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수록정보
수록범위 : 2001권0호(2001)~2003권0호(2003) |수록논문 수 : 21
복식문화학회 워크샵
2003권0호(2003년 02월) 수록논문
최근 권호 논문
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1Fashion Business in USA

저자 : Jeanie Chun

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 1-1 (1 pages)

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Jeanie Chun, owner and designer for over 20 years in Hawaii has several specialty boutiques in waikiki. "Jacqueline De Michel" stores deal with distinctive women``s designer apparel and Hawaii``s leading manufacturer of sophisticated women``s designer sports and resort wear. It is Hawaii``s only private designer salon specializing in elegant attire and special occasion dressing for discerning customers. They provide and elegant atmosphere with personalized services. Management of professional development for fashion business will be discussed on marketing in USA, manufacturer distribution in USA market, manufacturing resources, small business planning & development, import & export, visual merchandising, fashion promotion, buying, merchandising, customer service, sales training, and research sources & advanced training for students. Also management of personal development on personal style, wardrobe coordianation, image development, accessorizing, make-up, special occasion dressing, and beauty pageant training will be discussed.

2"Obi Reborn" Art

저자 : Kensei Takeda

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 2-3 (2 pages)

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In addition to the known and intended use of Japanese "obi" as a sash to the traditional kimono outfit, it has been used for years as a decorative accessory to interior design. They are often seen as tapestries hung on walls, runners on tables and dressers and sometimes are used in the recreation and design of clothing. Several years ago, as a result of his lifelong interest in art, both western and Asian, Mr. Takeda decided to give a rebirth to antique obi which otherwise might not have been used again. Oftentimes, obi cannot be used as a result of wear or soiling to the material. However, due to the extreme length of the article, there are nearly always sections of obi which can be salvaged and given new life. This has been the challenge of Mr. Takeda, and he has created vibrant framed art using obi, obi ties ("obijime") and kimono material as the main media for this unique type of art. In this presentation, several examples of orginal antique obi were presented to the participants and the finished art works were then shown to demonstrate how the obi and accessories were assembled, painted, matted and framed to bring about the finished pieces. Depending on the artists location, one of the most difficult tasks in preparing to create these works is the actual finding of the antique obi. They can usually be found in Japanese antique shops or used kimono shops. Furthermore, the artist must be able to look at various obi, kimono and accessories and visualize the artistic layout possible with the materials at hand. Obviously, all antique obi and related material do not lend themselves to being paired with other material, and in many cases the condition of the material must be carefully inspected. Silk becomes very delicate with age, and antique obi can easily tear or even disintegrate when washed and stretched. In some cases, only trial and error will determine if a particular piece of material can be used in this manner. Although it was not feasible to demonstrate the washing, drying pressing, stretching and mounting of the obi at this particular demonstration, the procedure was described. An orginal obi was presented to the audience in it``s state before the above-mentioned steps. Then, a mounted portion of the same obi was offered as a working sample. Mr. Takeda uses acrylic and water colors, usually straight from the tube and undiluted, as his paint media. A short demonstration of the painting technique was demonstrated. The traditional wearing of kimono is a harmony of pattern, color, texture and layering of material. Mr. Takeda keeps this same concept in his art. Very old Japanese art tends to be flat, but he strives to bring about dimension to the materials in his finished art work. At the same time, Mr. Takeda always respects the work of the original artist while creating his own image. Depending on the theme of the work, he occasionally uses other materials such as beads, and in some instances, antique pieces of jewelry. In this way, each wark takes on a truly three-dimensional form. The choice of his frames is influenced by the environment in which the art is to be displayed. Although the initial materials are of Japanese origin, the frames reflect the interior design of the environment in which the art is to be shown. Also, both the frames and the mats are partially chosen based on the theme or title of the finished work. Mr. Takeda``s final works of art are a result of not only painting, but also manipulation and co-ordination of various materials related to kimono. It was a result of his long-time appreciation of traditional kimono and obi that he started to use these materials in his art. In this way, he has created objects of art which allow viewers to enjoy these traditional materials in everyday life.

3Museum Exhibition Planning

저자 : Kathy Izon

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 4-6 (3 pages)

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4A Study of Fashion Design Applied Jogakbo

저자 : Hee Jung Ha

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 7-7 (1 pages)

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The word bojagi refers to square hemmed cloths of various size, color, and design. Koreans used bojagi not only as a practical and versatile item for wrapping, storing, covering or carrying things in their daily lives, but also for ceremonial use. Among bojagis, jogakbo is made of tiny piece of cloth sewed together. In the past, Korean women used to save leftover fabric pieces after making clothes. It was the most popular wrapping cloth for commoners, which were used for all practical purpose. Jogakbos were a frequent gift, expressing affection and best wishes, and blessing the recipient with good luck. Although it appears to be a simple arrangement of cloth pieces, it is a formative element, in which the color arrangement and the constructive sense. Jogakbos remind us of the New-Formative Arts. These days, various wrapping materials have been developed and original use of bogagi have faded from our memory. However, the jogakbo is still highly favored among Koreans, because of its geometric modeling and unique color matching scheme. Accordingly, in this study of jogakbo of a folk art article, its concept and tradition is explored to be applied to the fashion design to reflect the uniqueness of traditional Korean aesthetics. The production of such works was performed in accordance with the following steps of the design process: fashion theme was decided by the results based on the analysis of information gathering, color and fabrics were chosen to develop style image was selected taking into account simplicity, naivety and elegance, so as to reflect wisdom and aesthetical sensibility of lives of our ancestors finally made with leftover pieces of cloth. More specifically, natural colors of green and brown shade were chosen, which can easily be seen in an ecosystem. The natural colors were created with grass, roots or flowers found in Korean fields and mountains. Ramie fabrics, i.e, natural materials, was chosen so that work may expose simple and natural beauty. Moreover, the silhouette of princess line is used to effectively accentuate Eastern and feminine effect. In order to harmonize with the whole, jokacbo of reverse triangular shape was attached to the upper part of dress. Then, there hangs an amber pendent trinket at the vertex of the triangle. As a result, first, the jogakbo is revealed as a suitable element of traditional and peculiar of Korea. Second, applied jogakbo to a fashion design indicates that traditional Korean motifs have apt potential to become a global design motif.

5A Study on the Korean Traditional Patterns and Paintings using the Digital Textile Printing(DPT) System -Reappearance

저자 : Son Hee Kim

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 8-8 (1 pages)

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This design began when I saw the painting by Shin Yoon Bok who was a very famous painter in the Chosun Period of Korea. I was interested in the reappearance of the Korean traditional patterns and paintings using the DTP(Digita1 Textile Printing) system, therefore I designed several dresses that were exhibited at several exhibitions. There are a lot of paintings by Shin Yoon Bok. I selected just one painting to decorate the traditional Korean clothing, Han Bok. The painting named ``Playing on the Boat`` was chosen. I wanted to create an ensemble that could serve it``s traditional role but also have a modem use such as at a benefit dinner or guest appearance on a show. I also wanted it to be digitalized. Several techniques were used to create this garment. The selected original painting(Fig. 1) was used and converted digitally using the Design CAD software applications named Texpro and Photoshop(Fig. 2). On the non-patterned silk crepe de chine, the converted pattern was printed on the bottom area of the skirt and outside of the sleeves, using the digital printing software applications, ProofMaster and the digital printing hardware, DTP Link system. On the other areas of the garment including Goreum the pastel yellow and blue colors were printed by the DTP system. And the Korean traditional textile, Nobang was used in the outer garment called Kweja. Several construction techniques were combined to create this ensemble desigdfig. 3), and the finished ensemble is sophisticated, fantastical, and calm. It is an ensemble that women who love Korea would like to have and wear.

6A Study of Fashion Design Applied with Characteristics of Korean Dress -The Goddess of Earth-

저자 : Mi Sun Joen , Myung Ja Park

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 9-9 (1 pages)

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The work of fashion design was made with intent to express the image of goddess of earth by applying characteristics and inspiration of Korean traditional dress, Chirna and Jeogori of Hanbok. The objectives of design was to discover the traditional beauty of patterns and designs, techniques of expression and styles of constitution in the Korean costume, to develop modem fashion design from the beauty elements in Hanbok, and to design for the woman who desire to have an unique style for their evening and party wear. Colors of golden brown and dark brown were selected to represent a source of life, such as a rich earth and ripen crops on the golden field in late fall. Harmonious arrangement of brown colors was the essential point of the work. Organza of natural silk fabric was combined with a Korean distinctive silhouette to emphasize the image of a goddness that is mysterious and attractive. The style of "The Goddess of Earth" is a long one-piece dress in which some details of Hanbok were developed and removed. It is composed of a shoulderless, high-waist, fitted top and a gathered skirt reached to the ground. Each top line was cut tightly by draping. The harmonious blend of strait lines and graceful curves from Hanbok were adopted. Two coat strings for fastening up was modified from those of Korean dress. In the case of skirt, the natural, elegant and abundant image were expressed with manual sewing and hand measurement of 1.5cm-wide each pleat by guesswork. Above all, this work is characterized by hand-sewing of Korean traditional sewing method, called kkekki technique, used for very thin and see-through fabric in delicate way. As a result, an approach and attempt of design recomposed of Hanbok by modem variation showed the another possibilities of fashion production.

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As the age of culture and information, the 21st century is interested in the culture and the art. The value of material civilization which has an influence on human beings of the past centuries is changed into the knowledge, the information and the intangible value such as culture. The knowledge and the initiativeness which human beings have and the culture/cultural contents which the variety makes are the competitive power of country and determine the value of life in individuals and the life of local society. In this, the cultural contents are defined as ``goods made by using the creativity, the sensibility and the knowledge``. In a word, it refers to the manufacturing and commercializing of the original works which come from the area of culture and art and the fashion design, the important part in the art and culture can not be the exception. The Digitalization of the traditional content industry such as publication and film industry is made rapidly, so the most contents are expected to be digitalized soon. In such a circumstance, this study tries to develop the Buddhist painting, one of the original forms in the Korean traditional culture into the fabric pattem by using the digital technology, to create it as the modem art costume and to show the example of the development of cultural contents in costume design area. The Buddhist painting is the picture expressing the religion of Buddhism and is the object of Buddhism with a pagoda, a Buddhist image and Buddhist scriptures. According to the type of making, the Buddhist painting is divided into Byeokwha, Tangwha and Gyeongwha. Among them, Tangwha that the Sutras are drawn on paper, silk or woven stuff is the main stream in Korean Buddhism. The Buddhism is basically based on the Sutras, but the religious experience more than understanding the Sutras is regarded as the important thing. So showing the religious behaviour is to achieve the purpose of religion. Tangwha is the picture systematically presenting the ritual required in achieving the purpose such a religious experience. The study re-analyzes Tangwha in modem style and tries to design the textile pattem using the works of ``Go Young Eul``, who is the typical painter developing the new area of paintings. As the step for the production of a work, general design process is applied, the design concept is based on the results shown in the survey and the entire style is made through the color and the subject matter. The color and the pattem applying the Buddhist painting and the process of design decision are done by the digital technology and the process in deciding the entire design concept is partly done by the digital technology. The strong complementary colors of traditional Buddhist painting is digitally printed on silk and the pastel tone colors of modem Buddhist painting is digitally printed on oxford fabrics. The pattem for the production of a work makes the three-dimensional type by adding the long rectangular tie according to the pattern developed in this study by using the producing techniques of the traditional ``Hanbok``. A seam is treated outside by unweaving a thread in considering the entire atmosphere, the quality of the subject matter and the fashion tendency. The traditional color, the subject matter and the producing techniques are re-made by the digital technology from a plain to a three-dimension, from tradition to modem times. The results are as followings: First, to achieve the purpose of the religious experience the complex formation of the produced Buddhist painting is entirely or partly applied into the design process by the digital technology. It means that the digital technology can easily access by the concrete realization to the design process that adjusts the creative idea. Second, according to the pattern and the color developed by the digital technology, the combination of each different subject matters and the use of various techniques can make the linear pattern into the three-dimension and try to apply the modem style of seams and closing. Third, the study is to show the Tangwha motive of fashion design using the digital technology. The development of cultural contents using the traditional cultural forms including Tangwha can only be applied in the modem fashion design but also present limitless possibilities to various fashion industries including the development of cultural goods.

8A Study on the Fashion Design Work of "When the Morning Breaks New"

저자 : Hei Soon Shin

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 12-13 (2 pages)

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9A Study on the Fashion Design Work of "Going to"

저자 : Mini Nam

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 14-14 (1 pages)

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The piece of work tries to express going out for a traditional place. It expresses the image of modem asphalt road with the dark blue of the skirt, the straight line of the skirt width, and the oblique line of colored stitch. The traditional special image is expresses with the skirt width, the collar of Jeogori (upper garment), and the edge line of Jeogori, which are not wide, and the flower embroidery on Hyangdae (the women``s portable perfume pouch) and on the rectangle frame. To express the images on cleanness, White was selected as the color of Jeogori. Even though the work is expressed as the traditional Hanbok (Korean Traditional clothes) mode, the removal of the collar and the edge of Jeogori and the can-shape of Chima (Korean women``s traditional upper garment), removed with the upper waistband and tie are to express modem routine. Also, for the use in summer and the use for parties, the upper part of Chima was made as the form of a one-piece dress, as if it is the upper garment. The work tries to harmonize traditional meaning with modern meaning, pursuing the satisfactory wearing without inconvenience of traditional clothes in a modem living.

10A Study on the Fashion Design Work of "Perfume Purse"

저자 : Jihae Choi

발행기관 : 복식문화학회 간행물 : 복식문화학회 워크샵 2003권 0호 발행 연도 : 2003 페이지 : pp. 15-15 (1 pages)

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The wedding dress is defined as clothes for brides who start a new life to put on at the wedding ceremony, both in eastern and western regions. In Korea, wedding dresses of western style have not so long a history, at most one century. At an early stage of introduction of wedding dress to a Korean society, Christianity played a role e.g. churches and missionaries. With time, those wedding dresses have become a kind of standard wedding clothes for any brides, and we can see it now very easily. However, as I have happened to study wedding dress fashion design at the graduate level, I realized that traditional aesthetic beauty can be usefully applied to modem wedding dress in many perspectives. So here goes I came up with concerning my idea. In the first place, I picked up "BOK JUMONEY" as the theme of work ~ which is construed as luck-bringing purse with perfume in English in the hope that such a luck shouldgo to the new starting couple. So I made it simple silhouette so that I can apply it to wedding dresses. Silk satins with glittering soft tune were used as fabrics. Around the neck, "DONG JUNG was decorated surrounded by silk satins. In the middle of the top, Korean embroideries with multiple colors like silver, jade, amber were modernly added.

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(2006)홍길동41회 피인용

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