여성지(女性誌)를 통해 본 근대 일본 신여성 복식에 관한 연구 -대정기(大正期)『주부지우(主婦之友)』를 중심으로-

이행화 한국일본근대학회 2014 일본근대학연구 Vol.0 No.45

『主婦之友』은 비교적 장기간에 걸쳐 발행되었던 본격적인 여성잡지로 독자의 중심이 중류이상의 교육을 받은 여성들이 었으므로 당시 여성 의생활의 변천이 많이 반영되어 있다고 볼 수 있다. 이러한 여성지에 나타난 근대 일본 신여성의 복식을 고찰한 결과, 다이쇼기 『主婦之友』는 다른 시대에 비해 전통적인 여성상을 강조하는 시대적 흐름에 맞추어 전통의 상인 기모노를 착용한 현모양처와 같은 주부의 모습을 그려내고 있어, 직업을 가진 직업부인보다는 현명한 가정생활을 꾸려나가는 주부가 이상적이라는 것을 강조하였다. 그러나 도시문화의 발달과 함께 나타난 신계층으로 주부와 대별되는 개념인 직업부인의 등장은 신여성을 모던걸로 이행하게 하는 역할을 하였다. 신여성과 모던걸 모두 전통사회에서 현모양처역할만을 강요당했던 구여성(舊女性)들과는 다른 여성상으로 등장했고, 이들은 복식은 검소한 생활을 강조하면서도, 새로운 유행의 흐름에는 뒤처지지 않겠다는 당시 여성들의 의복에 대한 가치관을 나타내고 있는 것이 특징이었다고 볼 수있다. “Friend of Housewives” (主婦之友) was a relatively long-time published women`s magazine widely read by many of educated middle-class Japanese women as its core readers during the Taisho period (大正期: July 30, 1912-December 25, 1926), and its contents (and editorial stance as a whole) tend to reflect, in many respects, the then transformation in their clothing style. The analysis of the clothing style of modern Japanese women shown in women`s magazines (女性誌) of this kind shows that “Friend of Housewives” in the Taisho period was, particularly, keen on depicting ideal image of woman as that of a good-wife-and-wise-mother figure wearing traditional Kimono, broadly in line with that period`s mainstream current of capitalizing on traditional image (and role) of women; what it valued as ideal image of woman related more to wise housewives taking care of households than to career women (職業婦人). However, the emergence of career women as a “new class” in the then Japanese society as urban culture started developing, whose concept/image tended to be differentiated from that of traditional housewives, paved the way for transforming this new class of women (i.e. career women) or the new women into becoming represented as the modern girl. Both new women and modern girls started emerging as the new role model of a woman different from the old women (舊女性) who were forced to play a role as a good-wife-and-wise-mother housewife in traditional patriarchal society. And the former`s overall clothing style tends to be reflective of then women`s values about clothes that emphasize their frugal lifestyles and, at the same time, their determination to catch up with this new trend agilely.

1920-30년대 일본의 도시 문화 속에 나타난 모던걸의 외양 -포스터, 그림, 만화 등 시각문화를 중심으로-

李杏花,李京珪 한국일본학회 2014 한국일본학회 학술대회 Vol.2014 No.08

근세 일본과 한국의 화장문화 비교

이행화,박옥련 한국일본근대학회 2010 일본근대학연구 Vol.0 No.29

本論文は、江戶時代と朝鮮時代の化粧文化を當時の狀況と共に化粧を行う方法を基礎化粧と色調化粧に分け詳しく考察したものである。さらに基礎化粧は、洗顔と化粧水を中心に、色調化粧は白粉と眉毛の化粧、唇と협に使われた연脂化粧を中心に考察を行い、それぞれ異った文化間での關連性を通して化粧文化の差と類似性を見つけようとしたものである。硏究の結果、江戶時代の場合、化粧で身分や階級を示そうとする意味合いが强く、全ての階級の人人が同じ化粧をするということは許されておらず、化粧を自分自身の履歷を表現することのできる手段として使われていた。朝鮮時代の儒敎的道德觀念と男性中心の社會構造の中で婦人のマナ―が强調され、品のある容姿を女性の美德として見なしたために派手な化粧が行われなかったと思われる。色調化粧の場合、白粉は落ちにくいよう鉛が入れられた연脂の使用が共通していた。연脂は、江戶時代の場合、女性の色調化粧に對する規定はそれほど巖しくなかったが、高價だったために上流階級の女性や裕福な商人、遊郭の女性らが主に使っていた。朝鮮時代の場合、遊郭の女性や宮中にいる女官のような職業も持つ女性に部分的に使われており、一般的な女性の場合には婚禮のような特別な日だけに行われた。これは儒敎的な思想によったもので、色調化粧よりは基礎化粧に重きを置いたためである。

근대 일본의 시각문화 속에 나타난 모던걸의 외양 -영화, 광고, 만화를 중심으로-

이행화,이경규 중앙대학교 외국학연구소 2014 외국학연구 Vol.- No.30

Urban modernity does not solely mean modernization of overall urban structures and functions and the concomitant growth of urban economy. But it also emerges from modernity of inner-city culture. While the substantial emergence of modern cities in Japan started as western cultures which were ushered and then became gradually established in it led to accelerating further alteration and modification of its traditional cultures, women played a significant part in cultural modernization of the Japanese society through their active reception of western cultures: the various images of those women or so-called modern girls appearing in the 1920s Japan’s visual cultural scenes played an educational role by presenting the rest of women in the then Japanese society which type of female role model they should or should not long for. Different forms of media in that period such as movies, advertisements and publications have emphasized the danger of modern young women falling into sexual decadence as the (stereotypical) image of a female role model that Japanese women should not follow; by doing so they have tried to educate the women to be led to “a right and sound direction”. However, despite that their westernized image has been, on the surface, criticized societally, the presence of these modern girls with their fashionable appearance ornamented with westernized outfits, make-ups and accessories in newly-created spaces for cultural consumption – i.e. department stores, cafes, movie theaters and performance halls – within modern cities has been itself interiorly longed for among many of Japanese women at that time who crave for experiencing new culture and modern life style through their cultural consumptions. Eventually, such a cultural trend emergent in the early-twentieth-century Japan could be seen as the outcome borne out of the confrontation between two contrasting appraisals on modern girls – (1) as progressive women capable of catching up well with the then latest mainstream trend like westernization and (2) as women who over-emphasized their visual images whose meanings and subsequent socio-cultural ramifications cannot be deliberated, more meaningfully, in a broader context of modern urban culture.

일본의 영향을 받은 개화기 남성 복식의 서양화

이행화 동의대학교 인문과학연구소 2012 인간과 문화 연구 Vol.20 No.-

개화기는 유럽의 복식제도를 모방한 일본의 근대복식이 조선에까지 영향을 끼치게 되는 시기이다. 특히 갑오경장(1894)과 단발령(1895)은 근대 복식사에 있어 큰 변화를 마련했던 계기가 되었다. 이후 단발과 양복, 모자와 구두 등의 신문물이 외국인이나 유학생을 통해 유입되기 시작하였고, 신문이나 잡지, 소설 속에 등장하면서 생활속에 자리 잡게 되었다. 1882년 박영효 등을 수신사로 찾아간 일본은 명치유신 15년을 맞이하여 개화된 모습을 보여주었으며 벌써 10년 전에 복장개정령을 공포하여 군경제복과 문무관복을 모두 양복으로 바꾸어 입고 있었다. 이를 통해 서양의 양복제도의 영향을 받은 일본의 남성복식은 개항 이후 조선의 남성복식의 서양화에 영향을 주었다고 볼 수 있고, 이러한 남성복식의 형태는 일본과는 다른 조선의 사회문화적 배경에 따라 유사점과 차이점이 나타난다고 할 수 있다. The era of the Korean Empire (gu-han-mal: 舊韓末/1897~1910) shows how the modern Japanese clothing convention, which has at first adopted and imitated the then European clothing convention, could influence Chosun accordingly. In particular, it were the Political Reform(gap-o-kyung-jang: 甲午更張) declared in 1894 and the Ordinance of Prohibiting Topknots (dan-bal-ryung: 斷髮令) in the year that followed that played pivotal roles as two vital turning points through which to ignite a sea change in the overall history of the modern Korean clothing. Lateron, new/western civilisation, like short-cut hairstyle and western suits matched up with hats and shoes, started entering into Chosun via foreigners and overseas studentswho had already experienced this new fashion trend. And then these new cultures eventually became substantially immersed into the then everyday lifestyles, as they embarked on being gradually shown in and exposed to newspapers, magazines, and novels. In 1883, Park Young-Hyo and others as foreign envoys visited Japan, where not only could they experience this country as a highly civilized / enlightened society entering its 15th year of the Meiji Restoration (meiji-ishin: 明治維新,), but they could also confirm that all the traditional outfits of high-ranking public servants and the traditional uniforms of military-police forces have already been replaced by western suits since the Ordinance of Modifying Public Outfits (bok-jang-gaejung-ryung: 麗水改正令) declared 10 years ago. Judging from the aforementioned historical analysis of how Chousn was influenced by the late-1800s modernized Japan, therefore, I come to the conclusion that Japanese men’s clothing initially influenced by the then western clothing convention / culture (i.e. suit-wearing) also affected to a greater extent the westernization of men’s clothing in Chousn since its opening of harbour to the outside world. This also shows that the men’s clothing in Japan can be both differentiated from and comparable to that in Chousn due to the latter’s socio-cultural backgrounds different from the former or vice versa.

한일 신여성의 소비문화 형성에 관하여

이행화,이경규 한국일본어교육학회 2015 한국일본어교육학회 학술발표논문집 Vol.2015 No.-

일본의 서구 도시문화 수용에 따른 근대 여성 복식의 변천 고찰

李杏花,李京珪 한국일본학회 2014 한국일본학회 학술대회 Vol.2014 No.02

재일조선인의 법적지위와 처우 문제에 관한 고찰 ― 1950~60년대 한국정부 생산 외교문서를 중심으로 ―

이행화,이경규 한국일본학회 2021 한국일본학회 학술대회 Vol.2021 No.08

1920년대 일본 신여성의 서양복 수용 고찰

이행화,이경규 한국일본근대학회 2012 일본근대학연구 Vol.0 No.35

1920년대 신여성의 패션은 미국의 신여성인 플래퍼의 스타일에서 영향을 받은 것이었다. 당시 미국은 자본주의의 발달단계에 있었고, 이 시기에 파격적이라고 할 만큼 과감한 모습의 플래퍼가 등장하였다. 본 연구는 1920년대 시대적 상황과 사회문화적 배경을 살펴보고 당시 미국의 근대화를 배경으로 나타난 플래퍼 스타일을 분석하여, 일본 신여성의 패션에 있어 어떠한 영향을 받아 서양복을 수용했는지 고찰해 보는 것이다. 20년대 일본의 신여성의 복식은 플래퍼 스타일로 나타났으며 이를 통해 서구의 유행을 거의 동시대에 맹목적으로 추종하는 모습이 보였다. 이는 잡지나 신문, 영화와 같은 대중매체의 영향이라 할 수 있다. 또한 여성들의 사회진출로 기능성과 활동성이 요구됨에 따라 서양의 기능주의와 결합하여 현대적인 감각의 스타일이 나타났음을 알 수 있다. 헤어스타일에 있어서는 귀를 가리는 헤어스타일인 미미가쿠시(耳隱), 귀를 드러내는 스타일인 미미다시(耳出)가 유행했다. 신여성의 상징인 단발머리의 유행은 논란은 있었지만 이후 웨이브와 접목되어 현대적인 감각을 더한 스타일로 진보해가는 기초를 마련했다. 메이크업은 구미 영화산업의 보급으로 신여성들은 여배우들의 트렌드를 추구하였다. 즉, 이전의 평면적인 화장법에서 벗어나 입체적인 화장을 시도하였는데 이는 주목할 만한 현상이다. The fashion trend of modern Japanese women in the 1920s has been by and large influenced by that of ``flappers``, the symbolic icon of then modern American women. During this period capitalism has just embarked on shaping up, which led to the emergence of even newer mode of flappers perceived as extremely provocative to those living contemporarily. This research aims to explore the way in which the fashion style of Japanese women in this period could receive western style of dress by looking into the overall historical situation in the 1920s coupled with then socio-cultural backdrops and analyzing the ensuing fashion style of flappers emergent through the modernization process in the United States. Flapper style has made a strong influence on, and been therefore prevalent in, the dressing style of modern Japanese women in the 1920s. This indicates .the foolhardy propensity for them to pursue western fashion trend in this period, which must have eventually been highly influenced by mass media such as magazines, newspapers and movies. In parallel with this, it is also indicative that modern fashion style started emerging by coalescing itself with the western functionalism, as women`s entry into society in this period demanded more and more functionality and mobility. Vis-a-vis hairstyle, two distinctive hairstyles ``mimigakusi (耳隱: covering ears)`` and ``mimidasi (耳出: uncovering ears)`` respectively have surfaced as popular in general amongst those modern Japanese women during this period. Despite controversies brought about by the increase in popularity of short-cut hairstyle epitomizing modern women, it has played a pivotal role in paving the way for the further modernization of its style by being combined with wave-hairstyle. As for make-up style, modern Japanese women tend to have pursued the way of movie actresses wearing make-up in sync with the then popularization of European and American movies. In other words, this tendency indicates that the emergence of less flat and more multi-dimensional make-up style is to a greater extent a noticeable phenomenon.

근대 매체를 통한 신여성의 외양에 나타난 서양문화의 변용

이행화 한국일본근대학회 2022 일본근대학연구 Vol.- No.77

It can be seen that a series of women’s magazines published in Korea and Japan respectively amid the Japanese colonial period have served as a kind of representative cultural literature able to offer a glimpse into the ways in which then new women relish multifarious cultural experiences of their own in modern urban space. Such modern experiences accordingly led new women to accept western culture with their envy and longing for the West as a whole, with them further experiencing since 1920 new culture via new forms of media-consumption culture that began to emerge centering around cities. At that time, it was by and large women representative of, for instance, new women, female students, modern girl, and so forth who were considered a de-facto influential social group active in accommodating such a new consumption culture. In this sense, women’s magazine of that time could be valued further as a medium through which to be able to understand the role as well as image of both old women representative of traditional culture and new women emergent under the then newly formed modern culture. By way of then new women’s awareness and attitude manifest in women’s magazines, not only can the rationale behind acculturation of their clothing – as a symbol of then respective modern culture in Korea and Japan – to western culture be therefore traced, but such an acculturation in their appearance can also be examined. In particular, this paper focuses on examination of a variety of cultural experiences both Korean and Japanese new women have had and of the concomitant tendency of acculturation to western culture, centering upon their acculturated appearance as a symbol of modern culture at that time 한국과 일본의 여성잡지는 신여성들이 도시공간을 통해 향유하는 다양한 문화체험의 양상을 엿볼 수 있는 문화정보지로서의 역할을 했다고 볼 수 있다. 근대 경험을 통해 신여성들은 서양에 대한 선망과 동경 속에서 서구문물을 받아들였고, 1920년 이후에는 도시공간을 중심으로 나타난 새로운 미디어 소비문화를 통해서 새로운 문화체험을 하게 된다. 당시 이러한 소비문화를 적극적으로 수용하고자 했던 집단은 신여성과 여학생, 모던걸 등의 여성들이었다. 여성잡지는 새롭게 형성된 근대문화 속에서 전통 여성을 대변하는 구여성과 새롭게 등장한 신여성의 이미지와 역할을 이해할 수 있는 매체로서의 가치를 지닌다고 볼 수 있다. 그러므로 여성잡지에 나타난 신여성들의 인식을 통해서 근대적 문화 표상이기도 한 신여성의 복식 변용의 원인을 찾을 수 있고, 이러한 외양의 변용 양상에 대해서도 살펴볼 수 있었다. 본 논문에서는 근대적 문화 표상인 신여성의 외양을 통해 한국과 일본의 여성들의 다양한 체험과 서구문화의 변용 양상을 살펴보았다.