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정흥숙 ( Heung Sook Chung ),배정민 ( Jung Min Bae ) 중앙대학교 생활문화산업연구소 [ 구-생활과학연구소] 2005 생활과학논집 Vol.21 No.-
Due to rapid development and transformation into plural society these days, various styles of clothing which reflect variety on fashion, mixing conflicting concepts based on eclecticism such as the past and the modem, cultures of the East and West, and male and female elements have emerged. This study is to investigate the previous cases of historic eclecticism through the works of designer, as well as to review historicism and its phenomena since the 20th century more systematically. Historic eclecticism borrows deserted styles in history, longing for mental ampleness and spiritual world. Historicity of post-modernism functions not to simply imitate the past but to re-adust it fit for the modem situations or converging the elements of the past and the present in harmony with each other. In this age of globalization, every culture holds eclectic, interracial and multi-leveled aspects, still maintaining unique features, variety, and pluralism. This study aimed at proving preceding implications concerning recent historic eclecticism through the analysis of the works of designer.
정흥숙 ( Heung Sook Chung ),김영삼 ( Young Sam Kim ) 중앙대학교 생활문화산업연구소 [ 구-생활과학연구소] 2005 생활과학논집 Vol.21 No.-
Amultiformity of culture develops acculturation by contacts between different cultures and it leads to achieve the dialectical evolution of civilization. Spreads of characteristics and elements of the oriental dresses to the western dresses by interchanges between them is an important cause of diversity of the westem fashion. Historically, the oriental modes have influenced the westem fashion continuous1y as an element of the westem fashion design. and the power of influence gradually appeared as a subject of issue of the later 20th century`s modern fashion design. The phenomenon is recently shown extensively in the field of designs and fashions, as well as in life-sty1es. It reflects that the understanding of the oriental culture in the western imperialistic viewpoint has radically corrected since capitalism appeared in the later 20th century. In other words, organic ideas of the orient, which emphasis the union of God and man instead of a dichotomy of nature and man by a modem western ration, were stressed and a momentary and fluid consciousness of the moment in Zen became the center on interest. Finally discussions abot the oriental values, including Zen style that is being watched with keen interest of the world, has become a matter of common interest which has been new-highlighted in the western as well as in the orient since it performed as a breakthrough to overcome a limitation of the western culture. Payne and Crawford, the savants of fashion, indicate that spread of specificities and elements of the oriental dresses to the western dresses has hen historically existed from the Roman age, and the introduction of Chinese silks h u & h the Silk Road since A.D.2th century, Crusade War in the 1 1-13th century, the- invention of geography in the 16-17th century, and the establishment of the East Indian Company stimulated the spread and the reception of the oriental culture. The influence of culture of the oriental dresses in this period, however, was mainly shown in textiles and accessories of dresses rather than in the form of a dress, and related studies were already preceded by previous researchers. This study attempt to correct illogicality of term applications and the misinterpretations according to the western imperialistic viewpoint towards the oriental modes in the 20th century (1900-1990) fashion, rather than focusing on the historical background of oriental modes` formation. As presenting characteristics of fashion in each times through diachronic consideration to 1900-1990 and synchronic consideration to specificities in the main times, I aim, or the study, at suggestions and studies abut tern those can serve the flow of the time. Consequently by regulating and analyzing the modern oriental modes, which are shown in various types, this study will prove that the oriental dresses are gradually appearing as a main subject in the western fashion. En addition, it is invaluable as basic data for the modem oriental modes to be growing more and more prosperous as a main subject in fashion, not a temporary fashion, with its variation and life force.
김영삼(Young Sam Kim),정흥숙(Heung Sook Chung),김선화(Sun Hwa Kim) 한국복식학회 2003 服飾 Vol.53 No.1
핀업은 제2차 세계대전기간동안 매력적인 여성들의 성적인 사진들을 군일들이 그들의 숙소 벽에 부착함으로서 생겨난 신조어이다. 이러한 핀업들은 영화의 발달로 인하여 헐리우드 스타들과 같은 발전된 형태로서 나타나게 됐으며, 그들의 스타일은 하나의 패션 트랜드를 만들었다. 본 연구의 목적은 핀업의 스타일을 역사적 관점에서 고찰하여 특성을 분석하며 핀업 스타일이 역사적으로 어떠한 변화를 통하여 오늘날의 현대패션까지 영향을 미치게 되었는가를 연구하는 것이다. 연구방법은 관련된 문헌고찰을 통한 역사학적 이론적 배경을 토대로 하여 핀업의 범주를 설정하고 관련자료를 수집하였다. 그리고 핀업 스타일의 공시적, 통시적 고찰, 역사적 변천과 특성을 분석하여 이들에 내재된 문화적 가치가 패션에 어떠한 영향을 미치고 있는지를 연구해보았다. 연구 결과 핀업 그 스스로는 역사적 고찰을 통하여 그 가치를 지니며, 핀업 스타일의 변화는 구조적으로 이루어지며, 구조는 세대와 취향에 따라 변화하며 패션에 지속적으로 영향을 미치고 있었다.
김정은(Jung Eun Kim),정흥숙(Heung Sook Chung) 한국복식학회 2001 服飾 Vol.51 No.6
The purpose of this study is to define the aesthetic consciousness in the late Modernism fashion which generated a sudden style change and craze, and to identify the essential meaning of the style. In order to achieve this the aesthetic approach was applied. Visual commonalities were sought between fashion and contemporary architecture, furniture, ceramic and metalware, to lead to a deeper insight into the aesthetic consciousness. Common visual characteristics are curvedness of the line, obliqueness of the line, asymmetry of the form, exaggeration of the form and symbolic nature of the form. The content which can be analogized from the visual characteristics are the beauty of the nature, the beauty of the glamourous feminity, the beauty of the ideal and the beauty of the creative personality. In the creating process, the existential aspect of human being became a focus of attention, and human being`s subjectivity operated as a principal force. In the late Modernism fashion, the appreciater`s aesthetic experience became more important, and the appreciator`s psychological satisfaction and pleasure were considered in the creative process. Fashion, architecture and crafts, which fulfill functional duties in everyday life, facilitated the appreciator`s aesthetic experience through empathy. This study inquires into the relationship between aesthetic consciousness and visual form. This study offers meaning because to uncover the connoted aesthetic consciousness in the late Modernism fashion is to pursue the roots of current aesthetic consciousness and it is hoped that in doing so this study will provide a basis for interpreting and understanding today`s fashion style.