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이제마의 사상인(四象人)의 패션 이미지 및 컬러 이미지 분석
장애란,김현미,임지영,현명관,백은진 濟州大學校 基礎科學硏究所 2003 基礎科學硏究 Vol.16 No.2
본 연구는 의류학과 한의학이 신체적 특성 및 성격 특성에 의해 영향을 받는다는 유사성과 사상체질의 구별이 의복을 착용한 체형과 용모인 외모를 통하여 이루어진다는 점을 기본으로, 사상체질을 관련한 의상디자인 및 색상을 체계적으로 제시한다면 체질개선은 물론 현대인의 신체적이고 심리적인 병폐를 치유하여 건강한 생활을 하루 있도록 유도하기 위함이다. 따라서 선행 연구된 이론 및 통계분석을 기준으로 분류된 사상인별 신체적 특성 및 심리적 특성에 따라 여성들의 체질개선을 위한 효과적인 의상디자인 및 색상을 제시하는 것이 궁극적인 목적이고 이를 수행하기 위한, 선행연구로 감성적 요인을 중심으로 사상인의 패션이미지와 컬러이미지를 분석·해석한다.
Balenciaga 의 작품에 나타난 건축적인 형태미에 관한 연구
장애란 한국복식학회 1993 服飾 Vol.21 No.-
The purpose of this study is to identify the architectural construction of Balenciaga`s works. He was perfectionist in tailoring which was based on architectural thought, and couturier who could design, cut, sew and fit a whole garment. Balenciaga has never followed any fashion trend but his own. He designed from within himself, according to his own sensitivity to fashion. Like Chanel, he mad clothes in which women can be comfortable, move in, and get on and off with a minimum of effort. He applied radical shapes to flattering ends, for his clothes echoed movements and gestures, never determined them. He achieved the perfect harmony between the body and the garment, freeing the spirit of the woman within. Reflection his respect for women, Balenciaga never contorted or restriced their bodies. He did not depend on hoops and petticoats to hold out the skirts of his evening dresses but on well-balanced, architectural construction. Therefore in order to identify the architectural consturuction, this study hypothesizes (1)the effect of mass and volume, (2) the effect of weight and support, (3) the effect of complexity and simplicity, (4) the effect of line and rhythm etc. The architectural beauty of form in Balenciaga`s works are especially based on simplicity and support.
장애란 서울여자대학교대학원 1996 論文集 Vol.- No.4
Surrealism began with the spoken and written word. Its early documents and richly evocative tests testify to an art of theoretical initiatives and verbal foundation. Fashion and its instruments were at the heart of the Surrealist metaphor, touching on the imagery of woman and the correlation between the world of real objects and the life of objects in the mind. A sign is something which stands for some object or idea, while the semiotics are the external expression for an internal meaning. Semiotics can be used as a medium of communication between dress and art. A language is simply used for explicit of meaning, while the style of dress and art express the explicative and implicative signs. Peirce's scheme among several theories of the semiotics was chosen for this study, because the Peirce's scheme was the first non-language communication medium between external and internal stages, and readily interpreted the patterns and the developing history of a dress style and an art style. Surrealism was studied at first to identify the style which influenced the dress, and then the Surrealist semiotics were used to apply the above results to the 20th century fashion for analyzing and interpreting the dress style. In Peirce's scheme, the symbol occurred in a conventional associations with objects which signified and decoded the sign. The dress was also interpreted by the symbolic characteristics of semiotics, because the symbol of semiotics often found at cultural art. The symbol of advance, play, eroticism, nature in dress were determined by using Surrealist semiotics. This study could conclude that the style of dress and Surrealism were able to be interpreted by semiotics.