• Archives of design research
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• v.13 no.4
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• pp.115-123
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• 2000

The purpose of this study was to examine the application tendency about the interior elements of the western classical style which appears in Korean residential space. The examined objects were 324 pictures of 99 residential spaces from the different monthly magazines between Sep.1994 to Sep.1999. The results of this study were as follows: 1. The tendency of application according to the kind of space, it has appeared much in Iivingroom, master bedroom and dining room of apartments and houses. As for the single application in residential space, Rococo and Neo-Classic style was shown most, and the cases applied through the mixture of Renaissance style and Nee-classic style appeared most. 2. The tendency of application arroding to the interior elements of space, the wall of Nee-Classic style and the ceiling of Renaissance style, the window and door of Nee-classic style, and the furniture of Rococo style were being applied much.

• 베이커리
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• no.5 s.406
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• pp.77-79
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• 2002

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.43-55
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• 2021

Unlike nail care, nail art is a field with strong decorative elements that decorate the surface of the nail. In line with the trend of the times, which freely expresses one's personality, nail art is establishing itself as a definite and a key area in the beauty industry. Currently, design creation and technology developments are important, with the release of various nail materials and new trends that spread through mass media. Despite the great developments in the nail beauty industry, there is a lack for nail artists. Due to this fact, it is considered a necessary to combine nail art with the contemporary art styles, which have various motifs of design, and to study nail art design using them. In response, this study selected art from the Rococo era, where delicate and colorful decorative elements were at their peak, to consider the artistic styles of the time and present them in various nail designs. This study would like to expand the scope of new nail designs by suggesting colorful and feminine designs to women, who are the main customers of nail salon. In addition, the purpose of this study is to provide nail artists with basic materials that can be used in creative ideas and expressions, such as 2D and 3D nail designs, and composite nail design art, which are the art areas for nail art.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.42-49
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• 2006

This study aims to revive modernized upstyle technique by analyzing the formative characteristics of hairstyle in Rococo ages. As a methodology, book-form literatures, periodicals, theses, and photographic materials including portraits related to Rococo ages, which had been studied from the time when Louis XIV died, to the advent of French Revolution in 1789, reaching a period of seventy-four years, were reviewed. Those materials for hairstyle revealed in modern fashion included related literatures and theses and photographs involving designers' works in fashion magazines, photographs of hairstylists' works, and movies with background of Rococo ages. Based on such materials, the formative characteristics of hairstyle in Rococo ages were studied for modernized upstyle. First, the formative characteristics of hairstyle in Rococo ages were divided and analyzed in Fontnage style, in Pompadour style Marie Antoinette style. Second, this study researched those examples wherein the characteristics of Rococo's hairstyle were expressed in modernized style, and manufactured modern upstyle works based on the research. Rococo ages featured various fashion trends and created sensitive and magnificent style with romantic theme in art field. Also, since the hairstyle in Rococo ages featured various styles that were magniloquent and magnificent, it is revived in today's hair shows and fashion shows in the same way or altered way. It is expected that this study will help understand the formative characteristics of hairstyle in Rococo ages and shed light on study on modern hairstyle in more various perspectives.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.458-475
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• 2017

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

• Korean Institute of Interior Design Journal
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• no.9
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• pp.77-85
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• 1996

The purpose of this study is to examine losely how the Rococo style, which reached its summit in the history of French furniture, was realized in its social background and mode of life. Based ion this examination , this study will explore desirable directions for developing our domestic furniture design. For this purpose , existing literature will be referred to and analyzed to arrange into a new system. Rococo furniture style was the product of joyous and aristocratic living . This was based upon the historical development of French interior design, established by the national mode of Versailles Palace. Hereafter, royal style came into fashion paralleled with the luxuries of the court. Pursuit of new , interesting or beyond-expectation fashions encouraged the creation of new and imaginative forms and designs . The elegnant taste of customers, the new techniques of furniture manufacturing , and the unique sales strategies of merchants were social phenomena which contributed to the development of Rococo furniture. Furthermore , Louis XV`s private and personal life led to society`s pursut of comfortable and convenient living . Under these circumstances, small and cozy rooms for various uses came into the interior. Accordingly, the scales of furniture became smaller and any types of furniture with their own uses and feminine nature were manufactured , especially by the bnistes. Rococo furniture with fmine beanty and refined line, beatifil proportion and elegant sculpture, and solidity and clarity in general , is not only furniture for the use of man, but also furniture in harmony with man. As we see the stages of development and the characteristics of Rococo furniture, development of Korean furniture is a common task which can be accomplished through the participation of the designer, manufacturer, seller and consumer. Based on this co-operation , the furniture industry must make an improvement in furmture design, lestablish a permanent store in which new works are displayed. publicize activities and sales, promote exhibitions and seminars, and encourage technical development through the government and other interested organizations.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.15-33
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• 2022

The purpose of this study was to categorize the decorative characteristics of the Rococo Age, which displays the most glamorous and elegant decorative beauty, in architecture, interior decorations, paintings, and patterns, and to analyze these characteristics and graft them onto art masks in a modern way. Piece I is a mixed media piece that based its motif on the ceilings and pulpits of the German Vis Pilgrimage Church, which is representative architecture of the Rococo Age. It was glamorously produced using gold and cubic zirconia. Piece II is also a mixed media piece that borrowed its motif from the exterior and gazebo of the Sanssouci Palace in Germany, another representative piece of architecture from the Rococo Age, and it was produced to clearly display the image of the Sanssouci Palace, using emerald and ivory. Piece III applies the furniture trends of the Rococo Age. Curves in S and C shapes, which can often be found in Chinese furniture, along with dark backgrounds, common in portrait paintings, were applied to give a sense of weight and dignity. Piece IV is an application of the fabric patterns of the Rococo Age. Continuous patterns of flowers and greenery stems were drawn on the mask to recreate the fabric patterns of the age. Piece V used the painting 'Swing' of the Rococo Age as its inspiration. Lace and ribbon decorations were used to emphasize feminine beauty and express the loveliness of the woman that appears in the painting. Piece VI borrows from the painting 'Madame de Pompadour' of the Rococo Age and the clothing worn by Pompadour. This piece grafted colors and themes through the painting and expressed a fusion of the dresses of Pompadour and lace that is clearly displayed in the architecture, paintings, clothing, interior decorations, and patterns of the Rococo Age, along with the rocaille (asymmetrically shaped decorations that resemble clams), flowers, leaves, stems, and Chinoiserie styles. These motifs clearly display the decorative characteristics of the age and these were grafted them onto art masks, confirming that it is possible to create new designs.

• Journal of the Korea Furniture Society
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• v.15 no.1
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• pp.53-61
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• 2004

German Baroque and Rococo styles in furniture design show three types because of political and geographical conditions - Northern style from Holland and England, Middle one from France, Southern one from Italy, The German's Baroque style, however, emphasized in practicality and metamorphosed form and material using the motive of plant trunk, flame pattern, and Akanthus leaf. Furniture of German Rococo surrounding space, and chairs two-dimensional curved lines than flower, ribbon, and lattice. style was designed form and color becomingly with were displayed decorations of more pictorial and structural forms, using the pattern of palm tree leaf, clam, flower, ribbon, and lattice.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Cross-Cultural Studies
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• v.45
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• pp.349-380
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• 2016

In this article we tried to discover the predilection of the Goncourt brothers for the noble culture of the eighteenth century. It is well known that two brothers sought to bring forth the aristocratic world formerly reigned by Louis XV and Louis XVI. The favorite themes of the Goncourts included rococo, rocaille, Kings' mistresses, and antiques. Were the brothers fascinated by the culture of the eighteenth century only because they were themselves in the lineage of an aristocratic family? Are there any other reasons behind their predilection for the eighteenth century? This research started from these questions, because we believe that, in their preoccupation with such culture, there must be other reasons beyond their aesthetic predilection. We first studied ideological grounds to answer these questions. Our attention was particularly drawn to the relationship between their attachment to aristocratic culture and their rejection of bourgeois culture in their time. We then attempted to discern the meaning of their studies on the French Revolution, in the wake of the revolution of 1848. By means of this approach, we found that they overestimated the vibrant and energetic culture of the eighteenth century, and they wanted to propose such culture to their contemporaries, in an effort to forget the terrible memory of the year 1848. We can therefore say that the Goncourt brothers proposed a remedy for the psychological torment of their time.