보문 : 현대 청소년 특성이 반영된 청소년 패션에 관한 연구 : 2001년~2006년 「SPORT&STREET」를 중심으로

전재훈 ( Jae Hoon Chun ),하지수 ( Ji Soo Ha ) 韓國衣類學會 2008 한국의류학회지 Vol.32 No.1

Vibrio vulnificus cytolysin 독혈증의 정도에 따른 TNF-α와 Interleukin 19치의 변화와 그 의의

전재훈(Jae Hoon Chun),차승훈(Seung Hoon Cha),박석돈(Seok Don Park) 대한피부과학회 2001 大韓皮膚科學會誌 Vol.39 No.6

N/A Background: Pro-inflammatory cytokines, such as tumor necrosis factor(TNF)-α and interleukin (IL)-1, have been incriminated in the pathogenesis of septic shock in animals and humans. IL-10 reduces the release of pro-inflammatory cytokines, nitric oxide and reactive oxygen species. IL-10 prevents endotoxin-induced toxicity. Objective : The aim of this study was to investigate the relation between IL-10 and TNF-α in toxemic mice according to concentrations of V. vulnificus cytolysin. Methods : First, after administration of V.vulnificus cytolysin(2, 4, 6, 8, 10 hemolytic units; HU) and physiologic saline through a mouse tail vein, we obtained blood samples from the heart at 60 minutes which was a peak time of IL-10 and TNF-a release. We measured serum concentration of circulating TNF-α and IL-10 using commercially available enzyme-linked immunosorbent assay methods. Second, after administration of 1,000U recombinant mouse IL-10 through a mouse tail vein 30 min before infusion of the lethal dose(8HU) of V. vulnificus cytolysin. We obtained blood samples from the heart at 60 minutes and measured serum concentration of circulating TNF-α level. Results : Both IL-10 and TNF-α levels were significantly correlated with V. vulnificus cytolysin concentration(P 0.002). TNF-α levels were 76.9±9.5 pg/㎖ in 2HU, 315.8±39.8 pg/㎖ in 4HU, 426.1±27.9 pg/㎖ in 6HU, 931.3±22.3 pg/㎖ in 8HU, 1825.2±18.8 pg/㎖ in 10HU and 23.6±5.1 pg/㎖ in physiologic saline. IL-10 levels were 80.2±21.5 pg/㎖ in 2HU, 244.4±35.4 pg/㎖ in 4HU, 382.2±22.6 pg/㎖ in 6HU, 740.1±33.0 pg/㎖ in 8HU, 997.3±16.8 pg/㎖ in 10HU and 35.8±15.0 pg/㎖ in physiologic saline. After administration of 1,000U recombinant mouse IL-10, comparing to control group(931.3±22.3 pg/㎖), TNF- a level was reduced to 307.2±23.9 pg/㎖(P 0.003). Conclusion: IL-10 has an inhibitory effect on the production of TNF-α although it is released together with TNF-α in toxemic mice. IL-10 blood levels are directly related to the severity of toxemia. We conclude that IL-10 is a prognostic factor for the development of sepsis and might be used for the treatment of sepsis. (Korean J Dermatol 2001;39(6): 643~647)

보문 : 디지털 시대의 패션 디자인 조형성에 관한 연구

전재훈 ( Jae Hoon Chun ),하지수 ( Ji Soo Ha ) 韓國衣類學會 2006 한국의류학회지 Vol.30 No.11

선상 국소 탄력섬유증 3예

전재훈(Jae Hoon Chun),이상원(Sang Won Lee),차승훈(Seung Hoon Cha),박석돈(Seok Don Park) 대한피부과학회 2000 대한피부과학회지 Vol.38 No.2

Linear focal elastosis is a new disease that clinically shows asymptomatic, palpable, striae-like lines extending horizontally across the middle and lower back and histologically a focal increase in elastic fibers separating the dermal collagen bundles. We report typical cases of linear focal elastosis clinically and histologically in three teenaged males. (Korean J Dermatol 2000;38(2):262~265)

보문 : 유비쿼터스 시대의 청소년 의복문화 : UFC(Ubiquitous Fashionable Computer) 패션 상품에 대한 수용 가능성을 중심으로

전재훈 ( Jae Hoon Chun ),하지수 ( Ji Soo Ha ) 韓國衣類學會 2007 한국의류학회지 Vol.31 No.2

크리에이티브 디렉터가 교체된 패션브랜드의 잡지 광고 분석 - '생 로랑', '루이 비통', '구찌'를 중심으로 -

허유선,전재훈,Her, Yu-Sun,Chun, Jae-Hoon 한국의류산업학회 2017 한국의류산업학회지 Vol.19 No.5

Recently, the replacement of creative directors of fashion brands has gained attention from both researchers and practitioners. This study selected three representative fashion brands whose creative directors were replaced in the last 10 years, and analyzed the changed characteristics of their magazine advertisements. Literature studies and case studies were conducted as research methods. The subjects of the case studies were three fashion brands - 'Saint Laurent', 'Louis Vuitton', and 'Gucci'. Magazine advertisements were divided into two aspects: fashion photo elements and layout. The former can be classified into three components: the presence of a specific situation, the background of photos and objects, and the atmosphere of models. The latter can be classified into two components: the logo style and pictorial color. In terms of fashion photo elements, the presence of a specific situation in magazine advertisements appeared differently, depending on whether creative directors focus on the brand's own identity or on their own concept of each season. Also, the background of photos and objects, and the atmosphere of models changed depending on the situation. In terms of layout, there is no dramatic change in their logo styles, for they want to preserve their long tradition. And the more a creative director pursues younger sensibility, the more black and white color effect are added towards magazine advertisements. This study has its significance in that it confirms the replacement of creative directors has considerable influence on fashion brands' images and their magazine advertisements.

1960년대 한국 영화 의상에 나타난 여성상

김소현 ( Kim So-hyun ),전재훈 ( Chun Jae-hoon ) 커뮤니케이션디자인학회(구 시각디자인학회) 2019 커뮤니케이션 디자인학연구 Vol.69 No.-

본 연구는 가부장적 가치관 아래 억제되었던 여성의 욕망에 대한 개방적인 시선이 서양으로부터 유입되면서 사회에서 바라보는 여성상이 어떻게 변화했는지를 영화의상을 통해 살펴보고자 하였다. 선행연구를 토대로 살펴본 결과 1960년대 여성상은 크게 가부장적 가치관에 순응하는 전근대적 가치관을 가진 여성, 욕망의 주체이자 경계의 대상으로서의 여성, 자유의 상징이자 동경의 대상이 되는 여성으로 나눌 수 있었다. 전근대적 가치관을 가진 여성의 경우 모성, 순정, 순수를 한복이나 흰색의 의상을 통해 강조하였다. 욕망의 주체이자 경계의 대상으로서의 여성은 유혹, 강렬함, 주체성 등을 몸매가 드러나는 원피스, 진한 화장, 술, 담배와 같은 소품을 통해 표현하였다. 마지막 자유의 상징이자 동경의 대상이 되는 여성은 크게 모방이 어려운 동경과 모방 가능한 동경의 대상으로 나누었으며, 전자는 화려함과 자유를 고급스러운 의상으로, 후자는 서구적이고 자유로움을 일상복으로 표현하였다. 1960년대는 페미니즘적 가치관이 서양을 통해 들어와 기존의 시각에 변화를 일으킨다는 점에서 현재와 유사하다. 영화 의상을 통해 여성을 보는 사회적 시각의 변화를 살펴봄으로써 현재의 변화를 이해하는 기반을 제공한다는 점에서 본 연구의 의의가 있다. This study looked at how women's images in society changed with the introduction of Western open values of women's desires, which had been suppressed under patriarchal values. Based on the preceding research, women's awards in the 1960s were divided into women with pre-modern values that conform to patriarchal values, women who are the subject of desire and the object of alertness, and women who are the symbol of freedom and the object of admiration. For women with pre-modern values, the elements of motherhood and chastity were emphasized through hanbok or white costumes. The woman who is the subject of desire and subject to alertness was expressed through one-piece, thick makeup, alcohol, tobacco where the elements of temptation, intensity, and self-reliance are revealed. As the last symbol of freedom and object of admiration, women are divided into object of yearning without imitation and imitable object of yearning. The former expressed affluence as a luxury garment, while the latter expressed Western values and freedom as a daily garment. The significance of this study is to understand the current change by looking at the changes in the social perspective of women through movies which is the most visible material of the 1960s when the changes appeared in similar paths and forms.

연구논문 : 현대 패션 쇼윈도 디스플레이의 특성에 관한 연구-현대 예술의 특성을 중심으로-

김나윤 ( Na Yun Kim ),전재훈 ( Jae Hoon Chun ) 한국의류학회 2015 한국의류학회지 Vol.39 No.6

This research analyzes trends of fashion show window displays, regarding it as a new form of installation art that has the characteristics of contemporary art. Fashion show window displays are more than a physical space for displaying and have emerged as a new space in which creative expressions of arts take place. This research presents the characteristics of contemporary fashion show window displays by analyzing the characteristics of contemporary art. First, recent show window displays have shown “decentralization”: various themes, forms, and mediums that are accepted without discrimination. Recent show window displays deviate from conventional methods, constantly pursuing experimental and progressive ideas and also include categories of current art, body art, and live art. Second, show window display has “interactiveness” that enables two-way communication between audiences and art, rather than fixing audiences as receptive viewers. Third, “textuality” can be found in show window displays. Recent show windows are use “objects” to show products as well as to express the meaning and symbols of products. A new directionality and effective strategies are shown to be imperative for the future development of fashion show window displays.

연구논문 : 카툰잡지『Punch』에 나타난 패션 풍자

안진현 ( Jin Hyun Ahn ),전재훈 ( Jae Hoon Chun ) 한국의류학회 2015 한국의류학회지 Vol.39 No.2

Fashion is changing and evolving everyday with an influence from and over contemporary socio-cultural factors. Cartoons expressing the phenomena of times through exchanges of mutual effects with socio-cultural factors that result from functionality and media characteristics. This study examines how fashion provides a great correlation with society-culture expressed in cartoons. The research segment of this study was conducted with literature and case studies; in addition, the UK cartoon magazine『Punch』was selected for the case study. The research findings of the fashion satire expression in cartoon were divided into 2 cases. The first case is that fashion was used as an instrument to satirize socio-cultural phenomena in cartoons. Various fashion elements (hats, dresses, words on T-shirts) were used for satiric expressions and to express periodic images related to politics, economics, society and culture. It communicated factually or criticized noteworthy phenomenon or age changes through the symbolism of fashion. The second case is that fashion itself is the object of satire in a cartoon. It satirically described the blind following and destruction of stereotype as direct objects. Fashion satire appeared in cartoons regardless of a correlation with age. Each cartoon fashion satire had meaning in both humor and criticism for satirizing the age. This study shows that fashion symbolism for satire of the reality has been used as the instrument of expression and simultaneously expressed as the object of the critique as an image and phenomenon that reflects reality. This study has significance in that it examined expressive modes of fashion satire in cartoons that escape from separating fashion from cartoon as a different area.

2000년대 이후 사극드라마에 나타난 복식 비교 연구 - 드라마 『장희빈』(2002), 『동이』(2010), 『장옥정, 사랑에 살다』(2013)를 중심으로 -

김가현 ( Ga Hyun Kim ),전재훈 ( Jae Hoon Chun ),하지수 ( Ji Soo Ha ) 한국패션디자인학회 2015 한국패션디자인학회지 Vol.15 No.3

본 연구는 2000년대 이후 등장한 퓨전사극의 양상과 그에 따른 사극의상의 변화를 살펴보기 위해 같은 인물을 소재로 한 드라마를 분석하여 복식을 비교하는 데 목적을 두고 진행되었다. 역사상 희대의 악녀로 평가되는 숙종의 후궁 장옥정은 사극이 방영된 이래 가장 많이 재해석된 인물 중 하나로, 이를 소재로 한 영화는 2편, 사극드라마는 7편이다. 이 중 본 연구의 대상인 2000년 이후 방영된 장옥정 소재의 사극드라마는 2002년 KBS 특별기획 드라마 『장희빈』, 2010년 MBC 월화드라마 『동이』, 2013년 SBS 월화드라마 『장옥정, 사랑에 살다』로 총3편이며, 세 편의 드라마에 표현되는 특징 및 차이점을 밝히기 위하여 영상을 모두 보고 분석하되, 영상을 통해 얻은 사진 자료를 비교 분석하였다. 『장희빈』(2002)은 사극드라마가 퓨전화되던 과도기 단계의 사극드라마로, 퓨전사극보다는 정통사극에 가까웠기에 나머지 두 퓨전 사극드라마 『동이』(2010)와 『장옥정, 사랑에 살다』(2013)와 비교하기에 적합하였다. 이를 비교한 결과는 다음과 같다. 우선, 2010년대의 퓨전사극 전성기의 드라마들과, 정통사극으로 일컬을 수 있는 2000년 초반의 드라마 의상 사이의 차이가 컸다. 또한, 극중 장옥정은 신분 변동이 크고 그에 따른 성격 및 환경 변화가 크기에 『동이』와 『장옥정, 사랑에 살다』에서는 이를 의상을 통해 표현하려는 경향을 알 수 있었는데, 이 또한 퓨전사극의 특성에 부합한다. 이를 통해 알 수 있었던 것은 퓨전사극이라는 이름하에, 기존에 선보일 수 없었던 사극의상의 다양화 및 현대화를 시도하게 된 점이다. 그것이 고증논란을 피할 수는 없겠지만, 자칫 지루할 수 있는 시대물에 시청자들이 선호하는 현대적 감성을 불어 넣는 동시에 캐릭터의 성격 및 상황을 복식을 통해 쉽게 전달되도록 해준다는 점에서 큰 의의를 지닌다. The purpose of this study is to examine the features of fusion historical dramas aired after 2000 and the changes of the characters`` costumes, by means of comparing and analyzing the costumes worn in the dramas covering one identical character, Jang Okjeong., one of King Sukjong’s concubines, well known as a femme fatale in the Korean history, and one of the most frequently reinterpreted characters among historical dramas aired in Korea: in two films and seven dramas. Among them, three works released after 2000, KBS Jangheebin(2002), MBC Dongyi(2010), and SBS Jang Okjeong, living in love(2013), were chosen for this study. In order to find out the features and differences, the three dramas were viewed and captured, and then the captured scenes were analyzed. The results of this study are as follows. Above all, costumes of fusion historical dramas after 2010 were much different from those in the early 2000s. Also, as the character Jang Okjeong undergoes diverse changes in social status, and in her characteristic and situation as well, Dongyi and Jang Okjeong, living in love reveal a tendency to show these changes through the designs of their costumes. The term of “fusion” shows an attempt for diversify and modernization of traditional costumes of historical dramas. Controversies in the historical research would be inevitable, but they have great significances in that they add modern aesthetics of viewers to the historical works, at the same time, in that they help viewers understand the traits of the characters and their situations through their costumes.