한국 전통복식미의 현대적 활용

금기숙(Key Sook Geum) 한국복식학회 1992 服飾 Vol.19 No.-

The aesthetic of traditional Korean costume has been used as one of the design themes in the field of Korean contemporary fashion design for western style clothing. Using the Korean aesthetic comes from the idea that such ethnic beauty could gain an international reputation. The beauty of the Korean costume is rooted in the particular aesthetic consciousness of the Korean people : the aesthetics of nature, personality, the evil`s eye, and tradition. From an artistic viewpoint, the formative elements are analyzed into the following categories : form including line and shape, color, pattern, materials and ornaments. The aesthetic elements of the costume are transformed into present fashion design through the formative elements of the fashion : form including line, color, pattern, materials and ornamentation. To express Korean atmosphere, adapting traditional elements such as, needle cases, hinges of furnitures, closing function of big gate are active. As a conclusion, the actual fashion design of adapting Korean beauty are so confined to the original form of Korean Dress that the results of design are tend towards ethnocentric atmosphere. Therefore, to understand and express traditional Korean beauty in contemporary fashion design, one has to keep in mind the aesthetic of the traditional Korean costume. Then one must develop and pursue one`s own methods of adapting Korean beauty. The sophistication and refinement of fashion design could be accomplished only through the deep appreciation of the Korean culture. The second, the sense of International perspective is needed to be understanded and obtaining public sympathy from an international society. The third, Critics and scholars are the most concerned with promoting Korean fashion at an international level. Korean fashion design will only mature with the support of scholars and the theoretical understanding they bring with them. The last, public support including government level is needed to enhence the standand of Korea fashion today.

한국복식에 표현된 흔들림과 떨림의 미

금기숙(Key Sook Geum) 한국복식학회 1990 服飾 Vol.15 No.-

This study is focused on the swinging and trembling effect expressed in Korean costume from ancient days to the present. The swinging is a term standing for gentle movements that are created and implied by the long ties, strings, tassels, pendants and hanging ornamentations. These attatched elements of the costume move as the wearer moves. Trembling is a term expressing small vibrating movement which is created by the tiny decorative motifs attatched to Korean costume. This little decorative elements were attached to the royal crown, earings, necklaces even the sole of the metalic shoes for a change and to draw viewers attention. The swinging and Trembling have been used mainly to express the decorative desires. The Swinging on shaman costume is a expression of the aesthetics of evil`s eye, while the Swinging shown on the costume of schalor is expressing the beauty of personality and nature. In General during the Choson Period, the Swinging of the tassels, ribbons, string belts is a expression of the beauty of nature. Consequently the Swinging and the Trembling are the typical examples of the Meot(멋), Korean traditional aesthetics.

조선복식미의 탐구

금기숙(Key Sook Geum) 한국복식학회 1990 服飾 Vol.14 No.-

As an attempt to view Choson costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic charateristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated : form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often use. Patterns revealed two aspects ; while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns drawn our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterns, indicating wearer`s status and warding off the evil`s spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories : the beauty of nature, the beauty of personality, the aesthetics of evil`s eye and the beauty of tradition. The beauty of nature, as appreciated by the Choson people through their prevailing nature, the Pung-rew Spirit and through their Worship of Heaven, produced aesthetic charateristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil`s eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people`s conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Choson people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Choson people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

법복의 조형성에 대한 연구

금기숙(Key Sook Geum),조효숙(Hyo Sook Cho) 한국복식학회 1998 服飾 Vol.38 No.-

This study is focused on two things, on the matter of judge`s robe(JR) which is worn in the court. First, Korean JR were examined from late 19th century through today(1997) to reveal the entity of the JR:characteristics of each JR has been changed according to the political or international influences. Second, JR from 92 countries were collected and analyzed to figure out the plastic characteristics of the JR among international society. The results are as follows: First, Korean JR were have changed many times according to the social, political influences. The Korean modern judicial system were proclaim in 1895 and JR were adapted in 1906. In 1920, Japanese style JR were worn until 1945 when Korean government have had her Independence. Korean Government have changed JR through which Korean identities were expressed through patterns such as national flower Mukungwha(Hibiscus) and Yang & Yin. In 1966 Korean JR were changed again and adopted western style JR until today(1997) which have many things in common with academic robe of university or clerical robe. Second, the analysis of the 92 international JR were summarized as follows:(1)The JR were consisted of three styles such as Gown style, Cape style and Jacket style. And Gown style has been found as the most popular style(86%) for JR among them. (2) As the main color of JR, black is used among 60% of countries and red is used in 33% of countries. Gold were matched for black JR and gray for red JR as their sub-color. (3) The most popular material were wool and satin were favored as its sub-materials. (4) Natural and Geometric Patterns were used to express the symbol of the country and the court. (5) Decorative items and details such as hat, gloves, shoes, wig, necklace, neck-tie, stole, tassels, rope, ruffles were used to express wearers dignity and symbolism. These results are expected to be adapted for the future design for new JR which has its identity and characteristics.

패션디자인을 위한 전통복식의 활용현황에 관한연구

금기숙(Key Sook Geum) 한국복식학회 1999 服飾 Vol.43 No.-

This study is focused on the aesthetic application of traditional Korean dress(Items) to the contemporary fashion design. The results are as follows: (1) Each traditional dresses have revealed their aesthetic characteristics according to the periods or time. (2) The dresses of certain period, figures and items had been limited in use in fashion design today. (3) The most favoured dresses adapted in fashion design were Chosun costume and female top items were the most preferred in use, (4) The colors applied to the fashion design were also limited. The bright and strong color groups were the most popular colors among fashion designers for their works. White which stands for the image of Korean and their dresses were also preferred in use. Therefore experts in various arena of fashion business have to keep in mind following problems: (1) They have to study traditional dresses to enhance their historic knowledges and appreciate their aesthetic beauties. (2) Various kinds of dresses from many periods, items should be tried to adapt in fashion design by the designers. (3) Various male attires also should be adapted in fashion design. (4) Various methodologies are recommended to apply in fashion design. (5) Fashion moods should be examined to make the krean fashion design rich. The plastic characteristics of Korean traditional dresses could be interpreted as a tunnel to show the esprit of Korean and the aesthetic of Korean dresses through the works of fashion design for the international fashion markets or societies.

현대패션에 나타난 금속에 관한 연구

금기숙(Key Sook Geum),유승희(Seung Hee Yu) 한국복식학회 1999 服飾 Vol.45 No.-

In contemporary fashion, metal have used which is as the material with a sufficient potentiality of expression which is displayed by an unique characteristic involved only in metal. In this paper, metal expressed in contemporary fashion is researched. The first thing, the formative characteristic of metal is researched under the consideration of type, technique, and color of metal used in contemporary fashion. Metals such as gold, silver, bronze, aluminum, tin, lead, and iron are usually used in fashion, and those metals are used in various types such as thread, fabric, board, leaf, and cable. Those types of metal as above are applied to the clothing by the techniques of weaving, embroidering, metal leaf, printing, or moulding, which gives the formative characteristic to the clothing. In color, metal has an effect on the colors of surroundings by its smooth and unique luster and its effect of reflection, and produces the visual formative characteristic through the effect of contrast. The esthetic will of metal expressed in modern fashion is researched in this study under the facts studied as above. First, metal expresses the future oriented esthetic Second, metal has the characteristic of attracting the attention. Third, metal is used as valid techniques to express the artistic formation for clothing, escaping from the idea that the clothing is only for wearing. Finally, metal is used as an anti-cultural tool of fighting against the existing order or spirit. Physical characteristics of metal are used for functional material and even for the creative work. It can be proposed that metal will take a role of guiding a new trial and suggesting the way to go for fashion including extending the formative area of fashion and material.

중국 청대 복식에 사용된 색채에 관한 연구

금기숙(Key Sook Geum),정현(Hyun Jung) 한국복식학회 2004 服飾 Vol.54 No.4

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows: (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among people. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon white, silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.

소비에트 아방가르드 패션디자인의 조형성 연구

금기숙 ( Key Sook Geum ),이다경 ( Da Kyung Lee ) 한국기초조형학회 2016 기초조형학연구 Vol.17 No.2

소비에트 아방가르드는 세계 최초의 사회주의 국가 건설과 함께 창안된 소련의 새로운 예술 정책으로 매우 혁신적이었다. 소비에트 아방가르드 예술은 소비에트 아방가르드 패션이 발전할 수 있는 가교 역할을 하였고, 소비에트 아방가르드 패션은 소비에트 패션의 시초가 되었다. 본 연구는 20세기 소련의 정치·경제·사회·예술·패션에 대한 전반적인 이해를 기초로 하여 소비에트 아방가르드 패션디자인의 조형성을 살펴보는데 목적이 있다. 본 연구는 소비에트의 사회·문화적 배경과 패션의 특징을 국내외의 선행연구를 중심으로 살펴보았고, 소비에트 아방가르드 패션디자인의 조형적 분석은 문헌자료에 수록된 작품사진과 국외 인터넷 시각자료 등을 대상으로 진행되었다. 소비에트 아방가르드 패션디자인을 실루엣, 색채, 소재, 문양 등의 조형 요소를 중심으로 분석한 결과, 기하학적 형태와 직선적 실루엣의 활용, 원색 대비 선호, 다양한 소재와 화려한 장식의 활용, 전통 문양과 기하학적 문양의 혼용 등의 특징을 보였다. 위와 같은 디자인의 특징에는 러시아의 전통성 고취, 소비에트 국가 이념의 표출, 패션의 예술화 시도, 패션의 산업화 등의 조형적 의도가 내재함을 파악할 수 있었다. 본 연구는 아직도 한국사회에 생소한 러시아 패션을 이해하기 위한 선행 작업으로 시도되었으며, 나아가 러시아와 러시아 패션에 대한 이해의 범위를 넓힐 수 있다는 점에서도 의의가 깊다고 할 수 있다. 러시아 미술과 패션은 소련 붕괴 이후 도약적인 발전가능성이 있는 분야로 기대되며 향후 연구할 가치 또한 높다. 본 연구를 통해 향후 러시아 패션에 대한 연구가 활발하게 이루어지는 계기가 되기를 기대한다. The Soviet avant-garde was large, and influential wave of modern art that flourished in Soviet Union, approximately from 1910 to 1930. The influence of Soviet avant-garde art has not been limited to painting and sculpture, but led to the general development of the Soviet fashion. This study focuses on formativeness of Soviet avant-garde fashion design based on comprehensive understanding of Soviet Union. The study reviews a wide range of domestic and foreign references on historical and cultural characteristics of Soviet Union and Soviet fashion in 1910s and 1920s. In addition, the formativeness of Soviet avant-garde fashion design was carefully analyzed, reviewing visual and literature references worldwide. Analyzing the characteristics of Soviet avant-garde fashion design using factors as silhouette, color, material, pattern, four features - application of geometric structure of straight lines, preference of color contrast, utilization of various materials, combined application of traditional and geometric patterns - were derived. This study highlights formativeness features of Soviet avant-garde fashion design that it strengthened traditional culture, expressed national socialism, encouraged interaction between art and fashion and industrialized fashion. Russian art has been unrevealed in history because of political and ideological reasons and has few previous studies especially on Soviet fashion. This study will broaden and deepen the understanding of Russian fashion while providing new perspectives.

고구려 복식의 미학적 연구

금기숙(Key Sook Geum) 한국복식학회 2002 服飾 Vol.52 No.3

The study of traditional costume is significant in terms of figuring out of the reality of its originality and enrich the costume culture of today. The purpose of this study is to analyze the aesthetic characteristics and to contemplate the aesthetic values of the Kokuryo costume. Kokuryo costume were characterized with the simpleness in its clothing constructions. The spaces found on the dresses were emphasized giving a geometric characteristics and abstract images. Many different colors were used for tops, bottoms, and border elements showing value contrast in each parts of dress. Patterns were simplified in a dot or stripe shapes impling a certain symbols. Dot patterns were varied in its shapes. In general, the decorative elements were simple and eliminated. Through the process of investigating these aesthetic characteristics, aesthetic values were found. The aesthetics of nature were favoured and tradition were respected. Religious mind were favoured and progressive spirit were endowed by the Kokuryo people. They have pursued the diversities and many changes in visual forms of dresses which were the manifestations of their esprit.

현대패션에 표현된 페미니즘에 관한 연구

강정화,금기숙(Key Sook Geum) 한국복식학회 1996 服飾 Vol.30 No.-

It this paper, we discuss the corelation bewteen feminish and fashion and examine its influence on modern fashion. And we also try to infer what the fashion design will be like in the future by understanding the value of modern fashoin from a new viewpoint The Early Feminism, which advocated the similarity between man and women, held the thought that women could be equal to men only when they behaved in the same way as men did. In 1970s, when the pendulum of the Early Feminism movement reached its highest point, a manish look began to flourish. The manish look introduced the items once employed only for men such as trench coats, tidy tailored suits, shirts and ties to women clothes. It has taken root deeply in women`s life and is still employed in various ways by many designers. From the late 1970s, the pendulum of feminism movement began to swing toward the Essentialist Feminism which emphasized the defferences between men and women. It focused not on the negative image of women seen from male-oriented viewpoints but on their positive image and stressed women`s sexual characteristic to make disinction between two genders. In fashion, the Essentialist Feminism played a role in bringing about a sexy look which stressed the erotic shilouette of woman`s body. The latest feminism is the socio-cultural one. It sees the distinction between men and women as sexual discrimination and introduces the androgynous human which carries the characteristic of two sexes. It leads to ambiguity fo sex roles and at the same time serves to make androgynous social atmosphere by admitting the coexistence of two genders. The androgynous idea in fashion is expressed as a new trend which crosses men and women`s own beauty while keeping their own identity intact. As we have briefly reviewed, feminism in fashion has been presented in various ways with regard to expressing the nature of men and women. And it has continuously indicated the ultimate message of the salvation of man-kind such as the respect for humainty and recovery of humainsm.