현대의상에 적용된 Robe a la Francaise의 특징적인 요소에 관한 연구

정흥숙 中央大學校家庭文化硏究所 1994 가정문화논총 Vol.8 No.-

Cette etude a eclaire comment les caracteristiques elements de Robe a la Francaise sont presentees dans les costumes modernes par les livres a consulter interieurs et exterieurs et les dernieres magazines de la modes. Et puis Cette etude a analyses des tableaux representatifs de Robe a la Francaise en Rococo et des carateristiques elements de Robe a la Francaise qui sont presentes dans les costumes modernes. donc on s'est trouve que comment ces carateristiques elements influes sur les costumes modernes. Voici les carateristiques elements de Robe a la Francaise. 1) le decollete profondement creux 2) la stomacher lexeusement decoratif en ruban 3) les engageantes decoratives en ruban et dentelle 4) le falbala plisse 5) la jupe gonflee de panier

논문편 - 의생활 분야 : 신고전주의 양식이 19세기 복식에 미친 영향에 관한 연구

정흥숙,최현숙 ( Heung Sook Chung,Hyon Sook Choy ) 대한가정학회 1983 Human Ecology Research(HER) Vol.21 No.1

Arshile Gorky 와 Jackson Pollock 의 Painting 이 현대의상 직물 문양에 미친 영향

정흥숙 한국의류학회 1992 한국의류학회지 Vol.16 No.3

Expressionism, is as diverse as the artists involved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Kooning, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyfford Still. In this paper, I selected two artists Arshile Gorky and Jackson Pollock independent characteristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's "psychic automaton". However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over paiting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never puncturing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, I selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern colothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

浪漫主義 藝術樣式이 19세기 服飾에 미친영향에 관한연구

鄭興淑 中央大學校 家庭文化硏究所 1987 가정문화논총 Vol.1 No.-

Comme les besoins moraux, physiques et l'expression du sens esthetique, la mode n'est pas seulement le moyen de reaction a les circonstances, mais aussi un vehicule par lequel on represente les elements constitutifs de l'Art d'une epoque, les percoit, et en fait l'experience. Le but de cette etude est d'eclairer comment la mode avait suibi l'influence du Romantisme a la premiere moitie du ?? siecle en France. Pour cela, d'abord, elle considere les caracteres romantiques de la mode et des autres arts a cette epoque, ensuite, les analysant, et enfin confirmant la qualite d'un genre artistique. Le Romantisme est le mouvement morale qui se developpe dans tous les domaines, et aussi le mouvenent de l'insubordination contre le norme, la forme et la coutume traditionnelle du Classicisme. Il respecte la nature, la sensibilite et la personnalite: il adore le Moyen-age et la Renaissance. Dans les domaines de la litterature, la musique, la peinture, l'architecture et la mode, on peut trouver les memes caracteristiques romantiques. En representant les elements du Moyen-age, de la Renaissance, et aussi ceux du Baroque et du Rococo, la mode romantique se presente sous un aspect noble a la difference de l'Empire robe simple au temps de l'Empire en consequence de reapparaitre le corset et le jupon. Le Moyen-age a inspire sa fine ligne de division au centre de la jupe. Sa ligne d'epaule degagee, ses manches gonflees a l'exces, sa fine ligne de taille, sa stomacher, sa jupe gonflee, son corset, son jupon, sa fraise, et son entaille, tous ont emprunte les idees de la Renaissance. La mode romantique a obtenu son dessein du tablier du Baroque : a reapparu la fronce dentelliere, la tresse, le ruban, la capote, le chapeau, l'ornement de fleur, la coiffure magnifique, et les engagentes du Rococo. Comme ci-dessus, la mode romantique reflete l'influence du Romantisme, et represente suffisamment ses caracteres comme les autres arts.

오페라 ‘마농 레스코(Manon Lescaut)’의 무대의상 디자인 연구

정흥숙,배정원 중앙대학교 생활과학연구소 2001 생활과학논집 Vol.14 No.-

This study is to suggest proper stage costume design for Puccini's opera 'Manon Lescaut' after examining artistic background and costume of that period. In this study, I tried to fill up the specialties of design in the 18th century and add modern color and materials, and design elements to follow modern image because it is not everything to make the same as 'museum design'. Stage costume is the most indivisual among the various visual elements and moves with actors, that is to say, it is stage scenery and settings. Also, it was not negligible the harmony with other actors in point of color and design. 'Manon Lescaut' has the gorgeous history of costume called 'Rococo', but ends with the tragic death for hero 'Manon', so dark tone colors were used in Chapter III and Chapter IV. This research suggested the stage costume representing dramatic situation and actor's character by analyzing the whole story and creative design inspiration founding historical background. Afterwards, production and play should go together to utilize this kind of study.

유품과 회화를 통해 본 Rococo 시대의 Robe에 관한 연구

정흥숙 中央大學校 家庭文化硏究所 1993 가정문화논총 Vol.7 No.-

Cette etude est d'eclairer comment, le costume de la femme avait, forme par sorte de la robe et comment les caracteristiques du Rococo avaient presente de la Regence de Louis Ⅹ Ⅴ au Regne de Louis ⅩⅥ en France. La robe de la femme est divisee de Robe Volante, Robe a la Francaise, Robe a la Polo-naise, Robe a la Circassienne, Chemise a la Reine, Robe a l anglaise, Robe a la Caraco, et Robe a la Redingote. Dans le decollete et la jupe gonflee, On peut trouver les caracteristiques du Rococo qui sont presentees par ces robes. En plus, la douce Watteau plissee, la dentelle et la fronce qui sont suspendues a la manche, les engageantes de 1 ornement du ruban, le falbala, et la stomacher represents suffisament les particularites du Rococo. .

조형분야와 복식에 나타난 예술양식의 유사성에 관한 연구 ($1893{\sim}1930$)

정흥숙,Jeong, Heung-Suk 한국복식학회 1989 服飾 Vol.13 No.-

영웅성이 의상의 과장에 미친 영향 : 르네상스 시대를 중심으로 Focused on the Renaissance Age

정흥숙,이수진 중앙대학교 생활과학연구소 2002 생활과학논집 Vol.16 No.-

It understands the history background and meaning of Renaissance times and relates with that times bitter fight reconstruction the feature of the art which and it researches the hero characteristic which is visible from ancient times grease Rome it analyzes. The feature of Renaissance art leads and the literature work and the fine arts, construction and formation of a cabinet back it analyzes. In order to analyze the relation of the hero result dress also it researches the male dress and the woman dress and the other dress back of Renaissance times. Like this research it analyzes the fire tube characteristic against the coat division chief of the hero result which relates with a Renaissance times bitter fight reconstruction with character the fact that it understands is objective of research.

핸드백(Hand-bag)의 역사에 관한 연구

정흥숙,김은하 중앙대학교 생활과학연구소 2001 생활과학논집 Vol.14 No.-

As the instrument in which women can keep simple personal belongings and the personal ornament which takes the decorative role, handbags are considered to be the indispensible and important thing to women. Since the almoner which is the tool to custody things was in the fashion in the early Middle Age, the reticle which appeared in the late 18th century fan be called as the first model of the handbag which is for the exclusive use of women, and from 1910 handbags were popularized. After the Second World War, the appearance of the shoulder bag was the important opportunity to modern women who needed activities, and later a lot of kinds of handbags were changed according to the social condition. Handbags take the important role as the fashion goods which make the clothes look better, and additionally they are the representative products which reflect the historical situation.

고대 이집트 복식미의 특성에 관한 연구

정흥숙 중앙대학교 생활과학연구소 1998 생활과학논집 Vol.11 No.-

The purpose of this study is to look into the characteristics of Ancient Egyptian clothings upon visiting Egypt and survey the articles left by departed in the museumes and the wall paintings of the tombs in 'The King's Valley', 'The Queen's Valley', 'The Craftsmen's Valley', Giza and the Temple of Karnak. The 5 majar styles of ancient Egyptian clothings are as follows. 1) Loincloth 2) Kalasiris 3) Haik 4) Sheath Skirt(=Sheath Dress) 5) Tunic The special characteristics of the Ancient Egyptian clothings are as follows. 1) The beauty of drapery 2) The beauty of motifs from nature 3) The beauty of utility of fabrics 4) The expression of human body 5) The beauty of geommetrical rules 6) The beauty of simplicity 7) The expression of religeon 8) The respect of authority and dignity 9) The respect of traditional beauty 10) The beauty of cleanness 11) The emphasis of accessaries 12) The beauty of balance harmony