패션에 나타난 퓨전이미지에 관한 연구 : 속옷의 겉옷화를 중심으로 Focused on Expression of inner-wear

은영자,김후란 啓明大學校 生活科學硏究所 2003 科學論集 Vol.29 No.-

Expression of inner-wear, one of these fusion styles, was found in various pattern in fashion. Recent fashion trend shows coexistence with variety which cannot be represent by one or two themes, and introduces various images in a season. Therefore, this study was found three fusion image of expression of inner-wear pattern which has appeared since 2000 shown in ELLE and etc. This study analyzed the expression of inner-wear as fusion image in fashion. Three types have been found and the results are as follows; Putting on inner-wear as outer-wear, exposing inner-wear by opening outer-wear, and modifying form of inner-wear into outer-wear. 1. The form of putting on inner-wear as outer-wear was shown by using fabric of lace and lycra, and luxurious and vivid color. 2. The form of exposing inner-wear by opening outer-wear was found in see-through look by using lace as main-fabric. 3. Modifying the form of inner-wear into outer-wear was appeared in various looks including ballerina look, party look, ready-made clothes brand, vintage look, retro style, mix & match look, and romantic look.

20世紀 帽子의 變遷에 關한 硏究

李政順,殷英子 啓明大學校生活科學硏究所 1992 科學論集 Vol.18 No.-

The hat has reflected all the historical traits in society, art, dress and its ornaments. Aspects of change in modern hats can be summarized as follows: 1. Before 1910, Woman realized their position and began to establish a new view of value since the influence of Art-Nouveau the functionalism of new art school and sports were prevalent, the hat, as turban beret and rembrant style, was in fashion, the hat was getting bigger and laid emphasis on high, broad crown and brim with trimmings of splendid ribbon, feather and artifical flower especially under the influence of Art-nouveau. 2. In the 1910's As women find their way into the various fields of a society in order to substitute mobilijed men's absence due to world war I, the corset of women's clothing became less trgh. As the volume of clothing lessened and changed to be functional and practical the hat of vertical form looking a little heavy appeared. The spread of the movement of women's emancipation, art Deco and functionalism had influence on dress and its ornaments. In response to these, they had their hair cut short. A simple small hat, characterizing the Art Deco compared with one before 1910, became popular. 3. In the 1920's economy became stabilized since the end of World War I. with the spread of Art Deco, the functionalism of Bauhouse, Jazz and Sports, their hair became much shorter and the hat became functional and its volume was smaller gradually. The cloche which was suitable for Boyish and Garc, onne style was prevalent. It was getting alike more manyly style with the use of felt hat. This tendency is thought to fit external combination between clothing and the hat. 4. In the 1930's as clothes style changed into inactive and elegent in spite of the Great Depression. Reffecting the prenomena of the age, broad brim and low crown style hat which was suitable for military style, grotesque hat and neat hat which represent the variability of hats are popular. Besides as sports are spreaded among women, sports hat appeared. 5. In the 1940's when wartime economy was stagnant and reached retrenchment circumstances at last, practical Tailored suir was widely liked. The hat was popular with Boather and Breton which was suitable for clothes, but after the war the hat was changed into coolie hat with the change of somewhat womanly New look style. In the end of World War II, hats of large felt ornament which didn't match clothing were put on Turban with various cloth and large-sized hat with straw and hood were in vogue. This phenomenon is thought to be a part of wayout cawed by clothing restriction during the war. 6. In the 1950's, as being valued much of function, clothing was changed into silhouette which was abstract, straight, slender and emphasized feminine beauty. In the early period the hat was small and stiff so, the crown of it became small and its visor was a form of sliding slopely backward. The hat of the middle of this period was popular with flat, brimless stay on cloche sailor style which had velvet or turban coverel with flowers. In the end of 1959, people didn't put on the by degree after they released from waist-line. 7. In the 1960's, clothes became ready-made due to mass production and the tendency of mass consumption as economy was prosperous. Developing the individuality of many kinds of hair style the use of the hat lessened giving life to the individuality of many kinds of hair styles. But large hat appeared in order to turn into face from only downward people's eyes caused by the wearing of mini skirt and long boots and appeared unisex mode as well. With the influence of Pop Art, Op-Art, Knetic-Art, the hat changed into abstract and geometric. Therefore, the form and trimmings of it became simple. The use of the hat of this period more lessened than that of the previous one. But as the cycle of the fashion became short and diverse cycle of clothes, appeared hat style was much more various as follows: Space Helmet, Cloche hat, Halo hat, Cowboy hat, Coolie hat, 8. In the 1970's as their hair style became elaborate, a few people used the hat. But when economy was depressed by oil crisis, 'Look' which was able to change the way to wear became popular. Thus, the clothes of the form satisfied weare's purpose and the hat which was suited to it appeared with sports look, orient look, future directional style. We can notice that this period was uncertain to the hat. 9. In the 1980's, when the fashion required the tendency of trying to emit nostalgia for the past and practical dress and its ornaments, the fashion played a pratical and functional role in dress and its ornaments with the use of the hat that didn't trouble about tradition differently than that before this period according to one's own personality. This phenomenon was seen to be the influence of men's clothing style according to women's demands for personal and practical dress and its ornaments with the increase of social service. Consequently when the form and trimmings of the hat was gorgeous, the silhouette of clothing became monotonous.

伽倻地域의 耳飾에 關한 硏究

殷英子 啓明大學校 生活科學硏究所 1990 科學論集 Vol.16 No.-

Earrings are one of the personal ornaments which have usually been worn since a long time ago. In many of the ancient eastern countries, earring were dearly legarded as a kind of talsiman, Among many tribes of the Eastern Siberia, earrings were thought to be shamanic. In Korea, earrings were first in fashion in the days of the Three Hans States and there came many excavations from old tombs of Three Ancient Kingdoms. From many old tombs of Gaya in the same period as Three Ancient Kingdoms there were excavated many kinds of personal ornaments, of which earrings were most part. I examined the earrings of Gaya Area by area and period and classified them in terms of shape. An earring is made up of the central ring attached to ear and ornaments in the lower part. There are two types of central rings-a thick and a fine ring. Ornaments in the lower have two parts-pendants and junction. These earring are made of gold, silver and copper. It is gold earrings which have remained most. By the thickness and shape of rings, the earrings are classified into two-fine rings(Ⅰ) and thick rings(Ⅱ). The pendants in the lower are classified in to A, B, C···H by the shape, and the junction ornaments into a, b, c...f by the shape. Through fine rings without pendants which were most excavated, we can see the simplicity of Gaya people. Fine rings with pendants are relatively simple and have one to three gold grains, which is a characteristic element in Gaya Area. Thick rings were a little excavated from only a few tombs and their pendants are also simple. Thus the earrings of Gaya developed from fine rings without pendants, and with pendants into thick rings and we can see that these three types were existent together in a good time.

開化期 日本의 服飾變遷에 關한 考察

殷英子 啓明大學校 生活科學硏究所 1981 科學論集 Vol.7 No.-

From olden times Japan has been under the influence of Chinese culture, but in the Englightment age she came to wear the Western dress. Japanese civilization began at the end of Dokugawa Vakuhoo which held fast to isolationism and spread with the advent of Maji. Western dress was gradually worn by both men and women and used together with traditional Japanese clothes. In particular men's suit came to assume social nature while women's dress was imitated no more and reformed. The characteristics of that period are as follows: 1. Western clothes was introduced and worn by upper class. 2. Men began to wear western clothes as a court dress and has undergone remarkable changes. 3. Schools were the first one that recognized the convenience of the western clothes. 4. Women's dress was imitated but emphasis was placed on the improvement of traditional dress. 5. Hats were come into wide use often the enforcement of the order of Bobbed Hair. Japanese dress begun to be worn in the Enlightenment Age made possible a transition of her traditional clothes into the western dress and a dual structure of traditional and western dress.

三國時代의 裝身具에 關한 硏究

殷英子 啓明大學校 生活科學硏究所 1973 科學論集 Vol.1 No.-

From the time immemorial through the ages of stone and iron, our Korean people had developed their personal ornaments with an aesthetic consciousness. Before the age of Three Kingdoms, they had used various personal ornaments such as earing, buckle with turgoise ornaments, and goggal. It has been known that their ornaments had carried the following characteristics since the beginning of Three Kingdoms: 1. The figures in the mural painting of the old tombs show that Jeolpoong and Sogol were used as hat in Koguryo Kingdom, and the simple types of the ear pendants were produced with the development of metallurgy. 2. With its brilliant pure gold crown, Silla had the broad or slender pendants elaborated with the heart or kingo leaves pettern of gold rings which their metallurgy technique had developed, including jade necklaces, gold, silver, or bronze bracelets and finger rings, girdle and seventeen pendants in the King's tomb, and gold-bronze shoes, These elaborated works of art were the most characteristic in the art of antiquites. 3. Pekche's common patterns of the personal ornaments in the desing of ever-green leaf and flame could be seen with hundreds of relics such as gold diadem ornaments, gold earings with long pendants, and gold ornameetal hairpin which were excavavated from the King Muryong tomb, In addition, since the import of Buddhism, the Buddha statue's ornaments were the development of their metallurgy. As discussed previously, Koguryo exerted its influence on Silla and peckche in the art of personal ornaments, shaping the stable and simple form of personal ornaments. Under the influences of Koguryo and Peckche, Silla achieved a perfect beauty in its brilliant and delicate works of art on the conservative and emotional basis, so that Silla brought and emotional basis, so that Silla brought a gold age to Korean art. With the great influence of Silla, Peckche developed a soft and tenacious culture of fine art.

朝鮮王朝 婦女子의 裝身具에 關한 硏究

殷英子 啓明大學校 生活科學硏究所 1976 科學論集 Vol.3 No.-

The women in Lee-Dynasty wore various ornaments for making themselves looking better and more elegant. There were many kinds of hair-do using phony hair; various head ornaments such as large or small Binyo, Dueggogi, Cheopgi, Teoljam, Danggi, and hats. There were also ear-ornaments and rings not so beautiful as those of the old Three-Kingdom Dynasty. In addition there were Norigae and Jumeoni which the women carried with them as both ornaments and practical use, buttons used instead of Otgorum. The shape and system of these ornaments represent an aspect of their lives at that time when they were socially suppresed by the class consciousness, man-and-women relation and antibuddism-pro-confucianism, policy with the passing of time, the clothing itself became westernized and our peculiar ornaments are dying away. But the Binyo sticked in the women's head of elegant Korean dress and the Norigae hung down between the Gorum of Chogori should be treasured as cultural and traditional works.

現代服飾 超現實主義的 造形性

邢升喜,殷英子 服飾文化學會 1994 服飾文化硏究 Vol.2 No.2

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit fo humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern custume to an expression of formative art, and at the same time emerge from existed uniform coustume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angles, and thus it suggensted new aesthetic conception different form general conception f the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-sad, wide application of the idea and formative feature of surrealism with regard to modern costume did not only bring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

古代 Rome人의 服飾에 關한 硏究

殷英子 啓明大學校 生活科學硏究所 1979 科學論集 Vol.5 No.-

In ancient Rome, power and wealth were highly esteemed, and individual's social position really counted. This value was reflected in costume: costume itself bore social importance, and the costume style of the ruling class evoked envy and ambition from the general public. Dignity, dynamic vitality, and sense of texture characteristic about Roman costume derived more from the influence of the distinctive social institution rather than the geographic, and historical environment. All of the social custom concerning costume strictly demanded artistic taste in its style. Romans were in pursuit of variations, varieties, and magnificience. Historically, Roman costumes remained unchanged in its traditional and fundamental pattern except for minor alterations as time passed by. However. different styles in men's wear, greatly affected by social influence, represented their different social classes of positions. On the other hand, women's wear had room for more or less freedom. Since men were in dominating influence over women, the essence of women's wear was only to maintain graceful beauty, dignity, and fascination. But the general public was involved in constant labour, which required handy wear suitable for daily work. Clerical robe showed not much difference with the wear of the general public, but some difference existed in terms of the usage and the costume style. Armour or soldiers' were brilliant, and magnificent, which reflected some influence from Germany or Galilee. All this survey sums up a conclusion that in those days no professional dressmakers or tailors existed and the costume was nothing more than a picee of cloth, the rudimentary stage toward modern dressing. Roman costume provided the main motive for reviving classical traits even after the later renaissance or the French revolution.

高麗時代의 裝身具에 關한 硏究

殷英子 啓明大學校 生活科學硏究所 1973 科學論集 Vol.1 No.-

The Koryo Dynasty, succeeding the Silla Dynasty in rather a peaceful manner, was greatly influenced, in the early ages, by Silla the personal ornaments as the literary and military arts of Silla were adopted. But gradually official attire was granted by the Chinese government and Koryo could not but be influenced by China. Especially during the rule of King Kwang-Chong, people were to follow Chinese styles of dresses and ornaments, by order of the king. Even though various kinds of the personal ornaments of metal were used, we can rarely see material remains. We cannot find any special design, nor can we set up a historical tradition in the official hats and clothes influenced by China. For the official hats of kings, Myun,, Bokdu, Osakomo, and Chogun were used, but the really fine hats began to be used only after the rule of King In-Chong. From king to common people there were various kinds of official hats and clothes worn during ceremonial rituals. The shape of the belts varied according to the kinds of clothes and the ornaments varied according to rank, mainly for practical purposes.. With the change of military systems in Koryo and external influences, the belts of military uniforms also changed with changes in military uniforms. As Buddhism was admired in the Koryo Dynasty, the special personal ornaments of monks were used, but almost no samples are available now except on the basis of records. King Kong-Min maintained an anti-Won policy, especially concerning the ornaments of official clothes and hair, but during the later half of his rule, the clothing style of the Myung Dynasty influenced the Koryo social manners. As shown above, it is a pity that there was not only no original development of the personalts during the Koryo Dynasty, but also no remains are available.

傳統 色彩에 관한 硏究 : 三國時代를 中心으로 Mainly the three Kingdoms

李恩美,殷英子 啓明大學校 生活科學硏究所 1994 科學論集 Vol.20 No.-

Studying the philosophical background and symbolic meanings of the colors that appeared in the traditional clothes and documents of the period of the Three kingdoms, I have attempted to analyze the internal culture of color of the era. I have examined the traditional colors and their symbolic meanings of the period of the Three Kingdoms. The color and style of the clothes and the perferred colors revealed in wall paintings and documents of the period are as follows : 1. The Purple Category of colors, divided into a purplehue, Jabunsaek hue and myoljasaek hue, were the premium colors in the Three Kingdoms. Especially in shilla, the usage of this color was prohibited except for the Royal Family and the aristocratic class(Jingol). Although the use of this color was restricted to a specific class and consequently there have not been many studies on the purple colors, it is known to be used in many types of clothes with the exception of trousers and jackets(chogori), as studied in historical documents and wall paintings depicting Korean full-dress attire(durumagi). Purple was mostly used in the full-dress attire of the paekche King, belts of bureaucrats, and skirts of entertainers. The purple Category of colors, through thrir noble and symbolic qualities, shows the mystery and symbolism of the beginning of our country. 2. Among the Red Categoly of colors, which were divided into a reddish hue, Hungsaek hue, Pisaek hue, and Kangsaek hue, red and Pisaek were the most preferred hues in the Three Kingdoms and were mainly reserved for the upper class. Red was used for many types of clothes except for skirts. As a color for ornamental patterns and lines, red was harmoniously matched with white, yellow and black colors of upper garments and full-dress attire and enhanced the aesthetic value of the clothes. On the one hand, red was the symbol of a good omen in shilla ; however, in paekche it was that of an ill omen. Red was the essential color for primitive religions. 3. The Blue Categort of colors, divided into a blue hue, Noksaek hue, a green hue, and Byuksaek, a greenish blue hue, was considered to be a color of middle or below grade in paekche and Shilla. Nevertheless, in Shilla it commonly used in the upper garments, trousers, belts and hats from people of every rank ranring from royalty and aristocrats to soil diggers. different from other colors, which had dual symbolic meanings, blue symbolized only good meanings liks hope and virtue. 4. The Yellow Category of colors, differentiated into Hwangsaek, Jukhwangsaek, Jahwangsaek, Kumsulsaek, and Hwangsulsaek hues, appeared often in tumulus wall paintings along with white, and mostly was used in generous amounts in all types of clothes such as trousers and full-dress attire. Jukhwangsaek itself was considered to be the hue of the lowest rank and was used for dancers, trousers in Koguryo. In general however, yellow was the premium color of the country, only to be used by kings. 5. The White Category of colors, differentiated into white hue and Sosaek hue, was the most generously used and preferred color whihout restriction in all types of clothes. Specifically, white was main color for skirts and was also widely used for hats, jackets, trousers, and shoes. In Koguryo and Paekche, it was the symbol of an ill omen, but it was a symbol of a good omen in Shilla. However, the same color may have the opposite symbolic meaning according to the times. 6. The Black Category of colors was differentiated into Huksaek, Osaek, Josaek hues. because it was considered to be a color of low grade, it was mainly used for the hats amd shoes of the king in Paekche. As it was frequently used in official uniforms along with purple in Paekche, black shows that it could have different symbolic meanings with that of the other kingdoms. Since black was the avoided color for clothes, it was mainly used to decorate hats, belt lines, and shoes and took a role in accenting ather colors.