul and kyunggi were selected as a sample. Data was processed by SPSS PC+ program and analyzed by using frequency, percentage, t-test, factor analysis and Pearson`s correlation. As a result, the body-satisfaction of eldery women was very low, their pursuiting self-image was gracios, younger, noble. The self-image classified grace·attraction factor, intelligence factor and activity factor. Relationship between body-satisfaction and self-images was significant to gracious·attractive factor and active factor. The shopping-orientatons classified brand name·disply factor, personality·pride factor, pratical benefit factor, prudence factor, planning purchase factor. Shopping-orientatons and self-images were significant to Pearson`s correlation. The aim of this study help fashion contractors and retailers to establish effective marketing strategies.
Key Words
A Study on Fashion Education Institution`s Program on Apparel Prototype in Korea - Focused on Basic Bodice Patternmaking - 국내(國內) 패션관련 교육기관(敎育機關)의 의복원형(衣服原型) 교육실태(敎育實態) 연구(硏究) -길원형(原型) 평면구성(平面構成)을 중심(中心)으로-
이명옥 Myung Ock Lee , 손희순 Hee Soon Sohn
5(2) 129-147, 2001
Title
A Study on Fashion Education Institution`s Program on Apparel Prototype in Korea - Focused on Basic Bodice Patternmaking - 국내(國內) 패션관련 교육기관(敎育機關)의 의복원형(衣服原型) 교육실태(敎育實態) 연구(硏究) -길원형(原型) 평면구성(平面構成)을 중심(中心)으로-
이명옥 Myung Ock Lee , 손희순 Hee Soon Sohn
DOI:
Abstract
The purpose of this study is to survey and analyze domestic fashion education institution`s program on apparel prototype and thereupon, address the problems and find their solutions, and thereby, provide for some basic data useful to improve the basic patterns of apparel and ultimately, help reinforce the professional and practical apparel design education. The results of this study can be summarized as follows; 1. 85.1% of the subjects finished graduate or higher courses. Almost all of the college and junior college teachers finished graduate or higher courses, while only 31.6% of those teaching at technical institutes finished graduate or higher courses. Such a finding suggests that colleges tend to employ their faculty members based on their academic background but that technical institutes value the practical ability of their faculty more. 2. As a result of surveying the types of basic patterns used by teachers, it was found that 72.3% of them were using two or more patterns. The basic pattern preferred most by our teachers was Japanese culture institute`s type (71.3%), followed by the US FIT type (24.5%), Lim Won-Ja`s type (22.3%), French ESMOD type (17.0%). 96.3% of our apparel design students were making their basic patterns as instructed by their teachers. 3. 67.0% of our students were using their conceived sizes for production of their basic patterns, 14.9% were referring to the ready-made sizes, 8.5% were relying on their teachers` individual experiences, and 9.6% were using their own cord sizes. In order to survey the difference between teachers` sizes (ready-made sizes or individual experienced ones) and business sizes used, the basic body measurements used for ready-made apparels were surveyed to be compared with the national standard body sizes set in 1997 for women aged between 18 and 24. As a result, it was found that the ready-made sizes used for apparel production prototypes than teachers` ones were nearer the national standard sizes. Such a finding suggests that it may well be necessary for teachers to be more connected with the apparel businesses and thereby, teach their students in a more realistic way with correct information. 4. 83.0% of the subject teachers were tacking their basic patterns to be well fitting, and 76.9% of these teachers were tacking the patterns in reference with students` individual body sizes. In all, 97.4% of the subject teachers were guiding the tacking process, which suggests that the flat patternmaking is taught primarily for customized apparels. As a result of comparing the fitness of basic patterns with those of each body part, it was found that teachers were most dissatisfied with the fitness of shoulders and arm hole depth. Therefore, it will be necessary to reclassify the body types or find other drawing techniques to improve the fitness of such body parts. Nevertheless, teachers were willing much (4.18) to develop their own educational basic patterns for themselves. Lastly, it is hoped that this study will be followed up by future studies on educational prototypes covering diverse body shapes and those on practical implementations of those prototypes for students.
Key Words
A Study on Stage Costume of Shakespeare`s 「The Tempest」 -Focusing on the Color Symbolism- 셰익스피어의「The Tempest」무대의상(舞臺衣裳) 연구(硏究) -색채(色彩) 상징성(象徵性)을 중심(中心)으로-
조은희 Eun Hee Cho , 조규화 Kyu Hwa Cho
5(2) 149-166, 2001
Title
A Study on Stage Costume of Shakespeare`s 「The Tempest」 -Focusing on the Color Symbolism- 셰익스피어의「The Tempest」무대의상(舞臺衣裳) 연구(硏究) -색채(色彩) 상징성(象徵性)을 중심(中心)으로-
조은희 Eun Hee Cho , 조규화 Kyu Hwa Cho
DOI:
Abstract
The purpose of this study was illumination of the stage costume by applying the study of a subject of human expression, which establishes identity of dramatic characters. This study was conducted by referring a variety of theses, an extensive national and international literature. The color symbolism that is depicted in Shakespeare`s work manifests the transition period of old days, which was influenced by the Renaissance and the Religious Reformation. And color preferences and the meanings I attach to them in his play, definitely reveal the Middle Ages Christian way of thinking which was obsessively dominated their mind. I also determine that the color preferences and use in Elizabeth Era also distinctively separate the social status, which were also influenced by its social conditions. Besides this, colors that were depicted in Shakespeare`s work also shown many similarities from Italian Commedia dell`arte, which were in vogue all over the Europe. Customary color symbolisms which from natural color experiences were also applied in 「The Tempest」. 「The Tempest」was presented on the first day of November in 1611 for the first time. Following this, many plays and films have been produced in foreign countries and Korea. With an analysis of 「The Tempest」, costume designs for Miranda and Ferdinanad were illustrated at the end. The costumes for Miranda and Ferdinand were mainly considered to express pure love and vigorous youth of two lovers, symbolizing the image of the theme love, forgiveness, and reconciliation.
