생활한복의 구매의사에 대한 영향요인 연구 - 생활한복 이미지 , 추구혜택 , 위험지각을 중심으로 -

임영자(Young Ja Lim),류은정(Eun Jeong Ryou) 대한가정학회 2001 Human Ecology Research(HER) Vol.39 No.6

한복구조에 나타난 옷감 (ground) 과 옷꼴 (figure) 에 관한 연구

임영자(Young Ja Lim),문공화(Kong Hwa Moon) 한국복식학회 2002 服飾 Vol.52 No.3

Symbolism found in a certain object inherits characteristics from the culture that contains the objects. The purpose of this study was investigate the formative beauty of Korean trousers twisted the pieces together based on the way of Korean thinks and the Topology. The shape is formed by cutting from the fabric. From the perspective of semiology, the fabric and the pattern shape correspond to ground and figure. Ground and figure are identical with the principle of the whole and the part, which is the same in Korea. China, and the West. But in Korea, the 3-dimensional garment is made by adding a twist. This is very important and defines the difference in the way of thinking, and topology Korean trousers consist of three parts: Hury, Marupok, and Sapok. The small Sapok can be made by removing the Marupok and large Sapok (figure) from the fabric(ground) when making Korean trousers. A Mobius strip is made when the large Sapok is adjoined with the, small Sapok by reversing the small Sapok, making a 180° twist and then stitching together. The theory of Mobius strip can be applied in joining Bajiburi, thus when he trousers are completed the Klein`s bottle is seen because of the 2 existing Mobius strip. The theory of Mobius strip can be applied in joining Bajiburi, thus when the trousers are completed the Klein`s bottle is seen because of the 2 existing Mobius strip. Hury is cylinder while the small and large Sapok make up the Mobius strip. As a result, Mobius strip, Kleins` bottle, projective plan can be applied in cutting Hanbok used in the countryside, so I have come to see that the traditional Korean way of thinking is closely related to the theory of topological.

돈황비천 복식이 현대복식에 주는 의미

임영자(Young Ja Lim) 한국복식학회 1994 服飾 Vol.23 No.-

The images signifying flight in modern costumes are not made of one characteristic but the combination of complex meanings. Among the distinctive features some of them are as follows. First, the flying styles found in the costumes showed the birds as agents which sent human spirit to the celestial body. By simplifying the images of the wings connecting the present age with the heavenly body, the transforming emotions towards rhythm, direction, and organic curves transcending the real objectively constitutes a new space for expression. Second, colors appeal directly to man's emotions and incites emotional responses. The flying was shown in lines and colors. By using horizontal , vertical, oblique, and spiral lines and contrasted and paralleled colors, man's desire to fly dwells in newly colored space by reflecting speculative emotion through uniting surface. Third, the flying except for the costumes can be found in the advertisement through model's pose and camera technique, the flying itself is described through model's pose, the materials of the costumes, details, and sustaining stuffs. This symbolizes man's wish towards the unknown world vividly and dynamically. As discussed above the spirit of flying was, when expressed distinctively , in accordance with the varying cultural traits and transitions. The shape made by the vitality of symbolizing flying birds and animals along with the flying in the natural aspects such as wind and cloud were reappeared, simplified and symbolized , in modern costumes as consituting a new modeling space.

한국의 현대 패션에 나타난 Togetherness 현상에 관한 연구

임영자(Young Ja Lim),권진(Kwen Jin) 한국복식학회 2002 服飾 Vol.52 No.5

We can see various cultural elements appeared in modern fashion, of which Korean traditional cultural elements are being reinterpreted in many different ways. This study is to analyse on the basis of togetherness concept Korean traditional elements, which have been considered difficult to interpret by postmodernism and find the ways how to carry on our traditional culture practically in order to prepare the foundation for globalization of our tradition. Togetherness means `with` or `simultaneously`, which also conveys the meaning of common cause and result, addition and annex, opposition and juxtaposition, or accumulation and integration. Characteristics of the togetherness appeared in Korean fashion are as follows. First of all, it shows the aspect of mixing and integration of different cultural fashion elements around the globe, which have been made possible in the course of globalization and development of information technology. The second characteristic is crossing and synchronization, which means that many different individual fashion elements in terms of time and space are being crossed over and integrated these days. Thirdly, continuation meaning `without cease` and `keep going` shows that togetherness it to create a whole new fashion trend by mixing postmodern revivalism and past clothing elements. Togetherness makes it possible for us to find reasons why tradition aspects are expressed so vividly in the modern clothing, gives us a standard to classify the reasons, establishes an identity and offers theoretical background for globalization of traditional clothing in the course of modernization of our tradition.

현대의상에 표현된 OP ART 의 조형성

임영자(Young Ja Lim),이현숙(Hyun Sook Yi) 한국복식학회 1995 服飾 Vol.24 No.-

Unlike pure art such as painting and sculpture, dressmarking, a field of special plstic art, is characterized by its phsical and functional nature. Having an inseparabel relation with form, it is a field of art expressing the human inner sense of beauty in correlation with other various fields of art. In this respect, I think it should be necessary for us to study the forms of art from the past in order ot study the correlations and mutual influences between forms of pure art and dressmaking and to understand modern dressmaking from the standpoint of art. In this context, this study is an attempt to analyze how the form and characteristics of OP ART, which represonts the trends of the 1960`s, is embodied in modern dresses, The results are as follows : First, the expression of OP ART in dresses have visual effects harmonizing with bodily movements and, also, expanded the reange and dynamics of expression which resulted from the introduction of visual phenomena in a fresh new sense by not limiting itself to the suggestion of patterns of OP ART. Second, OP ART paintings expressed the mobility and rhythmicity of a body in a limited space in a two-dimensional plan way of expression. When a dress is worn, however, it expands such mobility and rhythmicity in a cubic, three-dimensional way, maximizing the effects, of and boldly expressing, OP ART, it can also create a new silhuette and ability of formation by seeking an open expression of OP ART rather than an expression of OP ART it self, due to the infinite possibility and unpredictability by the dynamics of movements and the elements principle of designs. Third, by applying the patterns of OP ART to dresses, we can obtain special visual effects of design, cover up the body`s weak points, and create a desired three-dimensional sense by highlighting the beauty of the body`s curved lines. Although modern dresses and OP ART are different genres of art, both have something in common in their pusuits. Since there is an infinite possibility in OP ART, there shoule be continuous attempts to combine dresses and art satisfying the sense of the times, which will lead dressmaking to a higher-dimensional dressmaking plastic art.

멤피스(Memphis) 디자인이 현대 패션에 미친 조형적 특징에 관한 연구

임영자(Young Ja Lim),한윤숙(Youn Sook Han) 한국복식학회 2001 服飾 Vol.51 No.1

The purpose of this study suggest the fashion of communication for 21th century fashion. Especially, Memphis fashion have the possibility of communicating through objects. The results of this study are as follows: First, Memphis idea is to make design into a sophisticated, conscious instrument of communication. As the Memphis fashion points out: design is an extraordinary tool for communicating because its intrinsic characteristic is the fact that it is used and distributed anyway, even without communicating anything. The Memphis fashion is trying to connect design and industry to the broader culture within which fashion moves. Second, Using different materials provides not only new structural possibilities, but - above all - new semantic and metaphoric possibilities, order modes of communication, another language, and even a change of direction, broadening of perspective, appropriation and digestion of new values and the concomitant rejection of traditional structures that renewal always involves. The memphis fashion works on the fabric of contemporaneity(lurex yarn, latex, chrome metal and steel), and contemporaneity means computers, electronics, a new awareness of the body, mass exercise and tourism. Third, color in Memphis has never been an ideological vehicle. As with decoration it is born with the design, forming an integral part of the structure. It alters the objects molecules. It works as a mass, as an intrinsic feature of a certain form and volume. The Memphis fashion was realized the introduction of ultramodern science into such experimental and creative implementation as optical motive, brilliancy of colour of electronic medium in addition to metallic fabric and high technical synthetic fiber. A color with pop culture connotations that weaver between technological allusions and Mcdonald`s.

18 세기 말 조선과 프랑스 두발양식의 유사성 연구

임영자(Young Ja Lim),구남옥(Nam Ok Ku) 한국복식학회 1999 服飾 Vol.42 No.-

현대패션에 표현된 하이브리드 경향 연구

임영자(Young Ja Lim),한윤숙(Youn Sook Han) 한국복식학회 2001 服飾 Vol.51 No.5

This study was carried out with an objective to prepare the framework of conformity for the 21st century modern fashion, which is interactive with mankind, based on a position that the 21st century contemporary fashion with its amalgamating trend of diversified artistic forms may not be elucidated on a standpoint centering on one certain modality. The hybrid fashion trend of historical modality which provides freedom and satisfaction in creation of an individuals expressive power in expressing true desire of mans inside through man-centered thought of the times has made multifarious motives of the past and present fragmentary. It thus extracts inner divisions and the concept of consolidation through three-dimensional form. Modern fashion is newly interpreted by the material and details of high technologies, and is harmonized by mix and match with various expressions. By having it, it is being expressed together with many types of dresses and ornaments. Modern fashion is being expressed together with many types of dresses and ornaments by new interpretations with the material and details of high technologies and by being harmonized with mix and match with various expressions, The hybrid fashion design trend of regional elements formed by stimuli and contacts of diverse local culture by globalization of network that was achieved by scientific technologies of the contemporary information society has disintegrated varied boundaries in the conventional culture by the latest communication technology-new media on the basis of newly created culture. The fact that regional elements could be expressed as if they were interrelated without each being deprived of originality may be explained with an interpretation on pluralism. The hybrid fashion design trend of cultural aspect, which manifests in the background of scientific technological culture as it transcends the societal-cultural boundaries based on the de-centralization theory of Frederic Jameson, has supplemented the imperfect meanings through conversional correlation with other forms and internal program changes. The middle stratal and polyhedral characteristics are seen as each cultural element is dismantled and reassembled by application of `multiple-time point expression`. Design forming method is not to bring destruction from outside, but to embrace instability and chaos through radical dismantling of the inside, and to pursue diversity and openness. Thus, it is implemented by an approach that takes the role of design process. In communication of discontinuity, continuity was dismantled through forms of mixing, overlap, perversion, insertion and coincidence.

다산의 악수설에 관한 연구

임영자(Young Ja Lim),순남숙(Nham Sook Soon) 한국복식학회 2000 服飾 Vol.50 No.2

Woosu is the last process in the preparation of the deceased for burial. There are tow hypotheses on the purpose of Woosu. One is that it is to cover hands. The other is that it connects both arms of th body. The pattern of Woosu is 1 cheok 2 chon in length and 5 chon in width. The length is divided intc 3 parts equally with 4 chon. And then, it will be cutted 1 chon both sides of the middle part in Woosu. So, the width of middle part become 3 chon. Regarding the string used in soosu, two applications have been hypothesised . One is that each string is at both sides, the other is that each string ist at 4 edge respectively. Also there are two hypotheses about number of strings in Woosu. One is that total number of Woosu is one. The other is that the total number of Woosu is two. During the period of the Chosun dynasty, it is acknowledged that Sagye Kim, Jang-Saeng insisted that string of woosu is at one by one at both arms and hands respectively to be useful to cover hands of the body. But again the great scholar Tasan Chung, Yak-young pointed out that there are some problems on the explanatory notes and annotations of Sasangrye which ar quoted by Sagye Kim. Jang-Saeng. He insisted that the purpose of Woosu is to connect both arms using one string. Therefore, I will explain the intrinsic nature of Woosu by researching Tasan Chung , Yak-yong's Woosu theory.

현대패션에 표현된 New Orientalism 에 관한 연구

임영자(Young Ja Lim),김선영(Sun Young Kim) 한국복식학회 2000 服飾 Vol.50 No.4

In this study, New Orientalism represened in modern fashion is defined a new idea that harmonized with factors of eclecticism, traditionalism, naturalism, and futurism and these characteristics are examined. First, as these features, it is the phenomenon of eclecticism presented beyond regions and sex. Second, it is the phenomenon of traditionalism newly expressed traditional images in a modern sense by using and changing of a oriental dress image of the of the past. Third, it is the phenomenon of naturalism revealed an unalloyed recurrent instinct about nature and a desire for yearning. Fourth, it is the phenomenon of futurism which is come out the factor of oriental images whithin a minimal and cyber environment. This paper might be the foundation for Korean Orientalism which could be not a just pastiche but a cutural commodity and s main fashion current with a cultural identity especially in the year of 2000, New Arts Year, declared by Ministry of Culture and Tourism.