• The Research Journal of the Costume Culture
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• v.21 no.1
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• Journal of architectural history
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• v.27 no.3
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• pp.15-26
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• 2018

As a result of reviewing various documents and existing researches, since the late Goryeo period, the most active period in the Ondol(溫突, Korean floor heating system) facilities is the 17th century. The phenomenological reason was recovering the buildings destroyed by the Japanese Invasion of Korea in 1592(壬辰倭亂) & the Manchu War of 1636(丙子胡亂), but the underlying cause was an abnormal climate in which a pair of summer and winter cold continued. In the 17th century, as the Ondol facilities grew rapidly without distinction between regions and classes, the supply and demand of fuel caused economic and natural environmental problems. And a negative and positive view on Ondol was suggested. Since the middle of the 18th century, when the demand and supply of Ondol reached its peak, which could no longer increase, a new awareness of Ondol began to grow. The room was called the Panbang(板房) and the Ondol, depending on the material that made up the floor. It was considered natural to have the Ondol from this time on. The Incan(因間) and Jo(竈) that were made to burn were started to be recorded as a kitchen, regardless of size and function. Changes in social awareness of Ondol have led to concerns about heating efficiency. A variety of architectural explorations were conducted. Such a search was later realized in concrete architectural form. There is a double Ondoll structure, and the column spacing is reduced compared to the previous one. The heat buffer space is formed around the Ondol room, and the double window can control the light and the air going in and out.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.231-241
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• 2009

Embroidery is one of the oldest methods of textiles surface decoration. The masterpiece "Tapisserie de Bayeux," is one of the earliest Medieval embroideries. Embroidery was popular on a broad scale with introduction of what was called Opus Anglicanum("English work") in the 13th century. France had been producing sophisticated embroideries since the 16th century. England was the country producing the greatest quantity of embroideries of the best quality in the 17th century. Until the 17th century, the Church was the most important patron of needlework. Then a shift in emphasis occurred towards the domestic embroidery. English 17th century domestic embroidery reached a high point of technical brilliance and charm. In France, embroidery was produced on hangings as well as costume. 18th century interest in embellishing the domestic environment, embroideries became much more finely detailed than those of the 17th century with the use of finer wool and silk threads. French silk were the finest in the world, and their embroidery was arguably equally fine both in furnishing textiles and on costumes. "Art Needlework" was the major movement in embroidery in the late 19th century. The Royal School of Needlework was founded in 1872, followed by similar institutions around Britan. Splendid fashion embroidery of French haut-couture that was represented to Lesage atelier in 20th century.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.87-101
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• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.

• Journal of Fashion Business
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• v.18 no.3
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• pp.117-133
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• 2014

This thesis aims to investigate the morphologic relationship among the neckline, collar, and hair style, in which the width and height were measured by selecting the representative costumes from 16th to 19th centuries. The pieces of 170 pictures selected by fashion experts were cut in the same condition, with the part of the end of shoulder, head, and chest all placed on the equal level. The products were directly measured by a team of 3 specialists for verification of this study, of which results were calculated into average. The values of output were categorized into the unit of decade and finally into a graph of variation, in which the trend and relationship were evaluated according to the width and height. In 16th century, the width and height of the neckline were inversely proportional to those of hair style, while those of collar were proportional to those of hair style. In 17th century, the width and height of the hair style were proportional to those of neckline and collar. In 18th century, those of the neckline were inversely proportional to the hair style, with no collar found. In 19th century, the width of the neckline and collar were proportional to that of the hair style, while the height of the neckline and collar were inversely proportional to that of the hair style. The analysis of the morphologic relationship among neckline, collar, and hair style resulting from this study revealed that the change of the hair style took place corresponding to those of neckline and collar. Generally, the width of the hair style was found to be more resistant to change, compared to those of neckline and collar that were more susceptible. The height of the neckline was more resistant to change, compared to those of the hair style and collar presenting their frequently fluctuating height. Conclusively, the factor of height rather than that of width showed more dominant proportions, because the various forms of the collar and hair style evolved in terms of the height rather that width, relative to that of the neckline.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.27-40
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• 2004

The purpose of this paper is to make it easy to reproduce the Pattern and sewing technique of men's coat in 18th century. which are modified in order to be made readily available in Korean theatre costume. The investigation was performed in three steps. 1st, The papers and records about development and change of men's coats were reviewed. End; The whole process of the way how to make a typical 18th century men's coats were sewn. 3rd ; The modification or revision into the more simplified pattern using by CAD system and sewing technique were suggested in detail. The size of the pattern in the original one, which we chose for this research, was generally small. with the side line being moved back a little. Moreover, arm movements were severely restricted because of the small arm-hole. The problems of original pattern were corrected by making both front and back pattern snug and side line being moved to the front, and making arm-hole wider. In the sewing technique, the simple way how to use of Padding, inter-linings and linings and to create the most noticeable figure of 18th century men's coat. This article may help theatre costume production in Korean performing art.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.128-137
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• 2008

The purpose of this study is to investigate the characteristic analysis and to date guidance of European high heeled shoes in 18th century. The research was conducted by stylistic analysis of high heeled shoes from literature review and museums resource. 14 comparative study on shoe objects dating from 1600-1790 in the Museum at F.I.T., New York, Museum of Art, Boston and Metropolitan Museum of Art, New York were selected. The result of this study are as follows: (1) The origin and development of high heeled shoes were accomplished by protection, social status and exaggeration of body, decoration and fashion. (2) According to the comparative study of Museum objects and literature, characteristic analysis of high heeled shoes from 1700-20s, 1730-40s, 1750-60s, 1770-89 and 1890-1900 were accomplished. (3) Significant elements of European women's shoes from 18th century that aid dating are identified as the presence of white rand, shape of tongue, heel shape and height, latchat, toe shape, color and materials.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.81-88
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• 2019

Although small but eye-catching outdoor constructions are generally called follies in contemporary architecture, French landscape researchers found different features of the fabrique, which they called separately from the folly. Unlike the 18th-century English gardens, in which the landscape itself was emphasized more than decorative structures in it, French fabriques actively made the atmosphere of picturesque gardens. In this background, this paper, from the architectural point of view, studied the 18th-century garden theories in both Britain and France, which might influence the formation of the fabrique. Then, it tried to analyze the features of French major picturesque gardens and their fabriques, relating them to painting, drama, and culture. In conclusion, this study, focusing on the relationship between the garden and its fabriques or follies, compared the different features between the English landscape gardens and the French picturesque ones in the 18th century.

• Journal of the Korean Home Economics Association
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• v.39 no.4
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• pp.1-18
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• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.1102-1118
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• 2011

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.