현대 남성 재킷에 나타난 중국풍 디자인 특성

Abstract

色是有彩色，Dark Gray, Black, Gray, White, Light Gray是无彩色。 纹 是运 的传 纹 食物纹 ，动 物纹 ，几 何纹 等来 分析。 通过 研 究结 果得到的结 论 是以下内 容。 第一，在海外男装 布会 上体 的特性里， 夹 克的形态 是H形最多，H形形态 是2000年代初开 始逐渐 的多起来 。和过 去的中国 的形态 一样 ，能看出肩是用直线 表现 的。夹 克的细 里能看出，中国 的立领 最常见 ，而且运 用现 代的style来 做的。右襟和长 袖，筒袖体 的最多。盘 口比中国 作品里体 的相对 少一些，有琵琶纹 ，三龟 等。色彩是比中国 的色彩相对 暗一些，但有彩色的蓝 色系列比较 多。夹 的纹 是比中国 少一些，但部分里有食物纹 的竹树 ，国 花，宝 相莲 ，莲 花和动 的龙 ，虎等。 第二，在中国 的特性里，夹 是和海外的形态 相似，也是H形最多。在中国 里较 长 比较 里立领 是中国 最多，从 过 去的硬板形态 到现 代的舒适的款式来 重新改造。并 且，和海外一样 也是右襟最多，但对 襟也不少。右襟和对 襟是中国 （唐装 ）里所表现 的。袖子是长 袖和筒袖最多，Lilanz里也有窄袖。盘 口是一字形最多。色彩是，有彩色里的紫色系列和红 多，接近中国 的五方色。夹 是食物纹 多。 第三，在海外和中国 分析的结 果是，夹 都是H形，海外男装 比中国 ，总 体 是瘦版较 克的领 子都是中国 ，能看出很 多中国 中山装 的细 利用的，而且，立领 是最能体 的部分要素。海外男装 里右襟最多，但中国 的是右襟和对 襟都能显 出中国 的设 。长 袖和筒袖最多，盘 口是琵琶和三龟 等有多样 , 中国 克里表现 的盘 口是一字盘 口较 多。海外和中国 都是有彩色最多，海外是蓝 色系列，中国 是接近五方色的紫色和红 色系列较 是海外和中国 都很 少见 ，但海外男装 克的纹 和动 在里面。中国 等。尤其动 都能见 到。龙 的象征，海外和中国 都用的很 频 繁。 |Characteristic of Chinese Style in Contemporary Men’s Jacket Design

Jin Yan Department of Fashion Design The Graduate School, Hanyang University

China has a long history with a large number of ethnic minorities. In recent years, with the rapid growth of Chinese economy, numerous western countries have paid attention to every aspect of China. Meanwhile, Chinese cstume has been widespread in the world. Take Chinese costume as an example, numbers of costume designers combine the style of Chinese traditional costume ‘QiPao’ with that of modern costume. Recently, Chinese men’s wear has been developing multifariously. The research purpose of this thesis is to better grasp men’s wear’s change processes and Chinese traditional men’s wear in all ages from the end of the 20th century to the 21st century by understanding theoretical principle. On the basis of the trend of modern men’s wear, selecting and analyzing Chinese style features represented in men’s Jacket and providing basic data for anticipating the popular trend of Chinese style men’s wear. Moreover, by analyzing and specific contrasting the Chinese men’s wear design trend between overseas and China, we could better understand the whole process of change on Chinese men’s wear design. The content of the thesis is to survey Chinese traditional men’s wear (The five dynasties). Through previous research references men’s wear’s change process during the founding of the republic and the Great Cultural Revolution will be studied, and men’s wear’s change process will be searched from 1978 to 2000. By analyzing the materials about the features of Chinese men’s wear design after 2000, 4 foreign designers and 2 Chinese designers will be selected to analyze Chinese style design feature of men’s wear design trend and contrast Chinese designs represented in both foreign and Chinese men’s wear design trend. The research method is to by investigating Chinese history, culture, costume and related books and thesis, then choose women fashion brand which could represent Chinese style and collect materials which could represent Chinese style in men Jacket brands. The material is collected from 4 foreign men’s wear brands of 2001S/S collection and 2010F/W collection which is in the websites of costume information(Fristview. Kor ea). Among these men’swear brands, the photos from fashion press conference from Paris and Milan of Fashion Press Conference Dolce & Gabbana, Giogior Armani, Yohji Yama moto, Louis Vuitton will be selected, then in chinese websits such as Yoka, Acemefashion, the brands of Fengfei.Z and Lilanz in which the designers Zeng Fengfei and Ji Wenbo make full use of Chinese style will also be chosen and selected. The patterns contain X type, Y type and H type. The details contain colors, lapels, and sleeves. The color is produced by Photoshop Program to make color chip, and divide them into five colors, R, Y, G, B, P, then add another five colors, which amount to 10 colors which are colorful, while Dark Gray, Black, Gray, White, Light Gray are achromatic. Texture is analyzed using Chinese traditional food texture, animal texture and geometry texture. Through surveys and analysis, we came to the following conclusions. To begin with, in the features of Chinese style design reflected from overseas men’swear fashion press conference, H type which has begun to bloom since 2000 stand out most in the Jacket pattern. shoulders are performed using straight line, which is similar to past Chinese style design. As can be seen from the jacket details, Chinese style collar is the most common and produced by using modern style. Among other details such as right lapel, long sleeve and Cylinder sleeves, Chinese style can be expressed most. Compared with Chinese position reflected in the Chinese designers’ works, position apparently appears less than that in the Chinese style including Pipa patterns and three turtles patterns. The colors are relatively darker than Chinese colors, however, it comes out more colors such as blue series. The texture appeared in Jacket is less than that of in Chinese men’swear, however, some parts contain food texture including bamboo trees, national flowers, baoxianglian, Lotus Flower and some animal textures such as dragon and tiger. The next is in the Chinese style features appeared in the Chinese men’swear fashion press conference, Chinese Jacket pattern is similar to that of overseas, which is H type. Longer patterns are obvious in the Chinese traditional men’s wear. Stand collar in the Jackets’ detail stand out most in the Chinese style which is modified from the past stubborn pattern to modern comfortable pattern. Furthermore, right lapel occupy most, which is the same as that of foreign countries, and front opening are increasingly obvious too. Right lapel and front opening are mostly performed in Chinese traditional men’swear. Long sleeves and Cylinder sleeves stand out most. In the brand of Lilanz, narrow sleeves often appear. Position is most performed using in-line. In color series, purple series and red series are common and are close to Chinese traditional the Five colors, food texture, geometry texture and dragon texture often appear in Jacket. Finally, through contrasting and analyzing Chinese design in men’s wear fashion press conference of both China and foreign countries, we could come to a conclusion that Jacket pattern is always H type. Furthermore, compared with Chinese Jacket’s pattern, most of foreign Jacket’s pattern is much tighter, and Jacket’s collar mostly is Chinese style stand collar, which could be derived from some details of Chinese tunic suit and could better represent important element of Chinese style. In foreign men’s wear’s design, most of details are performed on right lapel. On the other hand, Chinese men’s wear’s design pay more attention to both right lapel and front opening. Long sleeves and Cylinder sleeves stand out most. In the part of position, most of them choose Pipa style and three turtle style, and Position is most performed using in-line in Chinese Jacket design. Both China and foreign countries make use of different kinds of colors, foreign Jacket is likely to choose blue series, while Chinese Jacket prefer to purple series that is close to Chinese traditional the Five colors and red series. In foreign Jacket, food texture and animal texture often appear inside, while food texture, geometry texture and dragon texture often appear in Chinese Jacket, especially for dragon which is a lucky representative and always seen and used in China and foreign countries.

Key Word: Modern Men’s Wear, Chinese Style, Design Characteristics.; Characteristic of Chinese Style in Contemporary Men’s Jacket Design

Jin Yan Department of Fashion Design The Graduate School, Hanyang University

China has a long history with a large number of ethnic minorities. In recent years, with the rapid growth of Chinese economy, numerous western countries have paid attention to every aspect of China. Meanwhile, Chinese cstume has been widespread in the world. Take Chinese costume as an example, numbers of costume designers combine the style of Chinese traditional costume ‘QiPao’ with that of modern costume. Recently, Chinese men’s wear has been developing multifariously. The research purpose of this thesis is to better grasp men’s wear’s change processes and Chinese traditional men’s wear in all ages from the end of the 20th century to the 21st century by understanding theoretical principle. On the basis of the trend of modern men’s wear, selecting and analyzing Chinese style features represented in men’s Jacket and providing basic data for anticipating the popular trend of Chinese style men’s wear. Moreover, by analyzing and specific contrasting the Chinese men’s wear design trend between overseas and China, we could better understand the whole process of change on Chinese men’s wear design. The content of the thesis is to survey Chinese traditional men’s wear (The five dynasties). Through previous research references men’s wear’s change process during the founding of the republic and the Great Cultural Revolution will be studied, and men’s wear’s change process will be searched from 1978 to 2000. By analyzing the materials about the features of Chinese men’s wear design after 2000, 4 foreign designers and 2 Chinese designers will be selected to analyze Chinese style design feature of men’s wear design trend and contrast Chinese designs represented in both foreign and Chinese men’s wear design trend. The research method is to by investigating Chinese history, culture, costume and related books and thesis, then choose women fashion brand which could represent Chinese style and collect materials which could represent Chinese style in men Jacket brands. The material is collected from 4 foreign men’s wear brands of 2001S/S collection and 2010F/W collection which is in the websites of costume information(Fristview. Kor ea). Among these men’swear brands, the photos from fashion press conference from Paris and Milan of Fashion Press Conference Dolce & Gabbana, Giogior Armani, Yohji Yama moto, Louis Vuitton will be selected, then in chinese websits such as Yoka, Acemefashion, the brands of Fengfei.Z and Lilanz in which the designers Zeng Fengfei and Ji Wenbo make full use of Chinese style will also be chosen and selected. The patterns contain X type, Y type and H type. The details contain colors, lapels, and sleeves. The color is produced by Photoshop Program to make color chip, and divide them into five colors, R, Y, G, B, P, then add another five colors, which amount to 10 colors which are colorful, while Dark Gray, Black, Gray, White, Light Gray are achromatic. Texture is analyzed using Chinese traditional food texture, animal texture and geometry texture. Through surveys and analysis, we came to the following conclusions. To begin with, in the features of Chinese style design reflected from overseas men’swear fashion press conference, H type which has begun to bloom since 2000 stand out most in the Jacket pattern. shoulders are performed using straight line, which is similar to past Chinese style design. As can be seen from the jacket details, Chinese style collar is the most common and produced by using modern style. Among other details such as right lapel, long sleeve and Cylinder sleeves, Chinese style can be expressed most. Compared with Chinese position reflected in the Chinese designers’ works, position apparently appears less than that in the Chinese style including Pipa patterns and three turtles patterns. The colors are relatively darker than Chinese colors, however, it comes out more colors such as blue series. The texture appeared in Jacket is less than that of in Chinese men’swear, however, some parts contain food texture including bamboo trees, national flowers, baoxianglian, Lotus Flower and some animal textures such as dragon and tiger. The next is in the Chinese style features appeared in the Chinese men’swear fashion press conference, Chinese Jacket pattern is similar to that of overseas, which is H type. Longer patterns are obvious in the Chinese traditional men’s wear. Stand collar in the Jackets’ detail stand out most in the Chinese style which is modified from the past stubborn pattern to modern comfortable pattern. Furthermore, right lapel occupy most, which is the same as that of foreign countries, and front opening are increasingly obvious too. Right lapel and front opening are mostly performed in Chinese traditional men’swear. Long sleeves and Cylinder sleeves stand out most. In the brand of Lilanz, narrow sleeves often appear. Position is most performed using in-line. In color series, purple series and red series are common and are close to Chinese traditional the Five colors, food texture, geometry texture and dragon texture often appear in Jacket. Finally, through contrasting and analyzing Chinese design in men’s wear fashion press conference of both China and foreign countries, we could come to a conclusion that Jacket pattern is always H type. Furthermore, compared with Chinese Jacket’s pattern, most of foreign Jacket’s pattern is much tighter, and Jacket’s collar mostly is Chinese style stand collar, which could be derived from some details of Chinese tunic suit and could better represent important element of Chinese style. In foreign men’s wear’s design, most of details are performed on right lapel. On the other hand, Chinese men’s wear’s design pay more attention to both right lapel and front opening. Long sleeves and Cylinder sleeves stand out most. In the part of position, most of them choose Pipa style and three turtle style, and Position is most performed using in-line in Chinese Jacket design. Both China and foreign countries make use of different kinds of colors, foreign Jacket is likely to choose blue series, while Chinese Jacket prefer to purple series that is close to Chinese traditional the Five colors and red series. In foreign Jacket, food texture and animal texture often appear inside, while food texture, geometry texture and dragon texture often appear in Chinese Jacket, especially for dragon which is a lucky representative and always seen and used in China and foreign countries.

Key Word: Modern Men’s Wear, Chinese Style, Design Characteristics.; 飞 ), 계문파(计 代男性夹 克里体 现 的中国 风 设 计 的特性

中国 是历 史悠久，拥 有少数 民族的大国 家。因近几 年经 济 快速的生长 ，很 多西方国 家对 中国 开 始非常的重视 。伴随 着中国 的经 成长 ，中国 服饰 也渐 渐 地传 播到世界。很 多服装 师 运 用中国 传 统 女装 ‘旗袍’，来 新款样 式。中国 男装 也在多样 的发 展。 本论 文的研 究目的是，通过 了解理论 ，从 20世纪 末到21世纪 的各个 时 代男装 的变 化过 程与 的理解。 以现 的趋 势 为 中心，选 定，分析现 特性，并 预 测 的服装 趋 提供基本资 料。而且，海外和中国 的男装 里发 布的中国 ，通过 更具体 的比较 ，分析，帮 助了解中国 化流逝。 本研 究的具体 内 容是，考查 以及调 查 的古代（五代）服饰 。通过 以往研 究的参 考文献 ，研 究中国 的开 国 期和文化大革命的男装 变 程，调 1978年到2000年代的服饰 程。通过 的资 料进 行分析2000年以后的中国 的特征，选 定海外设 4人和中国 2人来 分析男装 里的中国 的特性，比较 海外和中国 里体 。 研 究方法是，考察中国 的历 史，文化，服饰 等有关 的专 门 书 籍和以往的论 文。选 定女装 的品牌，收集男性夹 资 料。服装 情报 韩 网 站的（Fristview.Korea）里, 从 2001S/S Collection到2010F/W Collection的海外的四个 品牌，各选 定（米兰 ，巴黎）中的 Dolce & Gabbana, Giogior Armani, Yohji Yamamoto, Louis Vuitton的服装 发 布中收集相片，以及Yoka, Acemefashion等中国 服装 站里，从 2005年到2012年的中国 品牌两 个 是在中国 布中，中国 曾凤 ，计 文波的品牌Fengfei.Z和Lilanz来 进 行选 定，调 。 收集的资 料里的设 特性用视 觉 来 分析, 分为 形态 , 细 节 ，色彩，纹 样 等。形态 的分析是X形，Y形，H形等。细 的分析是领 子，襟，袖子等来 组 成的。色彩是在男装 夹 克里应 用的Photoshop Program来 做color chip, 在分R, Y, G, B, P的5种 中间 色加入后的10个 颜 중국은 역사가 유구하고 오랜 전통을 지닌 소수민족이 함께하는 대국으로 최근 경제발전의 전력지위가 확립되면서 서방국가에서 점차적으로 중국 진출에 많은 관심을 기울이고 있다. 또한 중국의 경제 성장과 더불어 중국복식도 점차 세계 곳곳에 널리 전파되고 있다. 중국의 전통 여성복인 치파오(旗袍)는 현대 패션 디자이너들이 많이 응용하고 있으며 최근에는 중국 남성복도 다양하게 발전하고 있다. 본 연구의 목적은 20세기 후반기에서 21세기의 각 시대별 남성복 패션의 변화과정과 중국 전통 남성복에 대하여 이론적 고찰을 통하여 살펴보고, 현대 남성복을 컬렉션의 중심으로 자료를 선정, 분석하여 현대 남성 재킷에 나타난 중국풍 디자인의 특성 및 중국풍 남성복의 패션 동향을 예측할 수 있는 기초 자료를 제공하는데 있다. 또한 해외와 중국의 남성복 컬렉션에 나타난 중국풍 이미지를 좀 더 구체적으로 비교 분석하여 중국풍 남성복의 변화와 흐름을 파악하는데 큰 도움이 될 것으로 기대한다. 본 연구의 구체적인 내용은 중국 전통 남성복인 고대의 5대 복식을 구체적으로 고찰하고 조사하여 중국의 개국시기와 문화대혁명시기의 남성복 변화과정을 선행연구를 참고문헌을 통하여 살펴보았으며 1978년 이후로부터 2000년대까지의 남성복의 변화과정을 조사하였다. 그리고 2000년대 이후의 중국 남성복 디자인 특징을 현대 남성복 컬렉션의 자료를 통해 분석하고 해외 디자이너 4인과 중국 디자이너 2인을 선정하여 남성복 컬렉션에 나타난 중국풍 디자인의 특성을 분석하며 해외와 중국의 남성복 컬렉션에 나타난 중국풍 디자인에 대해 비교 분석하였다. 연구를 위한 방법으로는 중국의 역사, 문화, 복식 등과 관련된 전문서적이나 선행연구를 통하여 고찰하였으며, 선행연구를 통해 여성복에 중국풍이 많이 나타난 디자이너 브랜드를 선정, 남성 재킷에 나타난 중국풍 디자인 자료를 수집하였다. 자료는 패션정보 사이트인 퍼스트뷰 코리아에서 2001년 S/S컬렉션부터 2010년 F/W컬렉션까지의 해외 남성복 브랜드 4명, 각각 (Milan, P aris)중 돌체앤 가바나(Dolce & Gabbana), 조르지오 아르마니(Giogior Arman i), 요지 야마모토(Yohji Yamamoto), 루이비통(Louis Vuitton)으로 선정하여 사진자료를 수집했고 중국 패션정보 사이트인 요카, 아크미 패션 등에서 200 5년부터 2012년까지의 중국 남성복 브랜드 2명은 중국에서 남성복에 중국풍 디자인을 가장 많이 선보인 디자이너 증봉비(曾凤 文波)의 브랜드인 Fengfei.Z와 Lilanz로 선정하여 조사하였다. 해외 컬렉션에서는 총 214개 사진자료와 중국컬렉션에서는 총 217개의 사진자료가 수집되였다. 수집한 자료의 디자인 특성을 형태의 실루엣, 디테일, 색채, 문양으로 나누어 시각적으로 분석하였다. 실루엣 분석은 X형, Y형, H형으로, 디테일의 분석은 깃, 여밈, 소매 등으로 나누어서 분석을 하였다. 색채는 재킷에 분류된 사진들을 Photoshop(포토샵) 프로그램을 활용하여 컬러칩으로 정리하고 R, Y, G, B, P의 5가지의 주요 색상에 YR, GY, BG, PB, RP까지의 5가지 중간색을 삽입한 합계 10 색상을 유채색으로, Dark Gray, Black, Gray, White, Light Gr ay로 무채색을 분류하였다. 문양은 중국의 전통 문양에서의 식물문, 동물문, 기하문 등의 기준으로 분석을 하였다. 본 연구의 결과를 통하여 얻은 결론은 다음과 같다. 첫째, 해외 남성복 컬렉션에 나타난 중국풍 디자인의 특성을 보면, 재킷 의 실루엣은 박스형의 스타일인 H형 실루엣이 가장 많이 나타났다. H형의 실 루엣은 2000년대 초반부터 지속적으로 많아졌음을 볼 수 있었다. 과거의 중국풍 남성복의 형태와 같이 어깨를 더 강조하고 직선적으로 표현 되었다는 것을 알 수 있었다. 재킷의 디테일을 살펴보면, 칼라는 중국풍인 차이니즈 칼라인 입령이 가장 많이 나타났으며 현대적으로 세련되게 디자인이 되었다는 것을 알 수 있고 특히 2005년도 이후에 더 많이 나타났다. 여밈은 일반적인 우임이 가장 많이 나타났고, 소매는 재킷 디자인에 따라 장수와 통수가 가장 많았다. 매듭 단추는 중국 디자이너들의 작품에 비하면 적게 나타났지만 일부에서는 비파문양, 삼귀 등의 매듭 단추를 볼 수 있었다. 색채는 유채색의 남색계열이 가장 많이 나타나 전반적으로 중국의 남성복에 나타난 색채와 비슷한 경향이었지만 전반적으로 어두운 톤들이 많이 나타났다. 재킷에 나타난 문양은 중국보다 적은 편이나 일부에서는 식물문의 대나무, 국화, 보상련, 련화와 동물문의 용, 호 등을 볼 수 있었다. 둘째, 중국 남성복 컬렉션에 나타난 중국풍 디자인의 특성을 보면, 재킷 의 실루엣은 해외와 마찬가지로 H형의 실루엣이 가장 많이 나타났다. 중국 전 통 남성복의 형태와 길이가 긴 형태의 실루엣을 많이 볼 수 있었다. 재킷의 디테일에서는 예상했던 대로 중국전통 복식칼라인 차이니즈 칼라, 입령이 가 장 많이 나타났으며 과거의 딱딱한 형태로부터 현대에서는 세련되면서도 심 플하게 디자인을 재해석 하였다는 것을 볼 수 있었다. 여밈에서는 우임이 가 장 많이 나타났지만 대금도 적지 않은 수치로 나타났다. 우임과 대금은 중국 전통 남성복의 탕쫭 에 나타난 것과 비슷한 스타일로 현대에서 디자인을 선보였다. 소매는 장수와 통수가 가장 많이 나타났고 브랜드 Lilanz에서는 착수도 많이 나타난 것으로 볼 수 있었다. 매듭단추는 일자형이 가장 많이 나타났고 심플한 형태의 디자인이 많았다. 색채는 유채색의 보라 계열색과 빨간색의 순 서로 많이 보였으며 중국 전통의 대표적인 오방색에 근접하게 나타났다. 재킷에 나타난 문양은 현대에서는 많이 나타나지 않았지만 일부에서는 식물문, 기하문, 동물문의 용 등이 많이 나타났다. 셋째, 해외와 중국의 남성복 컬렉션에 나타난 중국풍 디자인에 대한 비교 분석한 결과를 살펴보면, 재킷의 실루엣은 모두 H형 실루엣이 가장 많이 나타 났지만 해외 남성복 재킷의 실루엣이 중국 남성복 재킷의 실루엣보다 전체적 으로 슬림하게 디자인되었다. 재킷의 칼라는 모두 중국풍인 차이니즈 칼라 입령이 가장 많이 나타난 것으로 보아 중국의 중산복의 디테일의 이용이 빈번하 다는 것으로 알 수 있었고 또한 입령은 가장 중국풍을 쉽게 알릴수 있는 부분 적인 요소인 것으로 볼 수 있었다. 해외 남성복에 나타난 디테일의 여밈은 우 임이 가장 많았지만 중국 남성복에 나타난 여밈은 우임과 대금 모두 볼 수 있 었다. 소매는 모두 장수와 통수가 가장 많이 나타났지만 중국 브랜드 Lianz에서는 착수 형태의 스타일도 많았다. 해외의 남성복 재킷에 나타난 매듭단추는 비파문양, 삼귀 등 다양한 패턴을 볼 수 있었는데 오히려 중국의 남성복 재킷에 나타난 매듭단추는 일자 반뉴가 가장 많이 나타나 해외 남성복 재킷에 나타난 매듭단추보다 심플하다는 것으로 볼 수 있다. 색채는 해외와 중국 모두 유채색이 가장 많이 나타났으며 해외는 남색계열을 많이 사용하였고 중국은 오방색에 가까운 보라나 빨강이 가장 많이 나타났다. 재킷에 나타난 문양은 해외와 중국에서 모두 적게 나타난 편이지만 해외 남성복 재킷의 문양은 식물문과 동물문이 일부로 나타났지만 중국 남성복 재킷의 문양은 식물문과 동물문, 기하문도 나타났다. 특히 동물문의 용은 해외와 중국에서 모두 볼 수 있었다. 용은 중국 전통 문양의 상징이여 해외나 중국에서 많이 응용을 하고 있다는 것으로 알 수 있었다. |&#29616