• Journal of the Korea Fashion and Costume Design Association
• /
• v.18 no.3
• /
• pp.21-36
• /
• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

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

• Journal of Industrial Convergence
• /
• v.19 no.6
• /
• pp.139-144
• /
• 2021

Since the human act to pursue beauty is the most natural desire and instinct, the demand for a new beauty trend in line with the 4th industrial revolution era, in which aesthetic interest in human appearance management along with the importance of appearance is increasing day by day is very necessary at this time. In order to derive the source from art, which is closely related to beauty studies, the shape and texture of women's hair design appearing in 'Chinoiserie' style Western paintings that were popular in Europe and France in the 18th century. As a result of the study, the hair design of women appearing in four Western paintings showed characteristics of each individual shape, texture, and color. Through this study, the foundation stone for the development of a new mode hairstyle for modern people living in a rapidly changing era while quarreling with the village, and the foundation stone for the development of various beauty contents.

• Journal of the Korea Furniture Society
• /
• v.28 no.2
• /
• pp.103-110
• /
• 2017

A folding screen, which spread from china, is varied by many country. Each country make folding screen to fit their culture. Since oriental culture spread to europe, Chinoiserie and Japonism arise in europe at 18C, 19C. Specifically, Chinoiserie arise at 18C, after rococo. And Japonism arise at 19C, after World's fair. But korean culture, even if korea is part of the orient, doesn't found in europe. Korean folding screen doesn't found neither. Chinoiserie and Japonism are not special to oriental people. It's just customs for them. But europe feel it is special because their customs is not familiar to europe. We have to research about our familiar customs and diffuse it to world. That is our task. So this research will compare symbolic meaning and frame between each country's-korea, china, japan, europe- folding screen at formal concept angle. This research will be a basement data about what we concentrate for find korean's own culture style. Because this research is about folding screen, which stimulate western people's interest and has deep oriental color. Also this research help to make modern explication about korean old tradition.

• Art History and Visual Culture
• /
• no.21
• /
• pp.126-147
• /
• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.

• Korean Institute of Interior Design Journal
• /
• v.17 no.3
• /
• pp.3-14
• /
• 2008

The purpose of this study is to clarify the historical circumstances under which the Korean Pavilion was established at the 1900 Paris Exposition Universelle, and the construction process and design features of the pavilion building. At that time, even though Korea faced difficulty due to lack of experience in the world exposition and funds, Korea attempted to positively participate in the international cultural event by establishing the Korean Pavilion under an official contract with assistance of the French Government. Moreover, the Pavilion shows significant architectural features which had not been shown until then in terms of the structure and design of the pavilion building. In this connection, in this thesis, among others, the historical circumstances under which the "Korean Pavilion" was established at the 1900 Paris Exposition Universelle, and the construction process as well as the process and features of the draft design prepared at an early stage by Baron Delort de Gleon on the part of France among the above parties to the project for construction of the Korean Pavilion, which have never been addressed in the field of architecture or interior due to lack of existing data, will be clearly studied based on relevant literatures. According to analysis of the study, it reveals that the representation method for the Korean tradition of Korean Pavilion designed by Baron Delort de Gleon was based on the Chinoiserie, the style widely seen in Europe. In addition, Delort de Glean's commerce-oriented concept is integrated into the design of the Korean Pavilion as well.

• Korean Institute of Interior Design Journal
• /
• no.1
• /
• pp.46-51
• /
• 1992

18c, statues of French Lacquer Furniture are worthy of close attention in aspects of its quantity , quality and asthetics in production. This kind of furniture have been developed, devising the its own original techniques, through it was influenced and begun with the imported from China. Therefore, the main currence of color with black tones had changed to French style, with somewhat repleting to chinese ornament. This characteristics is distinguished in furniture which is expressed as a min theme. It can say that it has the meaning of lacquer furniture as part of chinoiserie prevailing at the time that social consensus through the political supports for upbringing furniture industry, a close relationship of clients , merchants, and descorators with appreciative eyes, and the ceaseless persuit of the new had made resulted in concurrence of asthetics between the eastern world and the western world.

• Korean Institute of Interior Design Journal
• /
• no.32
• /
• pp.90-96
• /
• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• Journal of the Korean Society of Costume
• /
• v.64 no.7
• /
• pp.29-44
• /
• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Journal of the Korean Society of Costume
• /
• v.65 no.8
• /
• pp.136-150
• /
• 2015

The purpose of this thesis is to elucidate the exchange between the East and the West during the 17th century through analyzing the oriental influences described in paintings in Delft school, a trade port of East India Company. The scope of this study focused on the 37 pieces of works by Johannes Vermeer and 31 pieces of the paintings by Pieter de Hooch, which are all the existing work, as analysis targets. The resources of this study were from previous papers about the history of costumes, paintings and culture, Internet sources and other qualitatively analyzed articles. The items that the study looked into were Delft porcelains and Delft tiles, Turkey carpets, costumes and accessories pearl earrings and headdresses. The study looked into oriental factors observed in each of these items, and analyzed them. In terms of oriental factors that are frequently observed in paintings, porcelains (100%), Deft tiles (100%), pearl earrings (100%) and (most) carpets (92.3%) turned out to have oriental nature, but this was not the case with head dresses (7.7%) and clothing (0.3%). These results happen to coincide with the previous investigation in that the oriental factor was reflected in the culture first, while the effects on costumes significantly lagged behind. This progress in cultural exchange can be seen through the noted use of Chinoiserie, a technique that is representative of the Chinese culture, in the 18th century. Through Japonism, the influence of Japanese culture into Europe was introduced, in detail, in 19th century. These results suggest that there are sufficient amount of sources that could be used to study the effect of orientalism to the Western culture. This study intends to look at how the oriental culture affected those of Europe by researching the Delft school of Netherlands during the 17th century.