후기고딕 초상화의 헤드 드레스를 응용한 패션 일러스트레이션 연구

박소연,김혜경 한국패션디자인학회 2016 한국패션디자인학회지 Vol.16 No.2

현대의 패션 일러스트레이션은 패션 이미지를 시각화하여 표현하거나 작가의 감성과 개성, 경험을 바탕으로 주관적인 해석을 통해 색채와 형태로 표현하는 비쥬얼 커뮤니케이션으로 여겨진다. 이러한 시도는 인물과 의상을 창의적으로 표현했던 중세 말 후기고딕 시대의 회화에서 발견된다. 후기고딕 시대의 회화는 종교적 목적뿐 아니라 세속적이며 환상적인 주제가 유행을 하였으며 화가는 자의적인 해석을 통해 인물이 착장 하지 않았던 의복을 표현하거나 존재하지 않는 사물을 그리기도 하였다. 이는 인체를 과장, 왜곡하여 독창적인 인물 표현을 가능하게 하였고 각종 필사본 채식과 초상화를 통하여 확인할 수 있다. 이 시기의 초상화는 신 중심사상에서 인본주의적 사고로 변화되면서 인물을 중심으로 하는 프로필 초상화가 발전하였고, 이러한 분위기는 인물의 포즈에 있어서 사실적 묘사보다는 이상적인 미의 표현이 가능한 측면 상반신으로 주로 나타났다. 인물을 부각시키기 위한 색채의 대비 효과와 헤드 드레스에 표현된 장식성은 현대적인 감각으로 충분히 재해석이 가능하다. 이에 본 연구는 다양한 표현 방법으로 예술적 가치와 스타일을 제안할 수 있는 가능성이 풍부한 후기고딕의 헤드 드레스를 응용한 발상으로 패션 일러스트레이션 작품을 제작하였다. 연구의 결과, 후기고딕 초상화의 특징 6가지를 도출할 수 있었으며 이러한 특징이 가장 잘 반영된 헤드 드레스는 인물의 캐릭터와 아이디어를 부각시킬 수 있는 중요한 모티브임을 알 수 있었고 현대적 감각으로도 재해석이 가능하였다. 또한 후기고딕 초상화에 나타난 헤드 드레스의 조형미를 응용한 결과 역사적 패션 아이템이 현대적 디자인과 조형 표현의 풍부한 모티브가 됨을 알 수 있었다. 이러한 시도는 패션 일러스트레이션의 창의적 발상과 표현, 다양한 장식적 요소를 소재로 한 일러스트레이션의 스타일 제안과 예술적 가치를 높이는데 그 의의가 있다. Fashion illustrations are considered as Visual Communication expressions by visualizing the fashion images or expressing into the colors and forms through the subjective interpretation based on artist’s sensibility, personality, and experience. These attempts were originated from the painting of Late gothic-era where the characters and costumes were expressed creatively. In terms of the paintings of Late Gothic-era, the secular and fantastic topics were in fashion, as well as the religious purpose. And artists would express the garment which were not worn by persons or drawn things that did not exist, through the arbitrary interpretation. As such, the creative character-expression was enabled by exaggerating and distorting the human body, which could be confirmed through the various illuminated manuscripts and portraits. Regarding the portrait in the period, profile portraits were developed, as the God-centered ideology changed into the humanistic thoughts. This ambiance mainly appeared as the form of side upper-body where the expression of ideal beauty was possible rather than realistic description, in the pose of figures. The color contrast effect to highlight the figure and the decoration expressed in the head dress could be fully reinterpreted with a modern sense. In this study, fashion illustration works were created by applying the head dress of Late-gothic having the abundant possibility which could propose the artistic value and style using various ways of expression. Through research findings, six kinds of features about the Late-gothic portraits could be drawn and head dress reflecting such characteristics most properly was found out as the significant motive to emphasize personalities and characters also it may be reinterpreted in a modern sense. The meaning of this trial lies in proposing the creative ideas, expressions of fashion illustration and the style of illustration utilizing diverse decorative elements as a material, and improving its artistic value.

자연적 모티프가 반영된 헤드 드레스의 표현 기법과 미적 가치

김영삼 ( Young Sam Kim ),김영민 ( Young Min Kim ),김장현 ( Jang Hyeon Kim ) 한국의류학회 2016 한국의류학회지 Vol.40 No.4

This study considers expression techniques and aesthetic values in the images of head dress reflected in a natural motif. The conclusions of the study are as follows. The first type is the realistic expression (52.4%) such as the reproduction of a natural object``s essential form (27.0%), the partial derivation of the natural object (19.3%), and the planarization for the actual image of the natural object (6.1%). The second type is a metaphorical expression (39.0%) which emphasizes the morphological characteristics of nature (18.2%), the structuration of the natural object``s silhouette into a three-dimensional or two-dimensional form (11.5%), and the abstract expression of the form in the natural object (9.3%). The third type is a hybrid expression (8.6%) that is a compromise between practical (or metaphorical expressions) so that expression techniques represent a compromise between the natural object``s essential form and abstract expression (4.6%) or the combination of the natural object``s silhouette into a three-dimensional or a two-dimensional visualization (4.0%). Aesthetic head dress values reflected in the natural motif first indicate a primitive value. This state of natural instinct recreates the natural object or combines part of the biological elements of the natural object to create an inducement to escape from the practical world. The second is amusement in the expression of animals in dynamic and humorous forms creates an illusion of animals being alive with a representative playful enjoyment. The third is abstraction that grant freedom in the observer``s aesthetic rational through a reinterpretation of the fashion designer. The fourth is eclecticism where a compromise represents an act of mixing a variety of independent factors to create harmony with the imagery of nature created through the grafting of diverse expression techniques that break away from stereotypes of existing natural objects to create a type of nature that cultivates new values.

문화 및 웨딩 메이크업과 헤드드레스가 이미지 지각에 미치는 영향

이은실 ( Eun Sil Lee ),김민정 ( Min Jung Kim ) 복식문화학회 2013 服飾文化硏究 Vol.21 No.6

The purpose of this study was to examine interactive effect of wedding makeup, head dress, and perceiver`s culture on bride`s image perception. Image analysis was carried out by 10 photos which was designed for brides in their twenties with different makeup and head dress. Subjects were female university students in Seoul, Korea and 100 black female university students in Delaware, U.S. The result of study was as follows. Image perception by bride`s makeup and head dress was classified as five dimensions: ‘distinctive’, ‘tidy’, ‘elegant’, ‘soft’, and ‘beautiful’. There was a significant difference in image perception from culture and head dress. The result of interactive effect due to culture and makeup showed that Korean students perceived pink makeup as close to more elegant image, and American students felt orange makeup. We can know through above contents that there was significant difference in image perception by makeup and head dress between Korean and American students. Also, American students in general evaluated the photos (stimulus) presented positively compared to Korean students. This can be interpreted as a meaning that the degree to perceive each photos of American students was lower than Korean students.

남자 헤드기어(Headgear) 제작에 관한 고찰 : 본넷(Bonnet)을 중심으로

김경희 ( Kyung Hee Kim ),문윤경 ( Yun Kyeong Mun ) 服飾文化學會 2006 服飾文化硏究 Vol.14 No.1

게이블 헤드드레스의 제작에 관한 연구

김경희 한국의류학회 2003 한국의류학회지 Vol.27 No.3,4

The purpose of the study is to understand the newer and more direct design techniques, and to provide information to exert creativity in designing. The headdress, one of dress items, was selected so that the change might be investigated in designs and production methods. A headdress was manufactured on the basis of literature review and portrait analysis. The target period of the study was limited to Henry Ⅶ and Henry Ⅷ(1485~1547) when gable headdress was put on. The details and the patterns of gable headdress were identified for the selected gable hood to be manufactured. It was not possible to get the same dress material, so a similar one was made as in the pictures. The same was done to the color. Putting the focus of the study on the reproduction of the figure in the portrait, some dimension were measured in bodily proportion and patterns were made by three-dimensional cutting. As results, some dimensions used in the manufacture had some limits.

남자 헤드기어(Headgear) 제작에 관한 고찰 -본넷(Bonnet)을 중심으로-

김경희,문윤경 복식문화학회 2006 服飾文化硏究 Vol.14 No.1

오트 쿠튀르 컬렉션에 나타난 헤드드레스 디자인 -2010 S/S∼2015 S/S 컬렉션을 중심으로-

최진영 ( Jin Young Choi ),김지영 ( Ji Young Kim ) 한국패션비즈니스학회 2016 패션 비즈니스 Vol.20 No.2

The purpose of this study is to use data from studies of headdresses which might be helpful for creating new fashion styles. Headdresses in 2010 S/S-2015 S/S Paris haute couture collections were analyzed in the following categories: years, season, brand, type, color, material, and image. The types of headdresses were categorized as hat, hood, decorative or complex types. The hat type was elegant with a modern style, and coexisted with an exaggerated avant garde style. The hood type wrapped around the head with many examples having a distinctive sculpture on top of the knot. The decorative type varied dramatically in form and materials. The complex type was a blend of all the other types with the designer’s individuality being outstanding. The characteristics of headdresses were revealed first, as an enlargement of the materials category, second, as an expression of dramatic forms, and third, as complete coordination of the creative fashion image. The headdresses illustrate the designer``s creativity in producing a variety of images. Henceforth they will be important as fashion items and independent designs in fashion styling.

남자(男子) 헤드기어(headgear) 제작(製作)에 관(關)한 연구(硏究) -햇(hats)을 중심(中心)으로-

김경희 ( Kyung Hee Kim ),문윤경 ( Yun Kyeong Mun ) 한국패션비즈니스학회 2004 패션 비즈니스 Vol.8 No.2

In the history of western costume, women`s hairstyle and headdress have been fluently studied but men`s headgear has not. To study and manufacture headgear designs and details, which indicate varieties in forms and ornaments, can be utilized for the fashion currently in vogue. Purpose: the purpose of the study is to investigate one of the headgear, the hat in terms of shift in design and manufacturing method, and to study through manufacturing in order to do a literature review by era and to provide information as the source in new design. Study method and scope: Like previously manufactured and presented bonnet of women`s headdress or headgear, the hat in the study was manufactured on the basis of literature review and portrait analysis. Target era is from the late 16th century to the early 17th century when the hat was used. The hat to be manufactured was selected by investigating the details such as hair style and hat features using literature. The pattern of the selected hat was analyzed, and velvet, silk, and wool were used as the materials as in the literature. Ornaments used similar things as in the photos.

지각자의 성별 및 웨딩뷰티에 따른 이미지 지각 및 선호도에 대한 연구

이은실 한국니트디자인학회 2018 패션과 니트 Vol.16 No.1

The purpose of this study was to examine interactive effect of wedding makeup, headdress, and perceiver’s gender on bride's image perception, to investigate differences of preference of bride’s appearance, and to investigate images that affect bridal preference. Image analysis was carried out by 10 photos which was designed for brides with different makeup and headdress. Subjects were 325 unmarried 20’s in Seoul, The result of study was as follows. There was a significant difference in image perception from gender, makeup and headdress. We can know through above contents that there was significant difference in image perception and preference by makeup and headdress between male and female. Therefore beautiful image was shown to affect bride‘s preference regardless of gender.

프렌치 후드 제작에 관한 고찰Ⅰ

김경희,문윤경 服飾文化學會 2003 服飾文化硏究 Vol.11 No.2

The study was designed to review the changes in designs and the manufacturing methods of french hood, one of the headdresses which play an important role in showing the appearance of costume, to understand design expression techniques through manufacturion of the head dress of the western costumes, and to provide materials to exert creativity for new designs. Based on literature review and portrait study, I manufactured a frenchhood. I set the study cope as from the late 15 century when frenchhood was used for the first time, to the mid 16 century. For the frenchhood selected, I examined the hair style, the characteristics of the french hood, and the pattern first, and proceeded to manufacturing. I used velvet and silk for the textile as explained in the literature. And, I purchased such similar ornaments as shown in the pictures, making the color so similar to the original to the most. Dimensions in manufacturing were those in the literature, since the study is focusing on the reproduction of the features of the portraits. Dimensions of detailed decoration were measured using the ratio of the headdress in the portraits.