풍속화에 나타난 혼례용 단령에 관한 연구

신혜성 ( Hey Sung Shin ),홍나영 ( Na Young Hong ) 服飾文化學會 2007 服飾文化硏究 Vol.15 No.6

사롱의 유형과 가변성에 관한 연구

신혜성(Hey Sung Shin),이은진(Eun Jin Lee) 한국복식학회 2013 服飾 Vol.63 No.5

This thesis is based on the study of formativeness and versatility of Sarong· For the aim of the research, Sarongs were classified into two types: rectangular and tube, using its original form as the basis· These two types of Sarongs were divided into more detailed groups depending on the purposes of attire, such as skirts, dresses, and capes· To look into the formativeness and versatility of Sarong, the usage of wear and expression methods were observed based on these categories· The following results were found regarding the versatility of Sarong: First, Sarong has a wide degree of versatility in terms of usage· It can be worn as a skirt, a head scarf, a dress, a cape, or used as a carrier or even a sleeping bag, based on one`s intention· The change of usage is often accompanied with the change of forms, as can be shown by the longyi of Myanmar, the tube type Sarong, which is used as briefs· Second, Sarong has a wide degree of versatility in terms of function· Variations of instrumental and expressive function of Sarong are observed simultaneously· The physical function sometimes coincides with the changes of usage as mentioned above· The way that Sarong`s are expressed in different social situations changes depending on the wearer`s social status, religion, or origin· So by looking at the way a Sarong is worn, others can tell if a person is going to social events such as festivals and weddings· Third, Sarong has a wide degree of versatility in terms of design· However, even if same usage and function is pursued, the design can be different based on an individual· This is because the external change of Sarong is affected by individuality or aesthetic sense of the wearer.

제직기술과 문양을 통해 본 금직물(錦織物)의 동서교류에 관한 연구

신혜성(Hey Sung Shin) 한국복식학회 2012 服飾 Vol.62 No.4

The purpose of this study is to investigate the changes and developments that occurred as a result of the exchanges of gyeong-geum(經錦), a warp-faced compound weave of East Asia, and wie-geum(緯錦), a weft-faced compound weave of West Asia. In order to maximize the efficiency of this research, topics were narrowed down to the weaving skills and patterns, and the period was limited to the Tang dynasty. The systematic characteristics and differences of gyeong-geum and wie-geum were compared and contrasted through different works of literature. Then the excavated remains of geum-textiles were analyzed and the characteristics of the geum-textiles were defined in chronological order, 1) The origin of wie- geum is traced back to the time when West Asia started to imitate the weaving style of the East Asian gyeong-geum. When combined with the weaving skills of the West Asian, gyeong-geum, which broke through the West and developed into the weft-faced compound twill silk, or samite. The exchange of geum-textiles took place as the techniques of gastric filament woven geum-textiles returned to the East. Along with the pearl roundel motifs of Sassanian Persia, mythical animals and western motifs of hunter patterns were used for the patterns of wie-geumin during the early Tang dynasty. This tendency is related to pa-sa-geum(波斯錦) , ho-geum(胡錦), beon-geum(番錦) according to the recorded literature. The 8th and 9th century are periods when the West Asian Persian style was abandoned and the East Asian style, samite, was established. Not only did S twist silk threads replace Z twists, but also the repetition of patterns unfolded along with the weft and the warp. As this tendency was strengthened after the 9th century, the expression of patterns became more vividly colorful and showed both elements of naturalism and realism. The characteristics of the Bosangwha(寶相花) pattern in the Tang period were established with the rampantly repeated rosettes with birds often holding auspicious branches, that fly amid floral compositions.

종교 전파에 따른 복식 변용에 대한 연구 -인도, 인도네시아 복식에 반영된 이슬람 복식의 영향을 중심으로-

신혜성 ( Hey Sung Shin ) 복식문화학회 2012 服飾文化硏究 Vol.20 No.3

The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.

통신사[通信使] 기록을 통한 단령[團領] 착용 실태에 관한 연구

박선희(Sun Hee Park),신혜성(Hey Sung Shin) 한국복식학회 2007 服飾 Vol.57 No.10

청대(淸代) 견의(肩衣)류를 응용한 패션디자인 연구

이은진(Eun Jin Lee),신혜성(Hey Sung Shin) 한국디자인문화학회 2012 한국디자인문화학회지 Vol.18 No.4

본 연구는 최근 케이프(cape)가 세계 패션계에서 주요 아이템으로 유행함에 따라, 이러한 트렌드(trend)에부합하는 전통복식으로서 어깨와 목을 감싸는 복식들이 매우 발달한 청대 복식의 디자인 요소를 응용한 패션디자인을 시도하였다. 이러한 연구의 목적은 첫째, 전통복식에서 최신 트렌드와 접목시킬 수 있는 디자인 요소를 선택하고 활용하여 현대 패션디자인에 영감을 제공함으로써 새로운 패션제품을 개발하는 데에 기여하는 것이다. 둘째, 전통복식의 활용가치를 보여줌으로써 새로운 세대들이더 많은 관심을 갖게 하여 전통복식 연구의 저변확대에 기여하는 것이다. 연구방법 및 범위는 먼저, 국·내외 논문 및 박물관 도록, 단행본 등 문헌조사를 통해 청대(淸代)의 피령(披領), 운견(雲肩), 하피(霞피), 령의(領衣), 두봉(斗봉) 등 견의(肩衣)류의 특징을 고찰하였다. 다음으로, 인터넷 사이트 검색을 통하여 2000년부터 2012년까지 60명의 패션디자이너(브랜드)가 뉴욕, 런던, 밀라노, 파리컬렉션에서 발표한 작품의 사례를 고찰하였다. 이러한 세계 4대 패션 컬렉션에서 청대 견의류의 요소를 가장많이 활용한 디자이너는 중국계 비비안 탐(Vivienne Tam)이었다. 또 비중국계이지만 입 센 로랑(Yves Saint Laurent)과 마르니(Marni)도 피령과 운견, 령의의 요소를 활용한 디자인들을 선보였다. 그밖에 캐롤리나 헤레라(Carolina Herrera), 프리마 클래식(Prima Classe), 릭 오웬스(Rick Owens), 마틴 마르지엘라 (Martin Margiela) 등은 중국풍을 의도한 것은 아니지만 피령이나 두봉이 연상되는 작품들을 발표하여 향후 전통복식 디자인 요소의 활용가능성이 무한함을 알 수있다. 마지막으로, 청대 견의류의 요소를 응용하여 블라우스(blouse), 가디건(cardigan), 점퍼(jumper), 베스트 (vest), 코트(coat) 등 현대 여성복 다섯 벌을 디자인하였다. 이들 디자인은 일반적인 사람들도 무난하게 착용할 수 있는 아이템과 소재, 색상을 선택하되, 청대의 견의류가 탈착되는 특징을 반영하여 케이프를 탈착하거나 지퍼를 여닫음으로써 착용자의 취향에 따라 한가지 옷을 두 가지 방식으로 착용할 수 있도록 하여 디자인의 특성과 실용성을 높였다. In this work, according to fashionable trend of cape in clothes recently, we made an attempt to design clothes which accords with this trend of cape, by applying the essential design elements of surrounding shoulders and neck line in Qing dynasty. The purpose of this work is, first, contributing to develop new fashion products by choosing and applying design elements which can be merged into and giving inspiration to modern fashion design from traditional clothes. Secondly, by showing the value of applying traditional clothes, new generation get to be made to have more interest in traditional clothes. The method and scope of this work is first by searching into documents the characteristics of Qing dynasty were examined and the features of relics of shoulder clothing such as Piryong, Woongyon, Hapi, Ryongui, Doobong, etc. were studied. Next, by searching internet site, we analyzed the fashion works presented in New York, London, Milan, and Paris collection from the year of 2000 to 2012. Lastly, on the ground of the results of these two bases we designed five suits of modern women`s clothes. Vivienne Tom is the Chinese designer who applies most the elements of shoulder clothing of Qing dynasty to the greatest four world fashion collection. Yves Saint Laurent and Marni produce the designs which are applied the elements of Ryongui, Piryong, and Woongyon. Carolina Herrera, Prima Classe, Rick Owens and M Margiela show the works which remind us of the elements of shoulder clothing of Qing dynasty such as Piryong and Doobong. As items, we`ve chosen everyday dress such as blouse, cardigan, jumper, and coat. As colors of materials, we`ve chosen basic colors such as ivory, camel brown, navy, and gray for common people to accept easily. Besides, as shoulder clothing of Qing dynasty has the function of attachment or detachment, we`ve designed each suit of clothes to be worn two ways, as the wearer`s liking, by attaching or detaching the cape with zipper or button.

중국 고대(古代) 카프탄(Caftan)형 의복에 관한 연구

이은진(Eun Jin Lee),신혜성(Hey Sung Shin) 한국디자인문화학회 2013 한국디자인문화학회지 Vol.19 No.2

카프탄(caftan)형 의복은 고대부터 동아시아의 여러 민족들이 착용해 온 대표적인 의복유형으로, 지금까지도 아시아 여러 민속의복에서 흔히 찾아볼 수 있는 유형이다. 이에 본 연구는 중국 고대(古代) 카프탄형 의복을 대표하는 포(袍)와 심의(深衣)의 개념과 형태를 고찰함으로써 동아시아의 대표적인 카프탄형 의복의 원류를 규명하고자 하였다. 연구의 시간적인 범위는 한대(漢代)까지이다. 연구의 범위를 한대까지로 한정한 것은 비교적 명확하였던 포와 심의의 의미와 외형이 한대 이후에는 변용되기 시작하였기 때문이다. 연구방법은 먼저, 중국 고대 주요 문헌들에서 포와심의에 대한 기록을 조사하여 그 개념과 형태특성을 분석하였다. 다음으로, 중국문화권 분묘에서 출토된 의복유물과 회화, 벽화, 인물상 등에 나타난 포와 심의의 형태특성을 조사하였다. 마지막으로, 문헌기록과 유물분석의 두 결과를 비교, 분석하여 결론을 도출하였다. 본 연구결과, 중국 고대의 심의와 포는 현재 통용되는 것과 분명한 차이가 있었다. 첫째, 고대의 포는 대개 겹으로 만들고 충전재를 넣어 방한과 방호를 목적으로 입었던 의복으로서, 실용적이며 검소한 개념의 옷이었다. 옷 길이는 무릎 내외였으며, 직령(直領), 직거(直祛) 형태였다. 그러나 후한시대 즈음에는 포가 겉옷으로 착용되었을 뿐만 아니라 황제의 예복, 공주나귀인, 비의 혼례복 등으로 사용되면서 그 위상이 격상되었다. 이와 동시에 옷 길이, 구성법, 재단법 등에 따른 종류와 디자인이 다양해지면서, 카프탄형 옷을 총칭하는 용어로 그 개념도 확장되었다. 둘째, 고대의 심의는 예를 갖추기 위하여 착용한 한족(漢族) 고유의 의례복이었다. 속옷이 완벽하지 않았던 한대 이전에는 피부가 노출되지 않도록 심의의 옷길이가 길었으며 몸을 깊이 둘러 감싸 여며 입는 요금(繞襟), 곡거(曲祛) 형태였으나 속옷이 발달하게 되면서 심의는 점차 요금, 직거(直祛) 형태로 변화하였다. 그러나 예복으로의 상징성은 계승되어, 심의는 후대 중국 예복의 기본을 형성하게 되었다. Lots of East Asian nations have worn caftan-shaped clothing in common historically. It is one of representative types in Asian traditional clothes. In particular, ancient Chinese clothing had influenced other surrounding nations` clothing and Korean clothes as well. So the object of this study is to search the origin of caftan-shaped clothing which represents East Asian clothing by examining the concept and shape of Po and Sim-ui, the representative types of ancient Chinese caftan-shaped clothes. The time range of this study is up to the Han-period. The reason for this time range is that relatively distinct concept and shape of Po and Sim-ui began to transform from this time on. The method of this study is, first, through the redords on Po and Sim-ui in ancient Chinese scriptures, history books, and dictionaries, their concept and shape characteristics are analyzed. Next, from the excavated clothes relics, paintings, wall paintings, and figure statues, the shape characteristics of Po and Sim-ui are examined. And this study results in the conclusion that the concept and shape of ancient Chinese Simp-ui and Po are certainly different from those of present time. Originally, ancient Po had been underclothing for protection against the cold and safety. But in the Han-period it was changed into outer garment like wedding dress. And it was varied in its shape and use as time went on. So its concept was extended to a general term for long dress. Ancient Sm-ui had long length and Po had the shape of wrapping body deeply. Ancient Sim-ui was the Chinese or the Han race`s ceremonial costume of their own which stressed their own etiquette. But as the underclothing was improving, the shape of Sim-ui was turned into the form of straight bottom edge line and wrapping body deeply. And the bases of Chinese ceremonial costume afterwards succeeded to its symbolic nature of ceremonial.

해방이후 한복용 緞織物의 변천에 관한 연구

신혜성,홍나영 한국의류학회 2003 한국의류학회지 Vol.27 No.6

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation form Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics. "Dan(緞: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936, when the Jacquard machine began to be imported form Japan into Korea. From that time on, new fabric materials, such as yangdan(洋緞), and popdan(法緞), hobakdan(琥珀緞), silk and rayon mixed Dan(交織洋緞) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(單色緞) was more common than that of the multi colored dan(多色緞機). But with the spread of 4×4 shuttle box loom(兩四丁織), various kinds of the multi colored and have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(七色緞), 9 color gumsadan(九色金絲緞) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and after 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.