19世紀 유우럽 紳士服 Mode 의 特性

楊淑喜 한국의류학회 1984 한국의류학회지 Vol.8 No.2

Die Geschichte des Kostums steht in unmittelbarem oder mittelbarem Zusammenhang mit der allgemeinen historischen Entwicklung derjenigen Lander und sozialen Schichten, die das kulturelle Gesicht und damit auch die Entwicklung der Mode einer Epoche bestimmen. Im 19. Jahrhundert war das Burgertum in Europa die herrschende soziale Schicht und daher auch modisch tonangebend. Die Mode des Burgertums zeigte demokratisierende Tendenzen: Vereinfachung der Ausstattung und der Formen, wobei sich die Proportionen der Kleidung so gut wie moglich den des Korpers anpaBten. Die Herrenmode beugte sich zunehmend den Forderungen nach ZweckmaBigkeit; das gait zumindest fur den Tagesanzug, der immer mehr zum Arbeitsanzug wurde und sich damit der Mannerkleidung der arbeitenden Schicht annahrte. Die Industrialisierung trug ebenfalls dazu bei, daB die modischen und sozialen Previlegien in der Kleidung sich verminderten; die Textil-und Konfektionsindustrie muBte sich zwangslaufig auf die Bedurfnisse der Massen und auf deren Wunsch einst ellen. In der Herrenmode setzte sich die Tendenz zu funkticnaier Einfachheit und Gradlinigkeit durch, d.h. funktional uberflussige Teile wie z.B. die Vielzahl der Kragen, Knopfreihen, uberlange SchoBe verrchwanden; an die Stelle der Farbenfreude trat ein einfaches, einheitliches Grau, Schwarz, Blau und Braun. Diese Vereinfachung wurde zum Ausdruck der zunehmenden Demokratisierung, wurde aber zugleich auch Voraussetzung fur eine neue Differnzierung des KlassenbewuBtseins. Zum Statussymbol wurden die auffalliges Erscheinen vermeidende Eleganz und das Arrangement der einzelnen Kleidungsstucke zu einem harmonischen Ganzen; elegante Kleidung weist ihren Trager aus als Kenner des Modetrends und damit als zugehorig zum Kreis der modeavancierten Schicht. Diese Ambivalenz bestimmt auch die Mode des 20. jahrhunderts.

오페라의상과 무대조명의 시각적 효과 : 리골렛토(Rigoletto)를 중심으로 Rigoletto

양숙희,김현수 숙명여자대학교 건강ㆍ생활과학연구소 1997 生活科學硏究誌 Vol.12 No.1

The purpose of study to show 1) that, based on the concep of opera costum throuht consideration of visual effect, the situation of costume on the syage shall be firmly set up, 2) that the visual effect of opera costume is divided by the visual effect of the formal and abstract antities which is percived in the situation of audience, and so the audience shall be oneness whith works, 3) that, by observing and analizing visually the features of the costume which is chainging according to wake the its importance as the factor controlling the ostchological state of the audience and by lighting, it is possible to perform the effective state by providing the interest and visual statisfaction to the play. Briefly summarizing the conclusion of this thesis as follows; 1. An opera costume is expressed with the close relationship with other visual elements, and especially for the costume designed in a major consideration of illumination will bring an increased modern sensibility and dramatic uniformity as a silent language. 2. The symbolic personal descriptions of the characters is exposed and adjusted along the variety of the illumination to the extent that it would deliver the psychological state of the figures in the drama. 3. The illumination which increases the visual effects of opera costume will express and create the essential phenomena, including shapes, colors and qualitative touch and will offer the visual singification and creative imagination, by harmonizing with the abstract entity of the psychological state of the audience and that of the characters. 4. By inquiring into Opera 'Rigoletto' as a sample study, the result of the analysis on the visual effect of the opera costume, varies along the illumination, are following as; 1) The formal and abstract entities by the illumination was varied and adjusted along the characters at Act Ⅰ Scene 2, Act Ⅰ Scene 2, Act Ⅱ Act Ⅲ respectively, and was formed a dramatic relationship between the natures of the costumes and the characters. 2) The stage illumination for each Act helped the audience increase their comprehension and attention along the psychological state of the characters, places and times. 3) The variety of costume through the effects of color filter influenced not only the changing appearance of the costumes but also the qualitative touch and its shape with possible expectation of the various visual effects. 4) The function of illumination offers the unique and broad possibility of the visual arts as sell as effective design options creating the variety of the elements of costume design, including the changes in silhouette, qualitative touch and creation of patterns.

회장 취임 인사

양숙희 복식문화학회 2009 服飾文化硏究 Vol.17 No.2

예술과 패션 : 20세기초 무대의상과 예술 ①

양숙희 淑明女子大學校 1992 論文集 Vol.32 No.-

헤어스타일에 대한 여성들의 의식행태와 관련 요인 분석

양숙희,남철현,김성우,곽형심,남현주,이명옥 慶山大學校 保健福祉硏究所 2001 保健福祉硏究 Vol.6 No.-

This study was conducted to examine aspects of women's awareness of haier styles and related factors. 734 women who lived in Seoul, Daegu, Pohang, Sangju, and Gumi were selected as subjects of this study. Data were collected from May 20, 2001 to August 20, 2001. The results of this study can be summarized as follow. 1.The respondents' satisfaction level with their hair styles was 3.34±0.84 points on the basis of 5 points. The highest values in the variables were the upper class (3.78±0.78 points), tall and fat women (3.53 ± 0.96 points), above 50 years old (3.42±0.85 points), and education level of above college (3.45±0.83 points). 2.The respondents' had various hair styles such as short hair (32.3%), short-cut hair (30.1%), long hair having layers (25.5%), long hair having no layer (7.8%), and pull-up hair (4.4%). According to the opinions of hair styles which matched well with Korean women, long hair having layers covered 25.3%, while long hair having no layer covered 21.9%. Pull-up hair was 23.0% and short-cut hair covered 17.0%. 3.In the case of changing hair style, 38.8% of the respondents answered that they change hair style when they needed diversion of feeling. 29.3% of them changed hair style periodically and 17.8% of them changed it to follow fashion. 9.4% changed it by recommendation of family members or friends and 4.1% changed it by hairdresser's recommendation. Among the respondents, 44.1% of unmarried women, 46.1% of the women in their twenties, 50.8% of college students, and 45.2% of professors or teachers changed their hair styles when they needed to diverse their feelings. The change of hair style was significantly different in the variables of marital status, occupation, and economic status, while it was not significantly different in the variable of religion. 4.39.9% of the respondents changed hair style once or twice a year, 24.9% of them almost did not change it. 20.7% changed it three times or four times a year and 7.2% changed it above seven times a year. 5.When the respondents wanted to change their hair styles, 26.8% replied that they would choose the hair style at the time of changing it. 24.4% of them chose long hair having layers and 19.2% of them chose short-cut hair. 13.1% selected short hair and 8.6% chose long hair having no layer. Only 7.2% of the respondents selected pull-up hair. In the variable of age, 28.4% of the women in their twenties and 25.8% of the women in their thirties chose long hair as their next hair style. 6.60.5% of the respondents occasionally used hair styling products when they finished hair styling, while 20.3% of them used them without fail. 19.2% of the respondents did not use them at all. 7.The satisfaction level with present hair style was influenced by economic status, satisfaction level with hair style made by the hairdresser, and their education level. The satisfaction level with hair style was low in the groups of low economic status, short and thin women, and low education level. Hair style was greatly determined by shape of face. Hairdressers must have great concern about hair style because hair style is essential in expressing sense of beauty.

현대복식에 나타난 신분상징의 양면가치 : 부와 빈곤개념을 중심으로 Focused on the concept of wealth and poverty

양숙희,이정후 숙명여자대학교 건강ㆍ생활과학연구소 1996 生活科學硏究誌 Vol.11 No.1

패션명품 광고에 나타난 사회문화적 의미 -여성 이미지를 중심으로-

양숙희 韓國衣類學會 2005 한국의류학회지 Vol.29 No.2

덕트 테이프 패션에 표현된 다원주의

양숙희,이봉덕 한국의류산업학회 2000 한국의류산업학회지 Vol.2 No.4

Pluralistic and diverse values exist in the realm of post modernism society In this context, one particular outlook does not have the same meaning across the whole society The creation and sharing of a new meaning do not necessarily need the consent of every member of the society There have been a few attempts to delve into the relationship between sociocultural phenomenon and fashion trends in the pluralistic cultures. However, there has been little research on the theoretical framework in order to analyze a pluralistic phenomenon itself. The purpose of this study is to provide the theoretical paradigms to analyze and interpret various pluralistic phenomena in postmodernism fashion. Theories developed by Gilles Deleuze have been utilized to analyze and interpret the duct tape fashion which is in vogue among the young generation in the USA. The analysis based on the paradigm of Gilles indicates that the duct tape fashion shows pluralistic features of as in the other postmodern cultural activities.

예술과 패션 : 헨리 반 데 벨데(Henry van de Velde)를 중심으로 Focused on Henry Van de Velde

양숙희 淑明女子大學校 1993 論文集 Vol.33 No.-

Throughout history, artists have been interested on the costume, a new appraisal on costume has been raised from the beginning of the twentieth century. A major event to lead this movement was the exhibition "Artistically Reformed clothes", which was opened by the artists in 1900 at Krefeld. They announced the costume as an artistic object, and they made it possible to enhance the costume as art, by having good relationship with the industrial arts technologists who carried out reform in several ways at that time. The reformed clothes around 1990 have started from the two fundamentally different tendencies : one was the medical and hygienic side which was led by Paul Schultz Naumburg, so called "health clothes", and the other was the aesthetic side for which "artists' clothes" ultimately seek. The artists' clothes were based on the aesthetic movement in England. This movement was characterized by the followers of Raphaelite Brotherhood and the new industrial arts movement. In this, it is to be seen that women's clothes have reached a high level which the artists pursue. Also, the theoretic items and structural vocabulary in composition which characterize the reformed clothes, are well harmonized with the general artistic ideas of Jugendstil. This is to be divided into eight categories : 1) antishistoricism, 2) ration and logic, 3) composition principle, 4) the problem of decoration, 5) suitability of material, 6) the concept of beauty, 7) ethics, 8) new style, and this basically includes the theory and design of Jugendstil. The major concerns of the new style is to artistically accomplish every areas in life, and to find a proper composition principle in architecture, industrial arts, and women's clothes, by using ration, logic. beauty, and morality. The contributions of Henry Van de Velde, Peter Behrens, Paul Schultae Naumburg, Alfred Mohrbutter, and the other artists in the theory and composition, are to be characterized through the important areas of Jugendstil, and they provide a rich materials to understand this art period which has been underestimated. Van de Velde analyzed and subdivided the reformed clothes more deeply than any other artists in Jugendstil, and his achievement to recognize costume as art was a great undertaking in the costume history.

신디 셔먼 패션 사진의 수사학적 기법 연구

양숙희,윤영 한국복식학회 2005 춘계 학술대회 Vol.2005 No.-