• 한국복식학회:학술대회논문집
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• 한국복식학회 2002년도 International Costume Conference
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• pp.79-79
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• 2002

• International Journal of Costume and Fashion
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• 제1권
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• pp.71-82
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• 2001

• 대한가정학회지
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• 제35권1호
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• pp.237-256
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• 1997

Women's clothes which represent feminity was one of the female oppression polices in the society of phallocentric sexual order. Many women were eager to good-looking as a comouflage for inferiority of their own sex which was the theory of fashion of Freud. He insist that it's the driving force for women fashion. Thight-lacing corset high heel and foot-binding which was made for men's pleasure limited women's social activity and unfortunately recycled. Such clothes or shoes makes women belong to men's power but its also one of the self controls for women. The materialization and sex objects of women was due to fashion which encouraged by men. Many facts of fetish gradually emerged I fashion and fetishism itself is no more than sexual perversion or low class sex culture. This paper is focused on relationship between fetishism and fashion which approaching based the feminism. We investigated how human ambivalence which persuit both modesty and fetishism is manifested in clothes. We also compared modern fetish fashion with corset and shoes which are sterotypes of classic fetishism

• 한국감성과학회:학술대회논문집
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• 한국감성과학회 2011년도 추계학술대회
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• pp.94-95
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• 2011

• 복식
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• 제50권
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• pp.129-144
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• 2000

In the history of the costume of Western Europe one of the most interesting apects is that the silhouette of women's dress has been continuously evolved. There can be various origins in this changing silhouette but the most important origin is that clothes of any period are the reflection of the architectural political religious and economic background against which they are worn they must also be djusted to the texture and design of the materials produced at the time and of course there is always the basic instinct of sex attraction. The changing line in men's and women's clothes has been demanded by each period but man's great active life did not required the development of exaggerated line which could restrict his movements. Exaggeration in men's clothes has usually been confined to accessories only details could be simplified or abandoned altogether in time of action. However Woman has no great concern in these restrivtions and when an era demanded an exaggerated silhouette she developed it to the utmost limit with out any hesitation plunged herself into whalebone cane and steel for the desired line and then later to adapt herself to a changing world just as without any hesitaion abandoned all these artificial props. In this study first of all the origin of the corset and the evolution of silhouette will be chronologically studied and rearranged on the basis of written materials such as text books theses and catalogs which are related to corset In this section the most important backgrounds-social religious and economic-which caused the chages of silhouette will be scrutinized in a time order. Then the shapes and functions of corsets will be looked into in a more detailed way. In addition the materials and decorations which were preferred to achieve the desired silhouette will be examined. Finally underwear which was and has been worn for cleanness protection the shapes of outer clothes and erotic mood will be studied.

• 패션비즈니스
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• 제5권2호
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• pp.35-48
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• 2001

The purpose of this research is to understand the importance and structure of underwear which is the closest cloth to the body. Scope of this research is from middle of 19th century to the beginning of 20th century. Firstly, I studied background of the times and change of women's status and duty. Secondly, I examined the outer garment closely by the ideal beauty of each period based on the study, and thirdly I looked into structure ways of underwear. Then lastly, I took a close look about the relation of outer garment and underwear, comparing with and researching both. I studied this research, focusing on corset, crinoline and bustle based on main characters such as reform and transform among several functions of underwear. The research results are such as follows. First of all, when women's social and economic status was subjected to men, women had worn corset and fashionable dresses even though there was many object movements and vices in women's garment. Secondly, according to those movements, the ideal beauty had changed little in the same sort emphasizing on breast and hip. Thirdly, structure method of underwear changed by ideal beauty and shape of outer garment. Due to increasing sports participation, improvement of women's position, achievement of practical use, women used more drawers and stopped wearing hoop. And the weight of underwear like combination and suspender attached to corset had decreased and advanced into the more practical way. Because of industrialization, function seemed to be granted by technology development, social position change of femininity.

• 패션비즈니스
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• 제23권4호
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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.

• 한국의상디자인학회지
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• 제23권3호
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• pp.1-10
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• 2021

Harnesses are used in a variety of industries, such as rescue operations, medicine, and entertainment. However, conventional harnesses have problems as they are uncomfortable to wear and causes continuous pain. Therefore, in this study, the load and pressure applied to the body in the flying state when using a conventional harness were measured in real time and the distribution change was observed. Load and pressure were measured using a modified corset harness, a pressure sensor, and a human mannequin to measure the maximum and average pressure on the waist. As a result, it was confirmed that the load concentrated on the waist in the flying state was 104 N, and the pressure was applied to the left and right sides was 800 kPa or greater. The pressure distribution showed a pressure of 3-45 kPa in 73% in all measurable pressures. The results of the load and pressure distribution are presented as basic data for improving the wearability and reducing the discomfort of harnesses in the future, aid in the development of a harnesses that can minimize discomfort for various activities, and increase the concentration on experiential activities. In addition, using the CLO 3D program, which is a 3D virtual wearing system, a harness was put on a virtual model, and the compression level was checked and compared with the actual pressure distribution. As a result of comparing the measured pressure values in the flying state with the clothing pressure wearing the harness in the CLO 3D program, the total pressure value was found to be about 68% of the actual measured value. This helps develop a harness that can minimize discomfort during activities by predicting the load and pressure on the body by first applying new designs to a virtual wearing system during development. These new harness patterns can solve the problems of conventional harnesses.

• 패션비즈니스
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• 제14권2호
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• 한국의류학회지
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• 제35권8호
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• pp.991-1005
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• 2011

This study researches the historical production, process, and design method for 3 pairs of corsets in $18^{th}$ century France. In the analytical stage of historical materials, it grasped the kind, form, origin, and change in style through a lexical definition of relevant terms. Through a precedent study on Garsault's 'L'art du tailleur', preservation costume, and historical reconstruction of pattern in preservation costume, it confirmed corps size, silhouette, pattern form, and material for historical production. The sewing method and the producing sequence were analyzed. In the production stage, 3 selective models in corps plein baleine, corps demi-baleine, and corset were historically produced. With neckline of forming broad Letter U, the bust part is covered roundly. The bodice was composed of 10 panels based on the corps form in the mid-$18^{th}$ century of following a curve of a human body. A shoulder strap was allowed to make the arm movement comfortable by producing and attaching it separately. The cutting line except the center in the front and the back of vertical line was distributed according to the natural flow of a form and movement of the human body. The curve-based pattern line was confirmed.