워너비 현상(Wanna-Be Phenomenon)에 나타난 패션의 특징 연구

염혜정 ( Hae Jung Yum ),김지선 ( Ji Seon Kim ),김은정 ( Eun Jung Kim ),박소현 ( So Hyun Park ) 한국가정과학회 2006 한국가정과학회지 Vol.9 No.2

뮤지컬 "렌트(Rent)"의 무대 의상에 나타난 1980년대 후반 미국의 하위문화 패션 스타일 연구

염혜정(Hae Jung Yum),김초롱(Cho Long Kim) 한국디자인문화학회 2011 한국디자인문화학회지 Vol.17 No.1

본 연구는 1980년대 후반의 뉴욕 이스트 빌리지를 시대적 배경으로 하는 뮤지컬 ``렌트``의 무대의상에 초점을 맞추어 그 속에 나타난 무대의상의 특징을 분석함과 동시에, 1980년대 패션 및 하위문화 스타일과 비교 분석함으로써 당시 하위문화스타일의 특성을 파악하는데 연구의 목적이 있다. 연구는 관련 서적, 논문, 인터넷, 2008년 뮤지컬 ``렌트`` 공연 DVD를 중심으로 연구하였다. 1980년대 후반 미국의 사회는 ``탈산업화``로 경제가 침체되었고, 사회는 점차 양극화 되어갔다. 이런 열악한 상황의 하층민들 사이에서는 마약, 에이즈, 동성애가 남녀 모두에게 확대되었다. 이렇게 나타난 당시의 하위문화적 특성과 그 코드를 가진 뮤지컬 ``렌트``를 통해 1980년대 패션과 하위문화 스타일 특성 도출이 가능하다고 생각되어 이 공연을 선정했다. 1980년대 패션은 매니시 룩·여피·펑크·포스트모더니즘·앤드로지너스 룩·재패니즈 룩·에스닉 등으로 다양화, 개성화가 나타났다. 또한 포스트모더니즘이 1980년대 패션의 흐름을 지배했다. 하위문화 스타일은 1980년대 초반의 뉴 로맨틱스·인디 키드·고스·사이코빌리, 1980년대 중반의 페브스·레이버, 1980년대 후반의 그런지·라가머핀·사이버펑크·테크노로 분류할 수 있었다. 뮤지컬 ``렌트``는 1989년 크리스마스이브의 뉴욕 이스트 빌리지를 배경으로 마약, 동성애 등 미국 젊은이들 사이에 나타나는 고민과 갈등을 낙관적인 시각으로 다루었다. 주요 등장인물별 무대의상 특성에서 로저는 펑크와 로커즈의 결합, 마크는 캐주얼, 미미는 완화된 페브스과 테크노&사이버펑크 스타일의 의상을 나타내었다. 모린은 히피와 페브스, 베니는 스포티브 룩과 웨어가 혼합된 스타일의 의상이었다. 앤젤의 여장 복장은 다양한 키치, 조앤은 사이키델릭과 보디컨셔스, 콜린은 후기 로커빌리 스타일의 의상을 나타냈다. 주요 등장인물별 의상 분석 결과, 등장인물들은 1960년대 이후의 다양한 하위문화 스타일을 반영하여 나타내고 있었다. 이는 ``언어``가 아니라 형용사화된 스타일이 혼합되어 나타나는 스타일의 슈퍼마켓화, ``족`` 스타일이 개인적 사상과 시각으로 차용되며 그 의미까지도 표현한 ``족`` 스타일의 개인화 경향으로 분류할 수 있다. 이상을 살펴본 결과, 뮤지컬 ``렌트``의 무대의상은 개인적인 사상과 시각에 따라 1960년대 이후의 다양한 하위문화 스타일을 반영하고 있었다. 당대의 시대적 특성을 나타내고 있었지만 이를 강하게 부각시키는 무대의상이 되지는 못할 것이므로 앞으로의 쉽고 확실히 시대적 특성을 드러낸 무대의상 디자인은 공연의 기폭제가 될 수 있을 것이다. This study, being focused on the stage costumes of the musical ``Rent`` set in New York`s East Village in the late 1980s, aims to analyze the features of stage costumes in the musical and to understand the features of sub-cultural style at that time through a comparative analysis of the fashion style and sub-cultural style in the 1980s. Research was performed based on research-related books, papers, internet and DVD of ``Rent`` performed in 2008. In American society In the late 1980s, the economy was in recession due to ``de-industrialization`` and also society became increasingly polarized. Through the features of sub-culture and the musical ``Rent`` with the same code, the deduction of the features of the fashion style and sub-cultural style in the late 1980s, was thought to be available and that was the reason why this musical was selected. In the 80s` fashion, the diversification and individualization showed up such as Manish Look, Yuppie. Punk. Postmodernism, androgynous look, Japanese Look, Ethnic Look, etc. Also, Postmodernism dominated the fashion trend in the 1980s. Sub-cultural style could be classified into New Romantics, Indie, Kids, Goth and Psycho Billy in the early 1980s, Labors and Pevsner Look in the mid-1980s and Grunge, Raga Muffin, Cyberpunk and Techno in the late 1980s. Musical ``Rent`` , in positive perspective, has dealt with distress and conflict, such as drugs and homosexuality, among American youth against a backdrop of New York`s East Village on Christmas Eve in 1989. As for the features of the stage costumes of the main characters, Roger expressed the combination of Punk and Rockers, Mark expressed Casual and Mimi expressed the relaxed Pevesner, Techno and Cyberpunk. Morin wore Hippie and Pevesner, Benny wore Sportive looks and Wear. Angel`s female costume was various kitsch, Joan expressed psychedelic and Body-Conscious and Collins wore Late Rocker Billy style. As a result of the analysis of the stage costumes of the main characters, the characters expressed the various sub-cultural styles since 1960s. This is a supermarket of styles where the adjective styles are mingled together not as a language, in other word, the styles were borrowed through individual philosophy and views, and even its meanings were expressed, in other words, it could be classified as a tendency of the individualization of style. In conclusion, the stage costume of musical ``Rent`` represented a variety of sub-cultural styles since 1960s depending on individual philosophy and view. Even though they expresses the features of the contemporary era, but the stage costume cannot hight this strongly, so the design of stage costume, that expresses the features of the contemporary era more easily and explicitly, will become a detonator of the performance in the future.

국가브랜딩을 위한 신일본양식과 일본 패션 1 -신일본양식 컬렉션의 디자인 분석을 중심으로-

염혜정 ( Hae Jung Yum ) 한국패션비즈니스학회 2009 패션 비즈니스 Vol.13 No.5

바비 인형(人形)의 상징성(象徵性) 및 패션 이미지에 관(關)한 연구(硏究)

염혜정 ( Hae Jung Yum ),이미숙 ( Mi Suk Lee ) 한국패션비즈니스학회 2002 패션 비즈니스 Vol.6 No.2

The purpose of this study attempts to analyze the symbolism and fashion image of Barbie doll. It is scarcely a coincidence that the Barbie doll was developed in the united States in 1950s. She had been created in the 1950s as a cartoon character in a German newspaper, who named Bild Lilli. In 1959, toy company bought the rights and produced and almost identical doll in the United States. Therefore Barbie has symbolized the consumer culture of United States, ideal body image, and modern youth culture. It may be as a conclusion that Barbie`s fashion can be divided into three period : 1. a period of classic fashion(1959-66), 2. a period of young casual fashion(1967-79), 3. a period of ethnic and career fashion. Just as Barbie`s roles and clothes have changed with the spirit of the times, she is a valuable representation of female images and fashion over the last 40 years. Barbie`s fashion image is divided into material girl image, dream girl image, and bad girl image.

비비안 웨스트우드 (Vivienne Westwood)의 작품세계와 미적특성

염혜정(Hae Jung Yum) 한국복식학회 1998 服飾 Vol.37 No.-

This study will analyze the aesthetic qualities revealed in the work of Vivienne Westwood in order to gain an understanding of the development process and uniqueness of modern avant-garde fashion. Westwood gained worldwide recognition in the 1970s as the Punk movement emerged in London. Although her works have often been described as decadent and anti-establishment, her anarchic view of fashion has had a considerable influence on other designers, both in England and around the world. Vivienne Westwood`s works cona be divided into three periods. In the first period(1971∼78), Westwood designs demonstrated elements which were variations of the subcultural Punk style. The noteworthy designs of this period included ripped T-shirts, bondage clothes, and fetishist accouterments. In the second period(1979∼83), her designs expressed elements from ethnic and primitive tribal societies through the `Pirate`, `Savages`, `Buffalo Girls`, `Witches` collections, which inspired New Romanticism movement. In the third perod(1985∼ ), through works such as Mini-Crini` collection, her works identified elements from the old west and used materials such as crinoline and Harris tweed and contemporized them by rearranging the innovative technique. In the end the new synthesis helped formulate new ideas. The aesthetic qualities in Vivienne Westwood`s works can be identified with the following themes : Punkature, Erotic Intelligentsia, Anarchic Collage. First, within Punkature, Westwood`s ideas are at the forefront as her impact on the cut of clothes and creative detailing have been considerable. Also, while her ideas can be extreme, her clothes are wearable, resulting in the synthesis of Punk and couture. Second, as Erotic Intelligentsia, Vivienne Westwood does not present sexuality as a straight forward attribute that fashion so often tends to do , but instead as a matter for inquiry, exploration and debate. She asserts that sexuality is always an interplay between the polarities of masculine and feminine, of dress and undress. Third, as Anarchic Collage, she has taken, juxtaposed, and transformed objects and symbols from dominant culture, like every modern subversive movement from Dada to Punk. She has continued this form of anarchic collage, mixing styles from various times and places, taking them out of their traditional context. From this viewpoint, Vivienne Westwood`s works can be considered to be made up of past themes merged with what is contemporary. The usage of contrasting elements such as Punk and couture to communicate her ideas visually or technically.

일본의 패션잡지에 나타난 스트리트 패션 스타일

염혜정(Hae Jung Yum) 한국복식학회 2000 服飾 Vol.50 No.6

The purpose of this study was to analyze the influence of fashion magazine on the street fashion, focused on Japan. The data were collected from the magazines and newspapers published in Japan from 1960`s to 1990`s. Fashion magazine has three functions : transmit information function, education and criticism function, advertisement and entertainment function. And, it has influenced on the street fashion by grasping the fashion trend and consumer needs, and communicating the vision to reader in Japan. The results were as follows : 1. the ivy look of `Heibon Punch` and `Men`s Club` in the 1960`s, 2. the coordinate look of `Anan` and `Nonno`, 3. the outdoor look of `Popeye` in the 1970`s. 4. the new traditional style of IF in the 1970`s - 1980`s, 5. lyce´enne look of `Olive` in the 1980`s. 6. Shibu-Kay style of `Mc Sister`, 7. the supermarket style of `Cutie` in the 1990`s.

일본(日本)의 스트리트 패션에 관(關)한 연구(硏究) -1980년대(年代)를 중심(中心)으로-

염혜정 ( Hae Jung Yum ) 한국패션비즈니스학회 1999 패션 비즈니스 Vol.3 No.4

The purpose of this study was to analyze the changes and characteristics of street fashion in Japan of the 1980s. The data were collected from the Mainichi Newspaper published in Japan from 1950 to 1990. The results were as follows: 1. After world warⅡ, the street fashion had changed through the styles of the Panpan, Apres, Miyuki, Hippie & Hooten, Bikers in Japan. 2. The 1980s was characterized as an era of post industrial society and the appearance of Shinjinrui which means new human. In street fashion, these changes led to greater focus on unique style in Japan. In the 1980s, the street fashion had developed within four styles : traditional casual wear style, American sports wear style, performance-oriented style, and Japanese DC brand style in Japan.

1990년대(年代) 이후(以後) 일본(日本)의 스트리트 패션에 관(關)한 연구(硏究)

염혜정 ( Hae Jung Yum ) 한국패션비즈니스학회 2004 패션 비즈니스 Vol.8 No.2

The purpose of this study is to analyze the various types of styles and characteristics of Japanese street fashion since the 1990`s. The primary source of data has been a collection of visual materials which include snapshots of young men and women in the Japanese street scene starting in the 1990`s. To approach the Japanese street fashion comprehensively, I have divided the background of the Japanese fashion into three parts: 1. The birth of various fashion markets like the Dankai junior generation, Hetauma generation and Shinjinrui junior generation. 2. The pursuit of fashion senses like the well-balanced sense of independence and commensalism, uncommon sense and sense of a tassel. 3. A boom in new fashion business types like SPA and select shop. After the 1990`s, the Japanese street fashion has changed through the popularity of styles which include the conservative casual style, sexy casual style, Harajuku pop style, and 3 Re(revival, remake, recycle) fashion style. The characteristics of the Japanese street fashion reflects the performance of virtual reality, the sign of style culture, and the communication of process.

해외 라이선스 패션잡지 『VOGUE』에 나타난디자인 수식어표현의 한일 비교 연구

염혜정 ( Hae Jung Yum ),김은정 ( Eun Jung Kim ),김지선 ( Ji Seon Kim ),김초롱 ( Cho Rong Kim ),정성석 ( Sung Suk Chung ) 한국패션비즈니스학회 2014 패션 비즈니스 Vol.18 No.4

The importance of the cultural identity of each country is emphasized among the new cultural paradigm of the 21st century. Leading world-wide trends, overseas licensed fashion magazines have expressed characteristics close to the culture and lifestyle of each country at the same time. The goal of this study was focused on finding out the differences and similarities between overseas licensed fashion magazine, or if the content would be compared to the aesthetic characteristics and criteria of the country they were published in. To accomplish this, we extracted the color, material and modifier from the scripts of the Korean and Japanese editions of VOGUE published during S/S in 2012 for comparative analysis of the aspects of color, fabrics and modifier between Japan and Korea. There were common but also unique characteristics, as the issues of VOGUEKOREA and VOGUE JAPAN published during the research period had modifier to fit each season and trend, the emergence of color and fabric. Especially, the kind and frequency of color, fabric and modifier could be considered as expressing their own unique fashion culture. In case of Korea, maximal with colorful and decorative image is especially strong, while in Japan the soft and gentle feminine image was rather strong.

해외 라이선스 패션잡지 『VOGUE』에 나타난 소재 관련 수식어표현의 한일 비교 연구

염혜정 ( Hae Jung Yum ),김은정 ( Eun Jung Kim ),김지선 ( Ji Seon Kim ),김초롱 ( Cho Rong Kim ),정성석 ( Sung Suk Chung ) 한국패션비즈니스학회 2014 패션 비즈니스 Vol.18 No.5

This study is to research the characteristics of garment which are ‘written(or described)’ in fashion magazines. With examples particularly of Korea and Japan, this study aims at pointing out the similarities and differences described by modifier in oversea licensed fashion magazine. It is considered to be meaningful to provide fundamental document, which can estimate the aspects of fashion that has global features and localized characteristics. This is a follow-up of a previous study, covering its range of 『Vogue Korea』and 『VOGUE Japan』research document, and we researched on the materials that have been mentioned most frequently in each country from May to August of 2012. To target analyzing list of top 6 materials, we compared and analyzed the characteristics of the kind of material represented by Korean and Japanese fashion magazines and modifier``s properties. As established in the previous study, to designate each contrary concept to a total of 8 groups as an analyzing frame, we researched the properties of each material and differences between Korea and Japan.