• The International Journal of Costume Culture
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• v.6 no.1
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• pp.1-10
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• 2003

This study aims to analyze the influence which Marie Antoinette, an unfortunate queen and fashion pioneer, had upon leading the creation of fashion in the eighteenth-century. In addition, this study attempts to expect some insights of fashion on the basis of analysis. Marie Antoinette created a new trend of fashion all the time through her hatred of restricting freedom, discontentment and caprice. She created the robes a l'anglaise, a la polonaise, a la levite, chemise a la reine, and so on. Also, Marie Antoinette created a giant hair style by hiring a hairdresser named Leonard. It can be believed that even though Marie Antoinette is open to censure owing to her frivolity, vanity and extravagance, she is recognized a creator of womanish, beautiful, delicate and graceful dress and ornaments.

• Journal of Fashion Business
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• v.23 no.4
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.21-28
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• 2024

The public can access movies more easily than any other cultural genre. The film's costumes convey the social, political, and cultural climate of that time period. Additionally, it subtly conveys the message of the movie, including the intentions of the director and the characters. Filmmakers can now use fact-based materials to plan their films, and audiences can now watch costume in movies with objective standards, particularly in period dramas, thanks to the advancements in over-the-top (OTT) services. The 77th British Academy costume Award went to the movie Napoleon because of how much emphasis it placed on the outfit. Ninety-five percent of the costume was made by experts in military uniforms and costumery. In contrast to the previous aristocratic and exaggerated Rococo costume, Napoleonic clothing had a natural and common-class character. A natural-shaped Chemise dress composed of light, reflective material first appeared in the Directoire era, just after the French Revolution. Chemise dresses made of a variety of materials gained popularity during the Empire era. With Napoleon taking the throne and Josephine becoming the empress, the vibrant court culture resurfaced during the Empire era. The silk was embellished with gold thread and embroidery, train dangling forms, and different types of sleeves appeared in Empire styles. They wore Pellisse and shawls under the coat. The hair style had long, ancient hair and was adorned with fillets. They also wore straw hats, bonnets, and caps. Long gloves and parasols were also popular accessories, as were pearl or colored jewelry necklaces, earrings, bracelets, and rings. During the Empire era, tiaras were fashionable. Shoes were either low-heeled pumps or sandals. The movie uses Chemise and Empire costumes, which are versatile enough to be used in a range of settings and eras. When it came to details, the type of sleeve was employed without regard to time, such as when using those from an earlier or later period. Since jewelry was worn more often than not in that era, practically every character has earrings on their necklaces. Nearly exact replicas of the coronation costume can be found in paintings by Jacques-Louis David. The red trains, Josephine's Empire dress, the crown, the Tiara, and the costumes of every character in attendance were all clearly identifiable in terms of form and color. To further aid viewers in understanding and enhancing the film's overall coherence, a scene featuring David drawing the coronation was added. Overall, there were differences in that the historical costumes were accurately recreated, the materials and details were utilized without restriction, and some of the costumes were designed with modern materials or accessories that were used more than the historical costumes. This section appears to have been written to highlight the beauty of the characters' personalities or settings. There is a limitation to this study in that it only looked at aristocratic clothing, which includes Josephine's. We will concentrate on male clothing in future research.

• Journal of the Korean Society of Costume
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• v.50 no.4
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• pp.21-36
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• 2000

History confirms that the eastern style was reflected in various parts of the western culture including clothing. In this paper we show some evidence that the influence of India on the French clothing during the neo-classical period(1789-1820) was substantial. Among others, the use of muslin, kashmir shawl and banyan during the period is greatly emphasized. The muslin imported from India was used as the textile for the chemise mown, a typical clothing during the period. Indian muslin was used, because it was of better quality compared to the muslin manufactured in England and France and it was not expensive. The kashmir shawl imported from kashmir in India was also a popular item in Europe not only because it matched well with simple color of chemise gown, but because it expressed the tone of Greek and Roman. Banyan which was most popular clothing worn by men in 18th century Europe originally came from India, which goes back to the Kaftan clothing in the Central Asia. Banyan was an informal home style clothing different from the conventional tight men's wear. It is true that the muslin, kashmir shawl, and banyan also became fashion items throughout the 19th and 20th century to the English and other European people. However, we limited our attention to the influence of India on France because we think the French Revolution and Napoleon's conquest of Egypt are far more important factors when considering the influence of Indian culture on Europe.

• The Korean Journal of Community Living Science
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• v.14 no.3
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• pp.21-30
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• 2003

An underwear originated from when a human lost his purity and recognized his situation. But, it could not be sure when underwear and an outer garment were classified according to a function. An underwear has been used for a decorative and mental function, as well as a practical one. Also, it is the most fundamental medium to understand a human and a period. However, many studies on outer garments not an underwear have been done till now Therefore, this study was done to be arranged and analyzed materials scattered in order to give a correct understanding of an underwear as a clothes. The data were based on the existing fashion pamphlets, fashion magazines and other materials. The main results were as follows; Female's contemporary underwear was classified into Hosiery, Foundation and Lingerie. The Hosiery was again classified into chemise, combination, drawers and brief. The most typical hosiery was a chemise for a health and hygiene, and the drawers was adhered closely to a body. The Foundation which had a function to be well shaped was classified into Brassiere, Girdle, All in one, Body suit, Corset, Waist nipper and Garter belt. A typical contemporary foundation was a brassiere and a girdle. A brassiere had a role to support the breast up and A girdle compensate a hip area. The Lingerie which made body silhouette be vivid was classified into Slip, Panty, Wintum, Linge, Home lingerie, and so on. A slip, a panty and a lingo were typical lingeries. A slip made an outer garment be well-formed.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.269-284
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• 1997

Followings are the analysis of the two areas'costumes, the Renaissance and Baroque, as the analytic and synthetic structures. From the analytic structure of the costumes, the analytic body and of the Renaissant man's outer garments is manteau, pourpoint, trousses, bas du chausses, and codpiece of the hat is toque. And the analyic body of the Baroque, man's costume is pourpoint and rhingrave, of the under garments is chemise, of the hat is felt, of the shoes is shoes. In the analytic structure of woman's costume, the analytic body of the Renaissant outer garments is robe, of the under garments is corps-pique, chemise, and vertugadin, of the hat is french hood. And the analytic body of the Baroque outer garments is skirt and overdress, of the undergarments is corps-baleine. The results we have got from the analysis of the synthetic structures of the costumes is that other analytic elements are chosen and united as the component features of the major analytic elements among the analytic elements in the tables of 3-1, 3-2, 3-3, and 3-4. If we compare the two analytic bodies of the two areas, we can see that the names of the costumes were changed and the component features about the names were changed according to an area, too. And we can see the synthetic structures were changed according to the analytic body in the analytic structures were changed according to the analytic body in the analytic structures with the synthetic structures.

• Journal of the Korean Society of Costume
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• v.40
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• pp.67-80
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• 1998

Being located in the east of the Mediterranean Sea, Cyprus used to play a bridge role of cultural exchanges between the East and the West during period of being occupied. As a consequence the fact that the style of costume might be changed at certain levels during the time is broadly accepted. Basic structure of Cypriot men's clothes during the late of the 19th century to the middle of 20th century is composed of\circled1 baggy trousers(vraka) \circled2 shirt(chemise) \circled3 jacket(ziboune/zibouna) \circled4 waistcoat(yilekko) \circled5 headdress(fez, kourouklin) \circled6 accessories. General composition of women's wear is \circled1 pantaloons(vrandzin) \circled2 shift(poukamiso) \circled3 outer garment(sayia, foustani, Amalia, costume) \circled4 waist kerchief(mandili tis koxas)\circled5 boots(podines)/pumps(goves) \circled6 scarves and accessories. As reviewed above, although men's clothes are still worn on a day to day basis, women's wear continues to exist only for festivals or as a tourist attraction. It was understood that this was an accepted consequence of 20th century modernization and reformation.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.152-166
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• 2006

The purpose of this study was to make patterns for lingerie look after examining expressive characteristics and constructive elements of lingerie look. As underwear became outerwear, position of wearing, materials, and details had changed, and the phenomenon to expose one's body has increased. The constructive elements found in the lingerie look were classified into silhouette, fastening, dart, and cutting line. Many of corset looks revealed cutting lines such as diagonal, perpendicular, and horizon. Brassiere look used perpendicular rutting lines or horizontal cutting lines passing through the bust point in order to highlight the volume by adding darts. There were styles Of chemise looks that used princess lines or separately added a brassier on the breast. Based on the examination of the elements, a total of four apparel works were created, including one flat pattern and three draping patterns. With new infra-apparel designs and patterns, this study was able to artificially highlight the body and express the beauty of costume through revelation of body. In addition, it explored the possibility that the phenomenon that underwear becomes outerwear may be a new idea of dress designing.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.75-85
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• 2005

This study analyzed the factors of change of women's underwear in the Renaissance, which had a sudden change of shape. First, the spirit of the Renaissance was focused on human-attached importance to glamorous beauty of the body and pursued the glamorous well-proportioned figure as the ideal of the human body. This expressed a woman's beautiful curved lines by reduction of their waist size and emphasis of breast and hip lines. It also created and emphasized one's physical figure, which is a characteristic of sex. Also the materials and size of underwear cleared up the classification of class. Second, through the development of weaving techniques, more textiles were produced, from linen, the most common material used, to silk in underwear and stomacher, and chemise, which was made more splendid be devising elaborate embroidery techniques. Third, as we know that the farthingale was devised in Spain and transmitted to France because of the prevalence of printing and trade, where it changed and developed to more convenient style, this shows that information interchange was active, and we can see the phenomenon that it is developing continually through the prevalence of printing and trade.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.263-274
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• 2003

This study analyzes how social environment influenced underclothes and characteristic which underclothes have is associated with the outer garment and the underclothes in the Middle Ages. As a result, 1 can get the next conclusion First, throughout the Middle Ages, body was involved with the sense of same and sin influenced by the religious austerity. This mentality was applied to the underclothes. As underclothes are not generally revealed, it is recognized to be not important but inefficient. Second, in the late Middle Ages, as the outer garment reveal the body line, the underclothes are affected by it. So men's and women's distinction in the outer garment is applied to the underclothes. In the second quarter of the 14C, class distinction and sexual attraction certainly present on the outer garment but are not applied to the underclothes. The conceptions that underclothes might express the spirit of the changing times, in sympathy with the outer garment, did not enter the medieval mind. Third, the function to protect the body is emphasized the underclothing in the Middle Ages, whereas it was important to identify rank sign in the history of underclothes. Throughout the Middle Ages the underclothing of both sexes is emphasized utilitarian in (unction rather than class distinction and sexual attraction. But women exposed their body line in thin chemise to represent sexual attraction in the late Middle Ages.