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논문검색은 역시 페이퍼서치

복식문화연구검색

The Research Journal of the Costume Culture


  • - 주제 : 자연과학분야 > 가정
  • - 성격 : 학술지
  • - 간기: 격월
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-0401
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 29권 2호 (2021)

알렉산더 맥퀸 패션 컬렉션에 나타난 비판적 리얼리즘 특성

이유민 ( Youmin Lee ) , 이연희 ( Younhee Lee )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 153-166 ( 총 14 pages)
5,400
초록보기
In this study, the artistic background and formative nature of representative 19th century realist artists Gustave Courbet and Honoré Daumier were analyzed and applied in a fashion context. By displaying representational desires (necessary adhesions of man and society) in their work, they became characteristic matrixes of critical realism and to perceive critical realism. The purpose of the study was to apply the characteristics of critical realism to the contemporary fashion collections of Alexander McQueen. Research was conducted to analyze the characteristics that appear in the field of fashion and to review methods of expression and internal aesthetics displayed through various aspects of fashion design. Characteristics of critical realism were analyzed by researching the formativeness and periodical background of the paintings of Courbet and Daumier. Based on these characteristics, analysis was conducted to identify critical realism in the fashion collections of Alexander McQueen. Data and scope included fashion information sites, internet photo data, and video material. Critical realist characteristics were categorized into five types as follows: ‘The proper borrowing of extremely realistic subjects signifies’, ‘satirical reconstruction and narrative composition’, ‘antipathetic distortions and abject representations’, ‘critical reproductions based on technology’, and ‘the maximization of ambivalent sexuality’. It was concluded that the characteristics of critical realism (recognized by the common formation of Courbet and Daumier) also appeared in Alexander McQueen's fashion collection but were inherited in a form that transcended pictorial expression due to the overall difference in use of visual arts.

신체이미지와 자아존중감 향상을 위한 패션테라피 프로그램 개발 - 직장인 남성을 중심으로 -

강유림 ( Yu Rim Kang ) , 김문영 ( Mun Young Kim )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 167-184 ( 총 18 pages)
5,800
초록보기
The objective of this study was to develop a fashion therapy program for improving body image and self-esteem among male workers. Accordingly, the demand for fashion therapy programs was examined by conducting a literature review, survey, and in-depth interviews with men working in the Daegu and Gyeongbuk areas. The results are summarized as follows. The fashion therapy program followed a framework of “introduction-development-final” and was 60 minutes in length, for four sessions (one per week). The contents of the program consisted of a study of the participants’ appearance and any concerns they had about their body in Session 1. In Session 2, differences in image perception were examined according to color coding of menswear and personal color. Session 3 comprised understanding what styling is required to supplement men’s body shape and what style is suitable for each participant. The content of Session 4 determined how to build social performance or positive image using nonverbal elements. Overall, this study has great significance in that it has developed a study on fashion therapy program originally applied for psychological treatment with women that has been adapted as a program to help improve positive emotions and social competitiveness of male workers in an office environment.

뎀나 바잘리아에 의한 발렌시아가 디자인의 현대적 계승과 재해석

김지영 ( Jiyoung Kim ) , 안효선 ( Hyosun An )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 185-203 ( 총 19 pages)
5,900
초록보기
The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia’s Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

명대(明代) 황실 구성원의 조회의례(朝會儀禮) 복식(服飾) 연구

溫少華 ( Shaohua Wen ) , 최연우 ( Yeonwoo Choi )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 204-221 ( 총 18 pages)
5,800
초록보기
The morning ritual was a rite whereby a morning audience with the emperor was held for feudal lords sovereigns and subjects living in the precincts, monarchs or foreign envoys of the outskirts of the capital, and other ethnic group. Distinction between the main and subordinate rituals, changes in the ceremony according to the times, and the position or rank of those participating in the rite, were factors that directly affected the costumes worn for ritual. Accordingly, in this paper, the costumes worn by members of the Ming dynasty (emperor, prince imperial, prince) were examined in terms of the period and detailed ceremonies with a focus on the morning ritual and costume systems presented in the official historical records. Through this study, only Mian-fu (冕服) and Pi-bian-fu (皮弁服) were defined by the costume system ase costumes worn in the morning ritual. However, through comparative analysis with the morning ritual system, it was confirmed that Tongtian-guan-fu (通天冠服), Yishan-guan-fu (翼善冠服), and Bianfu (便服: slightly casual wear) were also worn. It is worth noting that the color of Gunlong-pao (袞龍袍) was differentiated according to status; the Emperor wore yellow, the Prince Imperial and lower levels wore red, which was the traditional perception of academia. However, following confirmation of the custom costume for the morning ritual, it was confirmed that the color of this differentiation appeared during the 3rd year of Emperor Yongle of Ming (1305). Previously five traditional colors (blue, red, yellow, white, and black) were used for the season.

중국 현대 남성복 디자인 특성 연구 - 세계무대에 진출한 중국 디자이너 브랜드를 중심으로 -

판미 ( Wei Pan ) , 이순재 ( Soon Jae Lee )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 222-239 ( 총 18 pages)
5,800
초록보기
In this study, six mainland Chinese designer brands―Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen―were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

웨딩산업에서 웨딩업체와 웨딩플래너의 관계결속이 관계성과 및 관계지속의도에 미치는 영향

이인숙 ( In-suk Lee ) , 유지헌 ( Ji-hun Yu )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 240-251 ( 총 12 pages)
5,200
초록보기
The purpose of this study is to establish the relationship between wedding companies and wedding planners and understand the influence of relationship factors on the relationship performance and relationship continuation intention of wedding companies. We conducted an online survey from June to July 2017, and collected 201 responses which were used during analysis. Statistical analysis, including technical statistical analysis, factor analysis, reliability analysis, and regression analysis, was undertaken using SPSS 23. This study shows that among the relationship factors affecting the wedding planner and the wedding company, the computational tie-up has a significant impact on both the financial and non-financial performance of the wedding company, while emotional tie-ups have a significant impact on the non-financial performance of the wedding company, but not on financial performance. As for the effects of relationship commitment to wedding planners on wedding shops’ relationship continuation intention, each factor for relationship commitment significantly affected wedding shops’ relationship continuation intention. Regarding the effects of wedding shops’ relational performance on relationship continuation intention, each factor of performance significantly affected relationship continuation intention. Therefore, wedding companies should make continuous efforts to maintain this relationship and recognize the need for robust relationships with wedding planners as a sure and important competitive tool for attracting customer and generating revenue.

톰 브라운 패션디자인에 나타난 풍자적 표현

김연주 ( Yeonjoo Kim ) , 이연희 ( Younhee Lee )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 252-271 ( 총 20 pages)
6,000
초록보기
The purpose of this study is to expand satirical expressions that appear in a wide range of arts into fashion and to analyse and present satirical expressions that appear in contemporary fashion through the collections of Thom Browne. Theoretical examination of satirical concepts were made of domestic and foreign academic theses, dissertations, precious studies, and publications related to satire. Analysis was conducted on cases in which satirical expressions were applied in literature, painting, sculpture, and fashion. Based on these studies, analysis was conducted on satirical expressions appearing in Thom Browne’s work. Material was gathered from collection reviews, interview articles, professional books, and internet photo material from professional fashion magazines encompassing 16 years of Thom Browne’s collections officially recorded in the international fashion magazine ‘Vogue’, ranging from the 2006 S/S collection to the 2021 S/S collection. From this, a total of 1,753 photos were collected as data. Characteristics of satirical expression were analyzed and the results were as follows. A fluid reconstruction of ‘gender fluid’, dual meanings of metaphorical allegories, playful expressions of visual wit, constructions made of overlapped disassembled material, and borrowing of morphological distortion were all identified. Accordingly, satirical approaches as social aspects and objects in the flow of modern thought appear as positive forms based in humor that hope to be improved. This study anticipate the concept of satire will expand into a positive form as a new direction of fashion.

전통한복 전문 카탈로그를 통해 본 2010년 이후 장식기법의 유형

장수현 ( Soohyun Jang ) , 이은진 ( Eujin Lee )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 272-288 ( 총 17 pages)
5,700
초록보기
The purpose of this study is to classify the types of decoration techniques used in women’s Chima and Jeogori in traditional Hanbok catalogs from 2010 to 2020, and to analyze the frequency of each type. The method of this study is as follows. This study first investigated the transition of modern Hanbok and decorative techniques by analyzing and classifying such work in previous studies. Based on this, the technique of decorating the Jeogori and Chima that appeared in the traditional Hanbok catalog of the study period was analyzed. The results of the study are as follows. In the case of Jeogori, in the first half of 2010, the decorative technique of a relatively large size was used, and the decorativeness tended to be strong. However, in the late 2010s, the number of decorative techniques used in Jeogori has decreased, and the size of the decorative technique has become smaller and more concise, leading to a tendency to understated decoration. In the case of Chima, techniques to express natural texture by processing threads or fabrics themselves were mainly used rather than techniques to add decoration to the surface, and techniques to express various surface texture tended to develop toward the late 2010s. The change in the decoration technique of Jeogori and Chima appears to be a combination of social, cultural, and economic factors such as a change in consumption culture and a reduction in the wedding market.

유튜브 콘텐츠에 표현된 한국적 패션 스타일

곽가빈 ( Ga Bin Gwak ) , 김세진 ( Sejin Kim )
복식문화학회|복식문화연구  29권 2호, 2021 pp. 289-306 ( 총 18 pages)
5,800
초록보기
The study aims to define the Korean Wave as global attention to Korea’s unique culture and consider the specificity of traditional Korean fashion images in Korean Wave content. The research method of this study is a case study through literature research. In order to collect Korean Wave content on YouTube, 24 channels with the highest number of views were selected from among content uploaded from 2018 to the present through keyword search, and up to two channels with high views showing traditional Korean fashion images. As a result of selecting the analysis target, 41 Korean Wave videos and 368 costumes were selected and analyzed based on fashion style elements, including item, color, detail, motif, styling, silhouette, and accessory. As a result of the study, music, broadcast, fashion, and other content were found in the Korean Wave content fields in which Korean fashion style appeared, and the characteristics of each field were derived. Music content was characterized by fashion style excluding stereotypes about traditional Korean costume, broadcast and fashion content was characterized by fashion style inherited from traditional costume, and other content was characterized by symbolic fashion style of traditional culture. This study is meaningful in revealing the formative characteristics of traditional Korean design elements recently shared online through the study of Korean traditional fashion images in Korean Wave content.
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