21세기 패션에 나타난 인트라컬추러리즘(Intraculturalism)에 관한 연구

양숙희(Sook Hi Yang),정세희(Se Hui Chung) 한국복식학회 2009 服飾 Vol.59 No.1

에디토리얼 패션 사진에 표현된 하이퍼 리얼리티 표현 연구 -2000년도 이후 Vogue지를 중심으로-

양숙희 ( Sook Hi Yang ),윤영 ( Young Yun ) 복식문화학회 2010 服飾文化硏究 Vol.18 No.6

The advent of various arts and remarkable development of mass media since 1980s accelerate fashion photographs` advancement. The expression of fashion through photographs can represent characteristics of ages, societies, cultures, traits of designers and techniques of photographers. In addition, that is the tool which contains economical role as a product and artistic role as photos. Therefore, this study examines hyprt-reality images in editorial fashion photographs. Hyper-reality means the reproduction which represents the reality of life more actually. Hyper-reality through photographs elevates reality of virtual things and creates the confused situation which haunts the boundary between reality and reproduction. This study classifies the hyper-reality in editorial fashion photographs into three groups by their external traits, ideal reality, collapse of reality, and restoration of reality. First, ideal reality is represented as harmony among fashion, characters, and space, causality of fashion with time and circumstances, positive will, and melting with nature. Second, collapse of reality is expressed as in harmony between fashion and situation, violence, fetishism and symbol of death. Third, restoration of reality is shown as recurrence to nature and images of utopia to express dignity of life.

현대패션에 나타난 신화적 이미지에 관한 연구

양숙희(Sook Hi Yang),양희영(Hee Young Yang) 한국복식학회 2005 服飾 Vol.55 No.1

In the modern popular culture, a significant code is not the truth itself but the seeming truth. To fulfill this function, it is a mythology that has a transcendental power to eliminate any doubt and mystery. That is to say, cultural uniqueness is understood as an identical thing through mass communication, and people perceive it as a similar cultural community. In this process, mythology form and accumulate the matrix of mythological meaning by eliminating the difference between the reality and the illusion. Such a matrix forces a meaningless and unconditional truth and practice without any criticism and reconsideration. This paper tries to extract art and cultural characteristics of mythological image through examining the relationship among mythological image, history, and ideology. For this aim, we make use of Roland Barthes` signs and Daniel Boorstin`s image as a basic analytical tool. After that we examine the characteristics of mythological image appeared in modern cultural discourses and the relationship between mythological image and modern popular culture. Furthermore, we consider the mythological image expressed in modern fashion, which has the nature of commodity aesthetics.

현대 메이크업에 나타난 네오아방가르드 경향에 관한 연구 - 1990 년대 후반 캣워크를 중심으로 -

양숙희(Sook Hi Yang),장미숙(Mee Sook Chang) 복식문화학회 1999 服飾文化硏究 Vol.7 No.3

유럽 상징주의 복식에 관한 연구

양숙희(Sook Hi Yang) 한국복식학회 1994 服飾 Vol.22 No.-

The progressive artists in Austria, including Gustav Klimt, organized the Viennes Secessionist in 1897, and they took an active part in the reformation of the applied art, by accepting the Jugendstil, stranding for the true art. The vocabularies which characterize this group, are decoration, literature, and the power of symbol. Klimet especially expressed these characteristics and his strong personality. For the created his works with the symbolic and friendly splendor through his highly decorative talents, by accepting the newly changed artistic situation in those days, and by getting out of the naturalistic trends, he was regarded as an avant-garde artist, as a major figure among the Symbolist artists who revived European culture which was destroyed through the World War I. The characteristics of Klimt`s works was to express the various human thoughts and minds through the decorativeness and the femininity, and to use the decorative elements of old Greek and Egyptian culture, and Japanese art, as the motives of his works. His art is to be found between the naturalistic characteristics and formalization, as well as between the industrial arts and the fine arts. In his many portraits he preferred women, by trying to express eroticism, hidden behind the human inner world. For this, he demonstrated the attractiveness and the characteristic of the models by designing the illusionary and unique clothes. In general, his genius was to be seen through the costume which was decorated whth metals and jewels, and through the characteristics of the modern costume, in which the previous solid silhouette was removed, and the gentle and elegant medium color was used. By accepting the new artistic trends in the turn of the century, by fully expressing those characteristics in his creative world, and by taking his theme from the eroticism through the decorativeness and the expression of women, Gustav Klimt`s uniquely decorative expression completely realized the aesthetics of Jugendstil, symbol, decoration, and expression which displayed not only the external appear ance, but also the inner world. Especially, he created a new appearance, emphasizing the costume of the characters in his works. Also, through the costume, the expressed his artistic consciousness and psychology. He showed the characteristics of the reformed costume, through the medium color, the simple forms, and gentle silhouette. Also, he tried to symbolize the passionate inner power, by designing the small mosaics, such as the geometrical patterns, whirlpool patterns, and the indecent meanings, all over the costume. Klmt`s this kinds of attemps shows a Stil Kostume, as the external outcome of the inner spiritual activities, like art, and it establishes a basis for the theory of costume art which deals with the concepts of costume from the artistic points of view. This tradition, playing an important role in the contemporary history of costume, even has been still inherited up to today.

여성 정치 리더의 역할 수행을 위한 패션 스타일 연구 -율리아 티모센코를 중심으로-

양숙희 ( Sook Hi Yang ),조윤영 ( Youn Yung Cho ) 복식문화학회 2011 服飾文化硏究 Vol.19 No.1

Since Sirimavo Bandarinaike became the first female prime minister in 1960, women all over the world has been trying to break the highest glass ceiling. In a place where men had been dominating throughout history, women political leaders had to find a way to look the part by wearing power suits. Feminity was out of the question until the digital era of 21st century started. The world has evolved into a place where feminity could be strength instead of weakness. Now women political leaders are showing body curves, cleavage, using vivid and pastel colors, soft fabrics, elaborate details, accessories, long and curly hair. The padded shoulders of dark coloured power suits were replaced by soft colorful flowing feminine suits. Yulia Tymoshenko of Ukraine is the best example of 21st century woman political leader using feminity in her fashion style while enacting her role. When she first started politics in 1990`s, she wore dark colored power suits like all other women political leaders did with short dark hair. As time passed her suits became more feminine with light colors and elaborate details. She has changed her hair into a neat braid, based on a traditional Ukrainian hair style. She used orange color for the Orange Revolution and white for pure image. Yulia Tymoshenko`s fashion style as a way of role enactment showed professionalism, feminity, integrity, and ethnicity.

챠브(CHAV) 패션 특성 연구

양숙희(Sook Hi Yang),윤영(Young Yun) 한국복식학회 2007 服飾 Vol.57 No.10

현대 디지털 패션에 나타난 예술 매체적 특성과 미적 가치

양숙희 ( Sook Hi Yang ),조소영 ( So Young Cho ) 복식문화학회 2011 服飾文化硏究 Vol.19 No.1

In this modem digital era, there are very vigorous arguments about digital and media aesthetics throughout culture and art on the basis of new transferring of recognition about the art-media`s characteristics. Therefore, this paper tries discover the art-media`s characteristics and aesthetic value that are included in contemporary digital fashion through studying the fusion between digital and fashion. The purpose of this research is to offer positive and evolutive opportunity of artistic thinking to make the meeting between fashion and media suggest the future generation, adaptation and recognition in the media-developmental environment that will be deeper and more fueling. In the area of research method, this paper takes the method of theoretical research by referring national and foreign literatures and preceding research-papers, and carries out investigation and analysis about digital fashion for the last 10 years. The results of this study; The art-media`s characteristics of modem digital fashion are virtuality, immateriality and characteristics of multimedia. The aesthetic values can be classified with four kinds of properties. First is hybridity initiated from multi-media that creates works; the second is infinite reproductivity initiated from the characteristics of the multi media and the digital carrier. Thirdly, there is also interactivity appeared all over the area of production, adaptation and perception caused by non-linearity and immateriality. Finally there is synesthesia that can extend the capability of sense through digital media.

영화의상에 나타난 사치성에 관한 연구

양숙희(Sook Hi Yang),한수연(Soo Yeon Hahn) 한국복식학회 2007 服飾 Vol.57 No.4

논문편 : 19세기 유우럽 모드 예술가 연구

양숙희 ( Sook Hi Yang ) 대한가정학회 1988 Family and Environment Research Vol.26 No.3