논문편 - 의생활편 : 영국 르네상스 시대 튜도 왕조에 대한 복식 문화사적 고찰

유송옥 ( Song Ok Ryu ) 대한가정학회 1977 Family and Environment Research Vol.15 No.3

1990 년대 이후 국내 대중음악 스타의 패션연출 특성에 관한 고찰

유송옥(Song Ok Ryu),한자영(Cha Young Han) 한국복식학회 2001 服飾 Vol.51 No.5

This study was intended to observe strategic fashion-presentation in Music stars according to the change of the star system in the Korean popular musics. The Korean Music stars since 1990s have been made, fabricated and have excessively depended on the demand of the teenagers. Therefore their distinctive fashion-presentation is considered as more important element than those of the past. Consequently, the characteristics of the fashion-presentation in the Korean Music star these days are as follows: First, Music stars shows fashion-presentation that has a consistent fashion theme. That is one of the key success factor to raise the recognition of star singer. Second, Music star produces fashion images which reflects identity and of subculture. Those appearance have won wild popularity of the peeps 1990`s new generation. Third, although there is no change music genre and emotion, through merely renovation of their fashion image. Music star got diversity and originality of the characteristics of contemporary cultural goods. Fourth, In case of famous dance groups, in the past they maintained a singular atmosphere as a group, but in 1990` Music star group each members of the group have individually fashion-presentation. So, they can get more fans. Fifth, Music singers borrow or duplicate fashion-presentation from each others. Such as similar fashion-presentation guarantees support of the same fans.

『 생활과학 』 을 창간하며 …. ( 생활과학 창간호 1998년 )

유송옥 ( Song Ok Ryu ) 성균관대학교 생활과학연구소 1998 生活科學 Vol.1 No.-

조선시대 출토복식을 통해 본 남자포연구

유송옥 ( Song Ok Ryu ) 성균관대학교 대동문화연구원 1984 大東文化硏究 Vol.18 No.-

책예도감의궤와 책예도병에 나타난 복식에 관한 연구

이민주(Min Joo Lee),유송옥(Song Ok Ryu) 한국복식학회 1997 服飾 Vol.35 No.-

Through eight folding screens for Chac Rae(冊禮) and Ban Cha Do(班次圖), we have learned the costumes of people who participate in Chac Rae ceremony(冊禮儀式) being accompanied by social positions. Firstly, the costumes of crown prince can be classified in two parts. One is costumes of Chac Rae(冊禮) before Kwan Rae(冠禮), the other is costumes of Chac Rae(冊禮) after Kwan Rae(冠禮). Also we know the costumes of Chac Rae(冊禮) before Kwan Rae(冠禮) is consited of SSangdonggae(雙童芥), Gonig-jungchak(공정책), chilchangbok(七章服), Mean-while, the crown prince wore Myunbok(冕服) at Chac Rae(冊禮) after Kwan Rae(冠禮). Second, Chakbongdo(冊禮圖屛) tell us various types of Youngbok(戎服) by blue-back and red colored chulik(帖裏). Third, we can see Uijangsu(儀丈手) who wore Sangonk(常服) on Chakbongdo(冊禮圖屛) and know their brilliant costume colors on Ban Cha Do(班次圖) through Hongmo(紅帽) on Chunguei(靑衣), Chungmo(靑帽) on Honguei(紅衣), Hongmo(紅帽) on Honguei(紅衣), Violet-Lip(紫朱色笠) on Honguei(紅衣), mean while Kyokun(轎軍) werars Hongmo(紅帽) on Honguei(紅衣) and Hoimo(灰帽) on Hoiuei(灰衣) Forth, regarding the costume of Byulgam(別監), Chakbongdo(冊禮圖屛) appears Chogun(??巾) on Hongpo(紅袍), belting blue belt wearing blackboots(黑靴). Meantime Ban Cha Do(班次圖) shows Chogun(??巾) on Hongpo(紅袍) wearing shoes. As reviewed above, we know various color and types of costumes through Chakbongdo(冊禮圖屛) & Ban cha Do(班次圖) on Crown prince Chacraedogam(冊禮圖監), and would like to deepen Chac Rae(冊禮) of crown prince including the costumes of Chac Rae(冊禮) of the crown princess, the eldest son of the crown price, the eldest brother of the king(王世弟).

휴처리스트 남성복 선언문과 그에 대한 디자인

이금희(Keum Hee Lee),유송옥(Song Ok Ryu) 한국복식학회 1997 服飾 Vol.32 No.-

The works of the Futurism were developed along with manifestos and statement in publishing The Foundation and Manifestos of Futurism. Futurist aesthetic and ideological agenda on futurist fashion displayed in manifestos on clothes. It was propagated in consummate Futurist style through the written manifestos. The Futurists anticipated much of modern fashion phenomenon. In Futurist Men`s Clothing in 1914, they believed continual, renual of our today`s clothes. Today`s clothes is much more simple than yesterday`s clothes. The oppositions of the type between yesterday`s clothes and today`s clothes are mournful-playful, melancolic-cheerful, grey-colorful, traditional-emphemeral. Fturist men`s clothing is aggressive, agile, dynamic, simple and confortable, hygienic, gay, luminous, volatile, asymmetric, ephemeral, and variable. In general, the Futurist argued for clothes that promoted simple and functionality. They made dynamic patterns in textile design and asymmetric, geometric cuts in pattern making. The suggested an unconventional matetials and strong, bright colors and modificanti. These elements pointed the way to a shimmering, exuberant future.

발해와 신라의 복식 비교 연구

전현실(Hyun Sil Jeon),유송옥(Song Ok Ryu) 한국복식학회 2000 服飾 Vol.50 No.6

As the result of the study of this thesis, the costume of Palhae and Shilla shows the many similarity. 1. The two conturies introduced the system of four-colored official uniform. This official uniforms are BokDoo(복두), DanLyung(團領) and Dae(帶). DanLyung of Palhae are GyulGoPo(결고포), leather belt and that of Shilla are GyulGoPo, YuLanPo(유란포), KwaDae(과대), Similary BokDoo shows the long Gak(脚) in back. 2. Yu(유) and Ko(고), the native costumes have worn even after the period of the three countries. 3. The two countries wore DanLyung. A man in Palhae wore GyulGoPo(결고포), leather belt and a man in Shilla wore GyulGoPo, YuLanPo(유란포), KwaDae(과대). 4. A woman in Palhae wore SangEui(上衣), Sang(裳), JikLyung(直領) one by one. And over Sang wrapped PoBaekDae(布帛帶) and covered the shoulder by UnGyun(雲肩). A woman in Shilla wore SangEui, Sang, PoBaekDea one by one and covered the shoulder by Pyo(표). 5. The two countries put on Rib(笠)and similary shoes. Rib insists of MoChe(帽體), ChaYang(遮陽) and can classify the estate by decoration. A man wore Wha(靴), Li(履) and a woman wore KoDooLi(高頭履). This similarity is the result by the cultural interchange between Palhae and Shilla. There are the five reasons. Interchange by the envoy`s visit, Interchange through Shillado(新羅道), Interchange in T`ang Dynasty, Interchange in Japan, Interchange of Buddhist culture. By the cultural interchange between Palhae(渤海) and Shilla(新羅), the shape of costume is similary. The meaning of this similarity of costume equals to the similarity of culture. We will approval Palhae is the co-subject of Korean history with Shilla and will name as The period of NamBukKuk(南北國時代) from the late 7th century to the early 10th century in the academy of the history of Korean Costume.

헌종왕후 칠순 진찬 10 곡도병과 신축진찬의궤에 나타난 복식연구

김경실(Kyoung Sil Kim),유송옥(Song Ok Ryu) 한국복식학회 1997 服飾 Vol.32 No.-

The costumes on a royal ceremony and the changes thereafter during the Korea Empire (1897∼1910) have been elucidated through the review on the paintings on Queen Myong-Hun`s 70th birthday celebration and the prospectus of the ceremony. Queen Myong-Hun wore ceremonial gown(翟衣) in deep blue with 51 embroidered phoenix (繡圓翟) on it. The deep blue color, the royal color in the Korean Empire, replaced former red color. Go-jong(the emperor) wore violet crown (紫的翼善冠) and ceremonial suit (??龍抱) in gold color. Twenty one kinds of court dance were offered during the celebration ceremony(辛丑進饌儀). costumes therein appear to have an order according to the role of dancers. Most female dacers(in 17 performances not else-where specified) wore a rather common costume-flower cap(花冠), outer silk garment in green(녹초삼), hand veils in 5 colors(五色汚衫), silk skirt in red(홍초상), embroidered silk belt in red(紅段金縷繡帶) and shoes in green (草綠鞋). In Sun-you-ak(船遊樂), two female lead dancers wore red hat(朱笠) decorated with tiger whisker, deep blue outer garment(藍紗天??), wide red belt, silk boots in black, bow and arrows on back, and a sword and a whip in hands. In Choonaang-jon(春鴦轉), a female solo dancer wore a silk outer garment in yellow(黃·衫), sik skirt in red, green lorum(草綠露·), embroidered silk belt in red, wrist band of gold embroidered red silk, and 5 color hand veils. In Yon-wha-dae(蓮花臺), two young girl dancers wore lotus-form crown, green outer garment, wide pants in red silk, red silk skirt, red silk belt(painted with gold color flowers), hand veils in jade color, and silk shoes in deep red. In Moo-go(舞鼓), 4 female dancers each wore long waist coat in blue, red, white, and warm light green in addition to the abovementioned common costume. In Gumkee-moo(劍器舞), 4 female dancers wore hatlike wool helmet(戰笠), outer garment with narrow sleeve, long silk waist coat in blue, combat belt in deep blue silk(戰帶), and dance swords in both hands. In Youk-wha-dae(六花隊), 6 female dancers each wore a long waist coat in red, deep blue, violet, pale pink, green, and jade color. Green color of outer garment in the above-mentioned common costume of female dancers appears interesting. Although the color was shown as yellow in the screen paintings, actually it was green as envidenced by the prospectus of the celeebration ceremony(辛丑進饌儀).

한복에 사용되는 포백척에 관한 연구

한은희(Eun Hee Han),유송옥(Song Ok Ryu) 한국복식학회 2001 服飾 Vol.51 No.2

The measuring rule is to extimate a size of a physical solid and its standard was each part of body since the beginning of the world. Korean traditional measuring rule was Kyul Boo Sok Pa Bob(結負束把法). It bases on wreth of farm land and means a handful and a bundle. It was the real Korean traditional measuring rule though it was a influence on Chinese rule. And in Koguryo it had an effect on Japanese`s. In Chosun dynasty the King Sejong imprived the measuring rule and regylations in such a way to meet the realistic needs of civil lives. He put in good order by a proportions of the musical scale. It was one of the correct ways to preserve the measuring rule and based on Kyul Boo Sok Pa Bob too. So in that time the measuring rule for Korean traditional costume`s length was 46.703cm. In king Soonjo it`s length was 49.254cm and in 1926 it changed 50cm by the metric system. In 1990s the standard length has a difference in regions, 30cm, 45cm, 50cm, 54.5cm, 55cm and 60cm. As a result of the actual object investigation by regional measuring rule for Korean traditional costume it can reduce an accidental error when use the standard measuring rule, 50cm.

생활한복의 디자인 현황과 고급화 방안 연구

양정은(Chung Eun Yang),유송옥(Song Ok Ryu) 한국복식학회 2000 服飾 Vol.50 No.3

The first introduction of reformed Korean traditional clothing was started in the age of civilization and until liberation from imperialism it was made a reformation in faculty from Korean traditional clothing. And by 1980s western style costume took lead but after Asian Game in 1986 and Seoul Olympic in 1988 Korean traditional beauty was added to costume and there were various attempt to produce truly reformed Korean traditional clothing. The present condition of reformed Korean traditional clothing in 1990s are like this: 1) Most of reformed Korean traditional clothing shops could not fractionalize customer. So it needs to subdivide and specialize customer and investment to improvement of design. 2) A large percentage of reformed Korean traditional clothing is ordinary dresses. So it should develop various sorts and color, design and textile and be in harmony with international trend. 3) Most of shops handled a coordinate goods like a bag and shoes. 4) In the investigation customers they wanted various colors, high quality in design, logical price and a periodical sale. So four pieces of the reformed Korean traditional costumes were designed and produced based on the present condition.