John Galliano 작품의 조형적 특성을 응용한 의상디자인 연구

서지영(Ji Young Suh),임지영(Ji Yooung Lim) 한국디자인문화학회 2011 한국디자인문화학회지 Vol.17 No.3

현대 정보화 사회의 급속한 흐름에 따라 사회, 문화, 종교를 비롯한 모든 생활에서 다양하고 빠른 변화가 일어나고 있으며, 그와 더불어 패션은 그 시대에 가치관을 전달하는 수단으로서 사회적 변화의 요구들에 어느 예술 분야보다 더욱 신속하고 민감하게 반응한다. 대중이 원하는 패션을 미리 알고 유행을 선도하기 위해서는 시즌에 앞서 유행을 제시하는 오뜨꾸띄르의 작품경향을 파악하고 어떻게 응용할 것인가가 중요한 과제가 된다. 그러므로 본 연구에서는 매 시즌마다 새로운 감각을 앞세워 소비자를 리드하는 패션 경향을 선보여온 Christian Dior사의 오뜨꾸띄르 컬렉션 중 John Galliano 작품을 선택하였으며, John Galliano 작품의 조형적 특성을 실루엣에 중점을 두어 디자인요소들 간의 관련성을 알아보고자 한다. 그 결과를 바탕으로 수 공예적이며 고급스러운 파티웨어 디자인을 제시하고자 하였다. 연구방법 및 범위는 2006 S/S부터 2010 F/W까지 총 10개의 시즌을 대상으로 영국 Vogue 사이트에 제시된 Christian Dior 오뜨꾸띄르 컬렉션의 작품 사진 374장을 수집하여 분류·분석하였으며, 이를 바탕으로 작품을 실물로 제작하고자 하였다. 결과는 다음과 같다. 첫째, 실루엣에 따른 Christian Dior 오뜨꾸띄르에 나타난 John Galliano 작품의 조형적 특성은 X 실루엣의 경우에는 실루엣의 특성을 부각시키기 위해 주름에 의한 장식을 통하여 풍성하게 나타내었다. F&S 실루엣은 자연스러운 여성의 인체 곡선을 나타내었고, 다른 실루엣들에 비해 부드러운 느낌의 Creamy 소재와 무채색의 Black 색상이 가장 많이 나타났다. H 실루엣의 경우에는 직선으로 떨어지는 실루엣의 특성상 주름을 통한 장식보다 부착에 의한 장식이 많이 나타났다. T/Y 실루엣, A실루엣, O 실루엣, 복합형 실루엣은 그 수가 적었으므로 그에 따른 조형적인 특성들이 분산되어 나타나 그 특징을 가늠하기 힘든 것으로 본다. 둘째, Christian Dior 오뜨꾸띄르에 나타난 John Galliano 작품의 조형적 특성을 응용한 의상 제작은 앞서 분석한 결과를 기초로 가장 많이 나타난 실루엣인 X, F&S, H, T/Y 실루엣의 의상을 제작하였다. 그리고 실루엣 각각의 대표적인 색, 소재, 디테일에 준하여, 요즘 이슈가 되고 있는 워너비 여성인 RUBY족을 타깃으로 고급스러우며 특별한 파티 웨어 디자인을 제시하고 실물로 제작하였다. 이로써 디자인 요소들 간의 적절한 선택과 조합으로 창조적이며 소비자의 기호에 맞는 디자인을 개발하는 데 기여하리라 기대한다. Along with the rapid flow of modern informationoriented society, various and rapid changes are taking place in the fields of social, cultural, and religious lives. And at the same time, the fashion in which acts as a measure that delivers the values of corresponding era, is more sensitive and more responsive to the demands in social changes compared to any other fields of arts. For this reason, in order to grasp what the majority are demanding and to lead the trend, it is necessary to think about the ways to apply and understand the tendencies of works presented in Haute Couture. John Galliano`s work among Haute Couture Collection of Christian Dior, which has shown the fashion tendency that leads the consumer by fronting fresh and new sensation every season, was selected The very formative characteristics of John Galliano`s work were analyzed according to silhouette, the correlation between the elements of design for each silhouette has been investigated. Furthermore, based on the results extracted, the purpose of this research lies in suggesting a luxurious and hand-crafted party-wear design. The main method and scopes of this study is to analyze 374 photographs of of the works presented at Christian Dio Haute Couture Collection from 2006 S/S to 2010 F/W, the total of 10 seasons, are gathered to analyze them in perspective of design-related elements to further produce a fashion work in accordance with the results. Followings are the results from the research. Regarding each silhouette, it can be figured out by observing the formative characteristics of John Galliano`s works presented in each year and season of Christian Dior Haute Couture that in case of X silhouette, decorations by utilizing wrinkles allowed for the sensation of richness in which embosses the characteristic of this very silhouette. In case of the F&S Silhouette, it presented the natural curves of a female body and it was designed with achromatic black color and the Creamy material that provides relatively softer sensation than other silhouette. And for the case of H silhouette, due to the characteristic of the silhouette where it falls vertically downwards, decorations based on attachment were used more than decorations done by wrinkling. Lastly, for other silhouette such as T/Y silhouette, A silhouette, O silhouette, and combined silhouette, they showed a dispersed formative characteristics since there were only so few of them within the collection. As for the dressmaking by the application of formative characteristics of John Galliano`s works presented in the Christian Dior Haute couture, the most frequently presented silhouette such as X, F&S, H, T/Y silhouette were selected according to the analysis results in making the clothes. The representative colors, materials, details corresponding to each silhouette were referenced and the RUBY tribe, which is becoming of the current issue as a WANNABE female figure, was targeted to suggest a luxurious and especial party wear design as well as to create the actual product. This very research can be expected that it will contribute to the development of a design that suits the taste of customers as well as a creative design by utilizing the proper selection and combination of design elements.

[ZOOM UP : 한전 전력연구원] 전력생산비용 절감 위한 가스터빈 건전성 평가기술 개발 추진 : 가스터빈 로터 건전성 평가기술 국산화 및 자체평가 기술 확보를 목표_딥러닝 이용한 비파괴적인 평가기술로 유지보수 및 전력생산비용 절감

이재용 전력문화사 2022 Electric Power Vol.16 No.10

한국적인 모티프를 응용한 스커트 디자인 연구

강경림(Gyeong Rim Kang),김정희(Jeong Hee Kim) 한국복식학회 2013 服飾 Vol.63 No.6

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.

패션 일러스트레이션에 나타난 실루엣 표현 연구

최유진 ( Yoo Jin Choi ),최정화 ( Jung Hwa Choi ) 한국의류산업학회 2012 한국의류산업학회지 Vol.14 No.2

This study analyzed silhouette expressions in the fashion illustrations by theory based on results of studying the characteristics of the forms and meanings of the silhouette expressions in art historically. For the actual considering this study collected and categorized fashion illustrations from 1990 to the present limitedly, and clarified the meaning of the silhouette expressions. Those expressions in fashion illustrations were categorized to the 5 items; black & white silhouette, color silhoutte, pattern silhouette, paper silhouette, line silhouette. Silhouette expressions of the fashion illustrations were categorized to 3 items: metaphorical fantasy, essential minimization, anonymous representation.

19세기 초반 코르셋 착용에 따른 인체 치수와 실루엣 변화 사례연구

한유정 ( Yoo Jeong Hahn ),천종숙 ( Jong Suk Chun ),서동애 ( Dong Ae Suh ),오설영 ( Seol Young Oh ) 복식문화학회 2021 服飾文化硏究 Vol.29 No.4

The purpose of this study was to analyze changes to body measurements and silhouettes after wearing an early 19th century women’s corset. Two types of corsets were tested. Changes in body size and silhouette were compared based on the levels of tightening strength of the corset. The tightening strength was adjusted in 4 steps by making the length of back fastening string 10-40 cm shorter than the standard. The silhouette was compared with the front silhouette and the side silhouette. The results were as follows. After wearing the experimental 19th century corsets, the chest circumference and front interscye length increased. However, the chest circumference did not increase proportionally to the tightening strength. The underbust circumference, waist circumference, and back interscye length also decreased. The waist width was decreased to create a slim front silhouette. The change in the body silhouette differed depending on the style of the experimental corset. The experimental corset made with the six-piece torso pattern changed the posture so that the shoulders were pulled back and the chest was pushed forward. The experimental corset with the side bodice pattern resulted in the subject’s shoulders reclining backward and the chest and abdomen extending forward. The results of this study show that women’s body sizes and silhouettes could be changed by wearing the early 19th century corsets, but the changes in body size and silhouette vary depending on the wearer's individual body type or corset style.

입체재단법에 의한 ART NOUVEAU 의상 SILHOUETTE 의 PATTERN 연구

박은희(Eun Hee Park),정흥숙(Heung Sook Chung) 한국복식학회 2000 服飾 Vol.50 No.1

The study on the past costume should be done first for the creation of new style or fashion. That is one of the reasons why we have to annalize characteristic style in each period. Before the latter of nineteenth century, one must have made the costume by draping design. Because the complicated clothes can be expressed by draping design and it adjusted easier than the flat pattern, the students who study costume and ones who work in apparel design think that the subject, draping design, is even more important than other subject. But there haven`t been the studies that analyzed the patterns of Art Nouveau style by draping design in Korea. Art Nouveau style is a certain one that was relatively more changeable than the ones of other periods. The purpose of this study is the analysis about the patterns of Hourglass and S-curve style which represented the Art Nouveau style. The results of the study summarized as follows. 1. Bodice pattern : In the front, Hourglass silhouette has the princess line for fitting bodice while S-curve silhouette has the wide midriff due to the blousing. There is the yoke in S-curve one. In the pattern of back bodice we can`t see the much differences, but Hourglass silhouette is used the princess line like the front one while S-curve is made use of the waist darts for fitting back. 2. Sleeve pattern : Hourglass silhouette is made of two pieces, the upper part and lower part, besides S-curve is consisted of one pieces. The former has the big upper part in order to the emphasis of the shoulder and the tight lower part. The latter is the tight sleeve that is similar to the basic sleeve pattern at present. 3. Skirt pattern : There is partially a gored line in the skirt in Hourglass silhouette, however S-curve silhouette is consisted of the six pieces gored skirt, t this part, we can also see the fact that s-curve is more complicated than Hourglass silhouette. 4. Others : We can find out the differences between Hourglass and S-curve pattern easily at the parts of the collar, flounce, wing and so on. Summing up, the patterns of S-curve style are more expanded than those of Hourglass style for the most part.

웨딩드레스의 디자인 요소와 지각자 성별에 따른 인상형성 연구 (제1보) : 실루엣과 네크라인을 중심으로 Emphasis on Silhouettes and Necklines of Wedding Dresses

이명희,이미연 한국의류학회 2000 한국의류학회지 Vol.24 No.5

The objectives of this study were to identify the dimensional structure of female impression formation based on silhouettes and necklines of wedding dresses, and to analyze the effect of silhouettes, necklines, and perceivers gender on impression formation. The experimental design was 3×6×2 (silhouettes×necklines×gender) factorial design by 3 independent variables. Samples were 432 males and females. Four factors derived to account for the dimensions of impression formation. These were attractiveness, neatness, femininity, and prettiness. Dome silhouette had a positive effect on impression of attractiveness. Bell silhouette increased the impression of femininity and prettiness. Tubular silhouette had a negative effect on the impressions of attractiveness, femininity, and prettiness. Neckline had a significant effect on the impression of attractiveness and prettiness. Sweet-heart neckline had a positive effect on impression of attractiveness and negative on prettiness. Off-shoulder neckline increased the impression of prettiness. Round neckline decreased the impression of attractiveness. On the interaction effect according to the neckline and perceivers gender, the men perceived high-necklines to be more feminine than did women, while the women perceived off-shoulder necklines to be more feminine than did men. There was interaction effect between silhouette and neckline on prettiness. In dome silhouette, heart-shape neckline was perceived to be prettier than the others, while in bell silhouette, off-shoulder neckline was perceived as prettier than the others.

석탑 문화재의 실루엣 추출을 위한 노이즈 제거

김학란,황보택근 한국디지털콘텐츠학회 2009 한국디지털콘텐츠학회논문지 Vol.10 No.3

This paper proposes a denoising method for the contour edges and crease edges of silhouette obtained from 3D scanned data of stone cultural heritages. It is often the case that the silhouette involves noise in the form of short-length line segments, due to rough surfaces of stone cultural heritages, weathering, and technical difficulties arising in data acquisition. Thus the removal of the short-length line segments from the contour edges and crease edges can result in a clear and accurate silhouette. An efficient computational algorithm is introduced to count the continuity of line segments; edges having not more than 3 line segments are removed. It has been verified that the new method is more effective than threshold-based silhouette extraction methods for stone heritages. Our method is applicable for various other data which are deteriorated by short-length line segments. 문에서는 3D 스캔 자료에서 추출한 실루엣(silhouette)의 윤곽선(contour edge)이나 주름변(crease edge)의 정보에 나타난 불필요한 노이즈를 제거하는 방법을 제안한다. 석탑 문화재는 석조물 재질의 특징상 울퉁불퉁한 표면 정보를 가지며, 또한 오랜 세월의 풍화작용에 의한 훼손과 데이터 수집 시 나타날 수 있는 기술적 오류에 의해 실루엣에 단발성 선분 형태의 많은 잡음이 나타난다. 따라서 실루엣의 정보에서 노이즈처럼 보이는 단발성 변들을 제거하면 또렷한 석탑 자체의 실루엣을 얻을 수 있다. 선분의 연속성을 세는 알고리듬을 고안하여 길이가 3개 이하인 윤곽선이나 주름변을 제거하였다. 임계값(threshold)을 사용하는 기존의 실루엣 추출방법과 비교하여, 새로이 제안한 방법은 더욱 효과적이고 정확한 실루엣을 얻을 수 있었다. 제안한 노이즈 제거 방법은 석탑 문화재의 경우뿐 아니라 정보의 변형이나 오류에 의해 잘못된 단발성 주름변을 가지는 다른 경우에 대해서도 응용될 수 있다.

Silhouette-based Motion Estimation for Movement Education of Young Children

신영숙(Young-Suk Shin),김혜정(Hey-Jeong Kim),이정욱(Jeong-Wuk Lee),이경미(Kyoung-Mi Lee) 한국콘텐츠학회 2008 한국콘텐츠학회논문지 Vol.8 No.4

동작은 유아의 신체적, 사회적, 인지적 발달에 매우 중요한 요소이다. 본 논문에서는 유아의 신체에 적절한 동작 추정 방법을 제안한다. 본 논문에서는 동작교육에 필요한 동작 중에서 걷기, 뛰기, 앙감질의 이동동작과 구부리기, 뻗기, 균형잡기, 회전하기의 비이동 동작을 대상으로 한다. 제안된 시스템은 두 대의 카메라에서 획득된 프레임에서 조명 보정, 배경 제거, 모폴로지 실행 등의 과정을 통해 실루엣을 추출한다. 실루엣 특징으로 면적, 가로세로 비율, 발의 위치, 7개의 Hu moments를 사용한다. 또한 지역 특징으로 실루엣을 5×3으로 나누어 각 영역의 면적과 움직임을 사용한다. 동작 추정을 위해서, 추출된 특징에 확률전파를 적용하였다. 본 논문에서 제안된 알고리즘은 마커없이 유아들의 기본 동작을 추정함으로써 동작교육을 위한 가상 학습공간에서 실감형 인터페이스로 사용될 수 있는 가능성을 보여주고 있다. Movements are a critical ability to young children’s whole development, including physical, social/emotional, and cognitive development. This paper proposes the method to estimate movements suitable for young children’s body conditions. The proposed method extracts a silhouette in each frame of videos that are obtained by deploying two video cameras by compensating illuminations, removing background and conducting morphology operations. And we extract silhouette feature values: an area, the ratio of length to width, the lowest foot position, and 7 Hu moments. Also, the area and movements of sub-area are used as local features. For motion estimation, we used probability propagation of the features extracted from the front and side frames. The proposed estimation algorithm is demonstrated for seven movements, walking, jumping, hopping, bending, stretching, balancing, and turning.

중년여성의 체형과 신체 만족도에 따른 테일러드 재킷의 선호도 : 실루엣을 중심으로 Focused on silhouette

류숙희,박종희,김보연 啓明大學校 生活科學硏究所 2006 科學論集 Vol.32 No.-

The purpose of this study is to analyze the preference of tailored jacket according to the body type and the degree of satisfaction with the body of middle-aged women. The subjects were 323 middle-aged women ranging from 35 to 50 years old. We measured their bodies and asked them to report to the questionnaire. The results are as follows. There was a significant difference in the preference of tailored jacket according to the body type of middle-aged women. The women of the type 1 preferred X silhouette and the women of the type 2, A silhouette. The women of the type 3 preferred H silhouette, and the women of the type 4, H silhouette. There was a meaningful difference in the preference of tailored jacket according to the degree of satisfaction with their bodies. As satisfied with the girth of the body, weight, and figure they recognized X silhouette attractive, graceful, active, and soft.