韓國女性 傳統服飾의 디자인 變化에 대한 硏究

黃義淑 배화여자대학 1994 培花論叢 Vol.13 No.-

The purposes of the present study are to investigate the change of the Korean dress design and to analyze its character during the period from 1965 to 1994. As Korean economics, including textile industries, have been developed, Korean dress has been changed from the casual dress style to the formal dress style, resulting in the change of silhouette. These changes might be classified generally by the following three stages: (1) the 1st stage named the confusing period" (1965 - 1975), (2) the 2nd stage named "the golden period" (1976 - 1985), and (3) the 3rd stage named "the stabilized period" (1986 - 1994). The dress design of each stage was discussed and compared in detail according to historical events. From this study, inherent beauty of Korean dress could be recognized again, thereby clarifying its position as a Korean folkdress.

전통복식의 양식 변화에 대한 연구 : 근대 여성복을 중심으로 In Morden Women's Costume

黃義淑 배화여자대학 1995 培花論叢 Vol.14 No.-

The present study aims at investigating the change of the Korean folkdress design and analyzing its character during the period from 1884 to 1960. The dramatic changes of Korean society during this period, together with the introduction of western dresses, affected strongly the Korean folkdress design. Also, the folkdress design had been changed slowly from the old dress design to the stylish one since civilized women and high school girls wore the modified folkdresses or western style dresses. These changes might be classified generally by the following three stages : (1) the 1st stage (1884~1910), (2) the 2nd stage (1910~1945), and (3) the 3rd stage (1945~1960), according to historical events such as Kabokyungjang (1884), annexation by Japanese (1910), and liberation from Japanese (1945). The folkdress design of each stage was discussed in sense of beauty, and compared. As inherent beauty of the Korean folkdress could be recognized again from this study, its modification should be achieved continuously in accordance with tradition and modern sense.

우리나라 壽衣에 관한 硏究

黃義淑 배화여자대학 1993 培花論叢 Vol.11-12 No.-

In this study, mourning decorums of shrouds, process, tools and lists are different men's and women's. Korean shroud through literatures are as follows: 1) The kinds of men's shroud were Bokkon (福巾) Mangkon (網巾), Sime ui (深衣), Dapho (답호), Kwadu (과두), P'oo (포오), Hansam (汗衫), Ko (袴), Danko (單袴), Sodae (小帶), Neukbaek (勒帛), Ri (履). Arm (掩), Sa (사), Chongi (充耳), Myokmok (멱목), Aksu (握手), Mal (襪), Mo (冒), Kop'o (擧布), etc. P'oo, Neukbaek and Mo appeared in 1600 or there abouts and Sodae, Arm, Sa, Kop'o appeared in 1800 or there abouts. 2) The kinds of women's shroud were Sime ui (深衣), Dae (帶), Samja(衫子 : 唐衣), P'oo (포오), Sosam (小衫), Kwadu (과두), Sang (裳), Ko (袴), Danko (單袴), Ch'aehyoi(彩鞋). Arm (掩), Sa (사), Chongi (充耳), Myokmok(멱목), Aksu (握手), Mal(襪), Kop'o (擧布), etc. Wonsam (圓衫) used instead of Simeui (深衣). The clothes of shroud were Chu (紬), Chung (繒), P'o (布) and Cho (초) center upon the Kongdan (貢緞). The coloy were Black (黑), Red (紅), Red-pink (燻). Blue (靑) and Black-Blue (藍) center upon the White (白). The surface of Myokmok, Aksu and Mo was mostly black and the lining was mostly red. Size was little different each other. Especially men's Kwadu (과두) was tied with the strings of four corners and women's kwadu had no string in either side of lower positions. The clothes of Soyrom (소감복) was nineteen Ch'ing (稱) and the clothes of Daeryom were thirty Ch'ing in Sa (士), fifty Ch'ing in Daebu (大夫) and ninety Ch'ing in Kun (君). The shape and title of the shroud used different in each region. There were several toboos to show respect such as not tying the back of sewing and so on. Nowadays, process of shroud was convenience and people began preparing their shroud after their 60th birthday. The list and process of shroud will be plan realistically.

속옷착용에 따른 전통복식의 실루엣변화에 관한 연구

黃義淑 배화여자대학 2003 培花論叢 Vol.22 No.-

This study is on how the silhouettes of the Korean women's traditional costumes, in a close relation to the underwears, have changed from the period of three kingdoms to present. The kinds and forms of Korean women's underwears have changed and improved from period of three kingdoms until now. This change proves that the fashion designs of neighbour countries have influenced the Korean one and also that their interactions have led to the formation of each period's clothing culture and the forms of the underwears. In addition, itnis clear that the change of traditional costumes led to the change of the forms of the underwears and that the kinds and forms of the underwears play an important role in the silhouettes of the traditional costumes. These silhouettes are bound to change according to patterns of clothing, person's body shape, the kind of the textile, and the overcoats as well as to the forms and the use of underwears. Thus factors, in fact can change the forms of the overall clothing and there are close correlations among these factors, so a systematic and complete study on them is required in the future.

베트남 몽족의 유형별 복식문화

황의숙 한국역사민속학회 2010 역사민속학 Vol.0 No.34

베트남은 다민족 국가로 베트남 족과 54개의 소수민족이 살고 있다. 이들 대부분은 산악지역이나 고원지대에 거주하면서 유목과 화전 농작을 주업으로 하고 있으며 각 민족의 독특한 문화와 생활방식을 간직하고 있다. 이 중 몽족은 베트남 소수민족의 1.03%를 차지하고 있으며 현재 베트남북부 고원지의 계곡에는현재 79만 명의 몽족이 살고 있다. 언어는 먀오어를 사용하고 있으며 종교는 샤머니즘과 불교, 기독교를 믿고 있다. 몽족은 각 부족이 집단으로 모여 공동체를 이루고 생활하는데 부족장은 공공의 문제를 관리한다. 주로 화전이나 계단식 밭을 사용하여 생활에 필요한 식량과 옷감을 자급자족하며 특히 부족내의 결혼은 허락되지 않고 “약탈혼(약탈결혼)”과 “hay pu”라는 독특한 결혼관습을 통해 결혼이 이루어진다. 베트남의 몽족 집단은 몽트랭, 몽호아, 몽덴, 몽도 및 몽산 등, 몇 개의 하위집단으로 구분하는데 이들은 서로 다른 방언을 사용하고 다른 문화적 전통을 가지고 있다. 그러나 복식은 각 집단에 따라 패턴, 구조, 색채조합 등 구성법에 약간의 차이가 있을 뿐 일반적으로 인디고 블루 색으로 염색한 아마섬유(린넨)의 옷을 입는 공통점을 가지고 있다. 특히 몽족 여자복식은 공통적으로 빨강, 노랑, 파랑과 검정을 사용하여 바틱 염색을 하거나 풍부하고 화려한 색채로 정교하게 장식한 주름치마를 착용하며 그 위에 앞치마를 두르고 치마 밑에 방퇴(레깅스의 일종)를 착용한다. 화려한 색채의 수가 놓여 있으며 오른쪽 어깨에 앞트임이 있는 상의를 입고, 은과 유리구슬 및 색을 입힌 술 장식과 팔찌, 목걸이, 귀걸이 및 반지 등으로 치장하고 머리에 터번이나 스카프를 둘러 장식하는 기술과 감각이 뛰어난 민족이다. 모든 몽족 남자의 복식은 각 집단 마다 색채와 디자인에서 약간의 차이가 있지만 집단 간의 복식 형태가 여자들의 복식과는 달리 별 차이가 없을 정도로 공통적인 부분이 더 많다. 대부분 가랑이가 낮게 내려오는 바지를 입고 측면에 단추가 달리고 배의 일부가 보일 정도로 짧고 기본형 상의를 집단의 구별 없이 공통적으로 입는다. 따라서 몽족의 전통적인 복식 문화를 살펴보면 각 집단 간에 차이는 있으나 옷감을 구하고 염색하고 제작하는 방법이 거의 비슷하고 복식에 사용되는 화려한 장식과을 신구들은 그들만의 독특한 복식미를 보여 준다. Vietnam is composed of 54 minority peoples excluding major Vietnamese people. Most of minority peoples live a nomadic or slash-and-burn agriculture life in mountain and high-land areas, and keep their own cultures and life styles. Among them, Mong people, occupying about 1.03% of minority peoples (about 0.79 million), live in valleys of northern high-land areas. Their language is Myao-language, and their religions are Shamanism, Buddhism, and Christianity. Mong people are established by a tribal community of several tribes, whose head takes care of official and public affairs. The wedding between Mong people is not permitted, but is accepted as a peculiar "Hay Pu", which is a kind of plunder wedding customs. They obtain all foods and clothes required for their living from slash-and-burn farms and stair-type upland fields. Mong people are classified into several lower-ranked groups such as Mongtrang, Monghoa, Mongden, Mongdo, and Mongsan, whose cultural traditions are slightly different. These people groups use their own dialect, and wear blue-colored common customs made by linen, although the pattern, structure, and combination of colors are somewhat different. Particularly in common characteristics of women’s customs, batik technique (a kind of dyeing technique) of red, yellow, blue, and black colors and decorations are popularly used. Glorious colors and delicate decorations are applied to women’s skirts, and an apron and a bangtwio (a kind of leggings) are additionally used outside and inside skirts, respectively. Jackets are embroidered by glorious colors, and are decorated by silver- or glass-beads and colorful tassels. Women usually wear wristlets, necklaces, and earrings, and rings as well as turbans and kerchiefs on heads. Men’s customs are mainly composed of pants having low crotches and short basic-styled jackets whose sides are attached by buttons, while colors and designs are slightly different in men’s customs of each group. According to aforementioned traditional custom cultures of Mong people, Mong people show their own beautiful customs decorated by glorious personal ornaments and accessories, and fabrication and dyeing techniques of clothes are almost similar in each people group.

韓服 Pattern의 標準化에 대한 硏究 : 20대 여자 저고리를 중심으로 Traditional Costume Jackets for Women in Twenties

黃義淑 배화여자대학 2000 培花論叢 Vol.19 No.-

This study was concerned with the development of new standardized patterns of ready-made Korean traditional costume jackets for women in twenties. Well-classified standards of the patterns were also suggested so that consumers could buy high-quality costume jackets easily without dissatisfaction on unsuitable measurements. Since the jackets fabricated by conventional patterns were not properly fitted to women's bodies, new standardized patterns of the jackets should be developed in consideration of women's bodies. The processes of a pattern development, a dressing experiment, and a subsequent pattern adjustment were repeated to develop the standardized patterns which were well fitted to women's bodies. Measurement standards were also established in accordance with characteristics of women's bodies.

한국여성 전통복식의 양식변화에 관한 연구

황의숙(Eui Sook Hwang) 한국복식학회 1995 服飾 Vol.26 No.-

The present study aims at investigating the style change of the Korean women`s traditional costume and analyzing its character in accordance with the social changes during the period from the civilization in 1884 to the present. The design of the traditional costume which might be formed in the era of the Three Kingdoms had been slowly modified, and the Korean jacket and skirt design was settled in the Chosun period. In the end of the Chosun period, the drasic social changes such as civilization and revolution, together with the introduction of western dresses, affected strongly the traditional costume design. This led to a change from the old dress design to the stylish and practical one because civilized women and high school girls wore the modified costume composed of long jacket and short skirt or western style dresses. In recent years after 1960s, Korean women usually wore traditional costumes as ceremonial dresses because the western style dresses replaced the traditional costume in everyday life. After 1970`s, however, the A-line silhouette, combined with ornaments, adatped to the traditional costume in order to emphasize women`s beauty, thereby resulting in remarkable modification in the traditional costume. In those days, the large production of various textiles such as nylon and tetron and the appearance of the traditional costume designers played an important role in developing beautiful traditional costume designs and bringing closer together with general public women. These recent design changes might be classified generally by the following three stages : (1) the period of settlement (1965 1975), (2) the period of maturity (1976 1985), and (3) the period of stabilization (1986 1995). The costume design of each period was discussed and compared in detail according to historical events. From this study, inherent beauty of the Korean traditional costume can be recognized again, and clarified its position as our folkdress. It is also suggested that in future its modification should be achieved continuously in accordance with tradition and modern sense.

디자이너 이리자의 작품세계에 나타난 한복디자인의 변화에 대한 연구

황의숙(Hwang Eui-Sook) 한복문화학회 2009 韓服文化 Vol.12 No.2

In this study, influences, achievements, and art works of a traditional Hanbok designer, Lee Rheeza, who established the modern traditional Hanbok style, were investigated by analyzing her designs in accordance with periodic changes. Her major achievements on the traditional Hanbok designs were classified into the followings: (1) development and popularization of Lee Rhee za type Hanbok patterns by creating silhouettes like western dresses, (2) development of displaying techniques by using Hanbok mannequins, (3) first holding of Hanbok fashion shows, and (4) leading of the modern Hanbok fashion. According to the periodical Hanbok design analysis, in 1970's, Lee Rheeza type Hanbok patterns were initially developed, and modern Hanbok fashions were popularized by the overall change in Hanbok style, while the A-line silhouette combined with ornaments was adapted to Hanbok in order to express women's beauty in 1980's. After 1990's, traditional women's beauty with slow and soft flowing was more emphasized by the simplification of the skirt style. Modern Hanbok has been well established by the design change based on efforts of a Hanbok designer, Lee Rheeza, and its position can be achieved as our traditional folkdress by offering standard patterns adapted to the modern Korean society.

한국 전통 패션인형 얼굴 디자인

황의숙(Eui-Sook Hwang),김소현(Soh-Hyeon Kim),이윤주(Yoon-Joo Lee),진선희(Son-Hei Chin),김혜수(Hye-Soo Kim),박상희(Sang-Hee Park) 한국콘텐츠학회 2013 한국콘텐츠학회논문지 Vol.13 No.2

시판되는 전통복식을 착용한 패션인형의 경우 서구적 얼굴이 주를 이루어 한복과 조화를 이루지 못하고 있다. 본 연구는 전통 패션인형에 적합한 얼굴을 개발하여 현대인들의 컬렉션으로써 전통 패션인형의 위상을 재정립하고자 문헌조사, 사례조사, 소비자 설문조사를 실시하고 이 결과를 토대로 얼굴을 디자인하였다. 전통복식을 착용한 패션인형의 얼굴형은 청순한 역삼각형이 많이 나타났으나 선호된 얼굴형은 역삼각형과 타원형이었고 이목구비는 자연스러운 조화를 이루는 세련된 느낌을 선호하였다. 전통 미인 얼굴은 타원형 얼굴형, 쌍꺼풀이 없거나 속 쌍꺼풀의 긴 눈, 도톰한 입, 코끝이 둥글고 오똑한 코를 선호하였다. 이상의 결과를 조합하여 볼을 약간 살린 역삼각형 얼굴형, 큰 눈과 눈동자를 축소하고 속눈썹 길이를 줄인 눈, 코끝이 들리지 않은 둥근 코, 폭이 작고 아랫입술이 도톰한 단정한 입으로 얼굴을 디자인하였다. 개발된 전통 패션인형 얼굴은 국내외 패션인형 마니아의 욕구에 부합하는 문화상품이 될 것이다. This study aims to develop a proper face design for traditional fashion doll so that the Korean traditional doll can achieve its stand in the modern collection with the new face design based on researching documents, analyzing the examples and delivering a customer survey. The majority of dolls in traditional costume has an innocent look with inverted triangle shape face. But the inverted triangle or oval shape as well as the refined look of well balanced facial features are preferred. An oval face, elongated eyes with no double eyelid or inner double eyelid, plump lips and round and high nose are considered beautiful in the traditional figure. Based on this result, a new design is configured with an inverted triangular face with slightly plump cheeks, eyes with reduced eye, pupil and double eyelid, round nose without tuning up and small and full lower lip.

베트남 몽족의 유형별 복식문화

황의숙(Hwang Eui Sook) 한국역사민속학회 2010 역사민속학 Vol.34 No.-

베트남은 다민족 국가로 베트남 족과 54개의 소수민족이 살고 있다. 이들 대부분은 산악지역이나 고원지대에 거주하면서 유목과 화전 농작을 주업으로 하고 있으며 각 민족의 독특한 문화와 생활방식을 간직하고 있다. 이 중 몽족은 베트남 소수민족의 1.03%를 차지하고 있으며 현재 베트남북부 고원지의 계곡에는현재 79만 명의 몽족이 살고 있다. 언어는 먀오어를 사용하고 있으며 종교는 샤머니즘과 불교, 기독교를 믿고 있다. 몽족은 각 부족이 집단으로 모여 공동체를 이루고 생활하는데 부족장은 공공의 문제를 관리한다. 주로 화전이나 계단식 밭을 사용하여 생활에 필요한 식량과 옷감을 자급자족하며 특히 부족내의 결혼은 허락되지 않고 "약탈혼(약탈결혼)"과 "'hay pu"라는 독특한 결혼관습을 통해 결혼이 이루어진다. 베드남의 몽족 집단은 몽트랭, 몽호아, 몽덴, 몽도 및 몽산 등, 몇 개의 하위집단으로 구분하는데 이들은 서로 다른 방언을 사용하고 다른 문화적 전통을 가지고 있다. 그러나 복식은 각 집단에 따라 패턴, 구조, 색채조합 등 구성법에 약간의 차이가 있을 뿐 일반적으로 인디고 블루 색으로 염색한 아마섬유(린넨)의 옷을 입는 공통점을 가지고 있다. 특히 몽족 여자복식은 공통적으로 빨강, 노랑, 파랑과 검정을 사용하여 바틱 염색을 하거나 풍부하고 화려한 색채로 정교하게 장식한 주름치마를 착용하며 그 위에 앞치마를 두르고 치마 밑에 방퇴(레깅스의 일종)를 착용한다. 화려한 색채의 수가 놓여 있으며 오른쪽 어깨에 앞트임이 있는 상의를 입고, 은과 유리구슬 및 색을 입힌 술 장식과 팔찌, 목걸이, 귀걸이 및 반지 등으로 치장하고 머리에 터번이나 스카프를 둘러 장식하는 기술과 감각이 뛰어난 민족이다. 모든 몽족 남자의 복식은 각 집단 마다 색채와 디자인에서 약간의 차이가 있지만 집단 간의 복식 형태가 여자들의 복식과는 달리 별 차이가 없을 정도로 공통적인 부분이 더 많다. 대부분 가랑이가 낮게 내려오는 바지를 입고 측면에 단추가 달리고 배의 일부가 보일 정도로 짧고 기본형 상의를 집단의 구별 없이 공통적으로 입는다. 따라서 몽족의 전통적인 복식 문화를 살펴보면 각 집단 간에 차이는 있으나 옷감을 구하고 염색하고 제작하는 방법이 거의 비슷하고 복식에 사용되는 화려한 장식과을 신구들은 그들만의 독특한 복식미를 보여 준다. Vietnam is composed of 54 minority peoples excluding major Vietnamese people. Most of minority peoples live a nomadic or slash-and-burn agriculture life in mountain and high-land areas, and keep their own cultures and life styles. Among them, Mong people, occupying about 1.03% of minority peoples (about 0.79 million), live in valleys of northern high-land areas. Their language is Myao-language, and their religions are Shamanism, Buddhism, and Christianity. Mong people are established by a tribal community of several tribes, whose head takes care of official and public affairs. The wedding between Mong people is not permitted, but is accepted as a peculiar "Hay Pu", which is a kind of plunder wedding customs. They obtain all foods and clothes required for their living from slash-and-burn farms and stair-type upland fields. Mong people are classified into several lower-ranked groups such as Mongtrang, Monghoa, Mongden, Mongdo, and Mongsan, whose cultural traditions are slightly different. These people groups use their own dialect, and wear blue-colored common customs made by linen, although the pattern, structure, and combination of colors are somewhat different. Particularly in common characteristics of women's customs, batik technique (a kind of dyeing technique) of red, yellow, blue, and black colors and decorations are popularly used. Glorious colors and delicate decorations are applied to women's skirts, and an apron and a bangtwio (a kind of leggings) are additionally used outside and inside skirts, respectively. Jackets are embroidered by glorious colors, and are decorated by silver-or glass-beads and colorful tassels. Women usually wear wristlets, necklaces, and earrings, and rings as well as turbans and kerchiefs on heads. Men's customs are mainly composed of pants having low crotches and short basic-styled jackets whose sides are attached by buttons, while colors and designs are slightly different in men's customs of each group. According to aforementioned traditional custom cultures of Mong people, Mong people show their own beautiful customs decorated by glorious personal ornaments and accessories, and fabrication and dyeing techniques of clothes are almost similar in each people group.