[국내논문]영화의상에 표현된 언더웨어의 디자인과 상징성 -16세기부터 18세기까지 유럽 배경의 시대극을 중심으로- Design and Symbolism of Underwear Shown in Movie Costumes -Focusing on Historical Dramas Set in Europe between the $16^{th}$ and the $18^{th}$ Century-원문보기
The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for t...
The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.
The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.
르네상스 시대의 여성들이 여성성, 풍만한 가슴과 넓은 골반에 큰 가치를 부여한 이유는 무엇인가?
르네상스 시대는 인간해방을 주장한 시기이지만 여성의 몸매는 남성과 구별하려는 의식적인 노력때문에 심화되어 과거 어느 때보다도 여성성, 풍만한 가슴과 넓은 골반에 큰 가치가 부여되었고4) , 허리를 조이고 가슴을 올려서 받쳐주는 도구가 필요하였다.
바스뀐느를 만드는 방법은 무엇인가?
본격적인 상체보정은 16세기의 바스뀐느(basquine)라고 할 수 있는데, 바스뀐느는 앞이나 옆 또는 뒤가 트인 조끼 형식으로 허리뿐만이 아니라 가슴과 배까지 조이는 역할을 했다. 풀 먹인 리넨을 두 겹으로 재단하고 그 사이에 신축성 없는 조각인 바스크(basque/ busk)를 넣어 딱딱하게 형태를 만들었다.5) 허리에 드림(tabs)이 달려 있고, 뿔, 버크럼(buckram, 아교풀를 뻣뻣이 먹인 아마포)과 고래뼈로 보강된 심플한 보디스이다.6)
상체보정에 쓰이는 바스뀐느의 역할은 무엇인가?
본격적인 상체보정은 16세기의 바스뀐느(basquine)라고 할 수 있는데, 바스뀐느는 앞이나 옆 또는 뒤가 트인 조끼 형식으로 허리뿐만이 아니라 가슴과 배까지 조이는 역할을 했다. 풀 먹인 리넨을 두 겹으로 재단하고 그 사이에 신축성 없는 조각인 바스크(basque/ busk)를 넣어 딱딱하게 형태를 만들었다.
참고문헌 (23)
김희선 (2007). "로코코시대의 의상과 헤어스타일에 관한 연구." 한국메이크업디자인학회지 3권3호.
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