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- 저자 : 전혜정 ( Hei Jung Chun ) (검색결과 27 건)
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전혜정 ( Hei Jung Chun ) 한국패션비즈니스학회 2000 패션 비즈니스 Vol.4 No.1
Merchandiser continue to play an important role in the exchange process by providing products for consumption. Merchandisers must still understand customer demands, analyze sale trends, select and present salable products. However, due to the competitive pressures in the apparel industry and the innovations required under QR business systems, the demands placed on merchandisers are changing. The purpose of this study is to present of the direction for fashion merchandising education. The direction for fashion merchandising are education summarized as follows; 1) Merchandising technology is the systematic application of information technology and Telecomunications to planning, developing, and presenting product lines in ways that reflect social and cultural value. Statistic Methods are developed and used to analyze data arising from a wide variety of applications. 2) Merchandising technology is to practise the technical and economic aspects of apparel production. Analysis of specific apparel manufacturing and management issues such as efficient manufacturing methods. 3) Merchandising technology is to forecast fashion trend according to consumer preference. Culture influences what people purchase and how those items are used forecasting fashion trend. 4) Merchandising technology is to practise communication skills used in formal and informal organization including interviews in particular language suited to their own business and professionnal careers. 5) Merchandising technology is to planning merchandise budgets and merchandise assortments based on more diverse forms of information. 6) Merchandising technology is to use techniques related hardware and software. 7) Merchandising technology is to learn participate in internship programs.
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전혜정(Hei Jung Chun),나현신(Hyun Shin Na) 한국복식학회 1996 服飾 Vol.28 No.-
Minimalism is an art movement which start from 1960s in America. This study means to compare the characterizations of minimailism in fashion with those in art in order to reconfirm the purpose of fashion as an art. The purpose of this thesis are ; 1) to draw the characterizations of minimalism through the external form and internal meaning, 2) to analyze the characterizations of minimalism in 1960s and 1990s fashion. 3) to compare the characterizations of minimalism in fashion with those in art. The sources of art collected from art history book, works of art and books of paintings, and those of fashion are collected from which it may concerned centering around the fashion magazine Vogue of America in 1960s and 1990s. The result is as follows. The chacracterizations of minimalism in art are ; 1) essentialness which reduce to the mono color and form, 2) materialness which present the material itself, 3)environmentalness which makes the special exhibit space, usning the effect of reflection, transparency and light, 4) repetitiveness which pursuits the nonrelational composition by consecutive arrangement. The characterizations of minimalism in fashion are as follows ; 1) Essentialness in fashion shows tat which reduce to the mono color and form, the geometric form, and the body. It expresses closed form, whole-priority-form, plane-separate form, and determinate form commonly. But the differences are flat form in 60s and round form in 90s. The work of this category belongs to 60s` Rudi Gerneich, Norman Norell, Courre`ges, PierreCardin and 90s` Rei Kawakubo, Helmut Lang, Calvin Klein, Donna Karan, Geoffery Beene, Giorgio di Sant` Angelo, Issey Miyake. 2) Materialness in fashion shows the use of industrial material and the sculptural characteristic. It expresses closed form, part-priority-form, plane-separate form, and determinate form commonly. But the differences are flat form in 60s and round form in 90s. The work of this category belongs to 60s` Paco Rabanne, Pierre Cardin, Courre`ges and 90s` Gianni Versace, Issey Miyake, Thierry Mugler, Paco Rabanne. 3) Envriomentalness in fashion shows that which wxpress the beauty of body through the effect of reflection, transparency and light. It expresses open form, plane-intergrate-form, and round form commonly. But the differences are whole-priority-form in 60s and determinate form in 90s. The work of this category belongs to 60s` Paco Rabanne, Dorothee Bis, Diana Dew and 90s` Issac Mizrahi, Jil Sander, Paco Rabanne, Courrges. 4) Repetitiveness in fashion shows that which pursuits the non-relational composition by conscutive arrangement of the various geometric motifs. It expresses whole-priority-form, planeseparate-form, and determinate form commonly. But the difference are flat form in 60s and round form in 90s. The work of this category belongs to Paco Rabnne. In conclusion, minimalism in fashion and art is expressed similarly. Nowadays it goes with the people`s fashion philosophy that seeks to reduce to the basic elelments. And it will be very important factor of the future fashions ahead.
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전혜정(Hei Jung Chun) 한국복식학회 1991 服飾 Vol.17 No.-
The purpose of this study was to identify the constructive principle and techniques of Vionnet`s works. According to analysis of Vionnets works, it was found that Vionnet conceived of the human body as a continuous shaping of a cylinder. Vionnet`s drapery denied the planner presumption of woman and gave real three-dimension to form and to fashion. The techniques of vionnet`s works were as follow : ① She introduced the diogonal bias cut and changed dress design by her sensuous use of fabrics. ② She eliminated interfacing to keep the silhouette and the fabric soft. ③ She manipulated the fabric to remove the excess for fit and decoration at the same time. ④ She treated the fabric with a synthesis of geometry and grace. ⑤ The sale luxury allowed was to note the choice seams, facings, hems, and stitches. ⑥ Vionnet`s dresses were not lined.
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그리스 조상(彫像)에 나타난 복식(服飾)의 조형성(造形性) 연구(硏究) -드레퍼리와 주름을 中心으로-
전혜정 ( Hei Jung Chun ) 한국패션비즈니스학회 2002 패션 비즈니스 Vol.6 No.1
The purposes of this study are to comprehend the internal meaning and the external form in style of Greek statue`s clothing in the light of linked solution, and to compare the characterizations of style of Greek statue`s clothing with those in Greek Art. For these purpose, the theoretical studies about Greek art are preceded as a framework of this research, and then plastic characteristics of Greek statue`s clothing and Greek art are analyzed by the documentary studies, For sources, photographs of Greek statue in Archaeological Museum and Louvre museum are used. The result is as follows. It is demonstrated that the characters of internal meaning in style of Greek art and Greek statue`s clothing. The internal meaning of style of Greek art and Greek statue`s clothing are as follows 1) Beauty of vital is subject that possessed life and movement and embodied dynamics or inherent power. 2) Beauty of moderation is subject that achieves some of its most impressive and practise a similar economy and restraint. 3) Beauty of character is subject that reveals the character of its wearer and has its own charm and distinction The Greeks clarified beauty by looking for mathematical proportions. It is the interrelation of part with one another, and with the whole, together with the additional element of good colour, which constitutes beauty as perceived by the eyes. The beauty in style of Greek statue`s clothing consists of a sense of geometrical pattern, oder, symmetry, proportion, and rhythm.
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김지연(Jee Yeon Kim),전혜정(Hei Jung Chun) 한국복식학회 1997 服飾 Vol.32 No.-
Deconstructionism is a philosophical stream in the latter half of 20`th century which goes against western metaphysics, and tries to deconstruct the dualism, e.g., eastern / western. man / woman. Its main concepts are `individual`. `other`, `differnce`, `restoration of the repressed`, `decentralization`. Today, it shows stron influences in literature, art, and other social fields. This study investigated inner meanings and exterior forms represented in clothing on the base of Jacques Derrida`s theory in order to research modes of deconstruction in it. And it compared clothing with architecture among other genres of art in order to discover similarities between thought and modes of art in a certain period. For illuminationconcept of deconstruction, I referred to the literatures of preceding studies, and for deconstruction`s characteristics in both clothing and architecture, I referred work`s collection book, 「collections」, and other related books dealing from 1960`s to this point. As a result, there are four modes of deconstruction in both clothing and architecture as follows ; 1) Diffe´rance, which is a concept of the difference in time and space as being trace. 2) Intermeaning of meanings, which is no present in reality, but re-interpreted a new in the future. 3) Intertextuality, in which a texte is not alone, but with others. 4) Dis·De phenomenon, in which distortion and fragmentation forms occur as the result of the denial of perfection and reason. There are characteristics of modes of dcconstruction in clothing as follows ; 1) Diffe´rance ; R.Gigli. P.Rabanne, G.Versace, V. Westwood are representatives of the clothing which is combined with the past, the present, and the future, or is re-viewed as the clothing of the past in the present point of view, J. Watanabe, R.Kawakubo, I. Miyake are representatives of the clothing which is out dated, but re-viewed in the sense of recollection and re-usage. 2) Intermeaning of meanings : R.Kawakubo, I.Miyake, Y.Yamamoto are representatives of the clothing which is incomplete, but re-interpreted in the future. and appears to be nwe-fashioned according to ways of binding, wearing, throwing on, and tying. J.C.Castelbajac, K.Hamnett, S.Sprouse are representatives of the clothing which is made up of abstract forms, scribbling or symbolic letters which appears to be different according to view-point of observers. 3) Intertextuality ; J.P.Gaultier, K.Hamnett, Comme des Gar ons are representatives of intertextuality of gender which avoids the duality of man / woman. J.P. Gaultier, G.Versace, J.Galliano are representatives of the intertextuality of time, place, and occasion which mixes temporality, extensity, and purposiveness. J.P.Gaultier, G.Versace are representatives of the intertextuality of coordination which combines items different in image, purpose, and use. P.Rabanne, A.Courr ges, R.Gernreich, I.Miyake are representatives of the intertextuality of matter which uses heterogeneous matter different from cloth. 4) Dis·De·phenomenon : R.Kawakubo, I.Miyake, J.P.Gaultier are representatives of the decomposition which discloses distortion and exaggeration of form throuth destructing the established way of construction. J. Galliano, R.Kawakubo. Devota Y Lomba are representatives of the decentring which restores the repressed and the alienated on the on hand, and shows front-centrality on the other. Comme des Gar ons is representative of the discontinuity because of which right and left, up and down are not in harmony with one another. J. Galliano, J.P.Gaultier, T.Mugler are representatives of the disruption by way of which one makes one`s body exposed through intentional slashes or holes. As a consequence, deconstructionism enabled us to investigate similarities between thought of deconstruction and modes of art in terms of differance. Intermeaning of meanings, intertextuality, and Dis. De-phenomenon. And we found that deconstruction was a phase of development in that it, as a all
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