• English & American cultural studies
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• v.14 no.1
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• pp.53-71
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• 2014

This paper is about some aspects of the late-modern representation of antiquity in Western countries. The timeframe is mostly the decades since the 1980s, but some works are also mentioned from previous phases. Some information is given on the late-modern historical novel, characterized by mixture of genres and intertextual references to historical events and contemporary varieties of discourse. Eclecticism would seem to be a characteristic feature, and it mainly consists of a mixture of real events and imagination, cohabitation of ancient settings and modernized characters, and interaction between high and low culture. Commercialization often accompanies novels on antiquity in the $21^{st}$ century. And ideologies such as romanness, germanism and barbarianism are employed by some authors to refer to contemporary realities. A number of films and novels are mentioned. More specific analysis focuses on Valerio Manfredi's The Last Legion and the film based on the book; Simon Scarrow's Gladiator: The Fight for Freedom; and Robert Harris's Pompeii.

• Journal of the Korean Home Economics Association
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• v.47 no.3
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• pp.1-9
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• 2009

This study was conducted to examine how patchwork was expressed in fashion based on theoretical background on its brief history and expression styles and to show its possibility of creating ways for new expression in modern fashion. This study reviewed literatures on definition, history and styles of patchwork and investigated mainly works, which had been presented in collections home and abroad since 2000, to analyze its expressive characteristics shown in modern fashion. According to analysis on the expression of patchwork, it used various painting techniques such as patterns, colors and surface effect. It included patchwork having patterns provoking elusion of fairy tails; containing painting expression of reproducing works of artists; using colors boldly and contrasting strong primary colors directly to establish purity of painting and to pursuit characteristic expression; and using expression techniques of pure art such as gradation and cutting. Second, it used a compromise expression in materials, methods and substances. Patchwork which had used cloth without a pattern or printed fabric, utilized various materials like vinyl, paper, leather, metal and plastic and had a figurative value showing a solid expression as an objet itself with new techniques and changes of connecting methods. Thirdly, it used tradition patchwork techniques. Pieced patchwork, crazy patchwork and images of traditional odd ends of cloth covering a meal were applied to a whole area or a part of cloth to avoid monotony of design and to use it as a decoration.

• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.91-107
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• 1999

The primary purpose of this study is to inquire into the characteristic of exposure presented in fashion, identify the correct concept of exposure from an aesthetic perspective, and grasp the contemporary meaning of exposure presented in fashion. As a result of study, the following findings were obtained: First, the surrealist style of fashion exhibited representations such as the relocation of the partial details, the harmonization of the natural and the artificial, the emphasis or expansion of each part of the body, and the like. It used highlighted the genital region with ornamentations or used the technique of paradoxically exposing the part of the body always covered. And it exbibited the paradoxical relationship of exposure and concealment by exposing the concealed part of the human body. Second, the post-modern style showed the complicated phenomenon that the values of several meanings such as the historic, the folk, and the like appeared in its fashion. It shares in spatiotemporal eclecticism, pluralistic characteristics and the like found in the post-modern culture. Third, the deconstructive style gets rid of the distinction between the external space and the private space by translating underwears into outer garments. It destroys clothing by tearing or perforating clothing whereby it represents the poor image. Coupled with women‘s psychology of exposure and the new generation’s way of thinking indifferent to others‘ eyes, this fashion of deconstruction occupies the great current of fashion. Deconstructive fashion gets away with the rule of ‘having to wear clothing to suit TPO(Time, Place and Occasion), the traditional norm of wearing clothing.

• Journal of the Korean Society of Costume
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• v.61 no.5
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• pp.21-33
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• 2011

The aim of this study is to identify the formative feature of the Chippendale style of the 18th century and to understand the aesthetic feature of the Chippendale style applied in the modern fashion. This is significant in that new possibilities are proposed in fashion design in more holistic and multifaceted views by comparing and delving into the fashion vis-a-vis other fields in a bigger scope of the formative art. The Chippendale style furniture is a combination of various styles of different eras and regions such as Gothic and Chinese style based on the Rococo style. Today, It is regarded in fashion as a composite design of heterogeneous elements or very curvy decorative design. The Chippendale style of this kind is classified into the Rococo style, Gothic style and Chinese style. Depending on each classification, formative features including curves, asymmetry, decorativeness, geometrical feature, exoticism, compositeness and graceness were derived. In comparative studies, fashion and furniture of the Chippendale style have the similarity in formative features but there were some differences in the expressive method. This study analyzed the formative features of the Chippendale style represented in furniture and the modern fashion based on the Rococo-revival design in the modern fashion starting from 2000.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.13-23
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• 2007

This paper has focused on comprehending the interior designs and characteristics of modern department stores in Korea by looking into the birth and changes of those built under the Japanese Forced Occupation Period. The first modem department stores including Mitsukoshi, Georgia and Hwashin Department Stores began to appear in Korea under the Japanese Colonial Rule. They considered a variety of architectural elements like construction planning, shop arrangement, path of customer movement and interior design. The interior of modem department stores aimed to pursue the so-called modernization movement, but failed to fully contain the unique characteristics of the times in that particular period. Modem department stores took on new western styles prevailed in Korea and were characterized by the eclecticism in which various architectural forms exist together. In other words, their interiors implied a sign of the times in the confusing and corrupt world then. Especially those modern department stores were designed, repaired and extended by foreign designers who were ignorant of the history of Korean architecture. What is worse, their further remodelling practices made big mistakes by considering only functional and economical aspects and giving a back seat to the architectural and historical value of existing modern department stores. Therefore, we should make more efforts to study and conserve the fundamentals of modem architectures like modem department stores in order to have better understanding of the aesthetic value of indoor space and facilitating smooth communication between past and present.

• Korean Institute of Interior Design Journal
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• v.25 no.5
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• pp.82-92
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• 2016

This study aims to contribute to better understanding of the Baroque architect Francesco Borromini, and, as a consequence, of the Baroque period itself. Recognizing that historical studies have focused mainly on the architectural (i.e., formal) aspects of Borromini's work and largely neglected the technical (i.e., structural) issues, and that the relationship between the architectural and structural worlds in Borromini's activity has consequently never been studied in depth, this research set as its objective the study of this relationship, and has developed a comparative analysis of Borromini's attitude toward architectural problems and questions of tectonics. The investigation has been conducted on two meaningful case-studies in Rome: San Carlo alle Quattro Fontane and Sant'Ivo alla Sapienza. The analysis has highlighted a strong dichotomy between Borromini as an architectural designer and Borromini as a structural designer. While Borromini's design is experimental, innovative, and nonconformist, his structures are cautious, tested, and validated by trustworthy tradition. His unprejudiced use of constructive solutions from different historical periods, regions, and cultural areas allows the definition of his approach to tectonics as "constructive eclecticism." The analysis has also highlighted the independence between the architectural and structural aspects of his work, as the two do not interfere with or limit each other. The dichotomy between form and structure in Borromini's work may reflect the "theatrical" tendency of Baroque culture, where what is shown on the face is often different from what is hidden behind.

• Journal of the Korean Home Economics Association
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• v.44 no.4 s.218
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• pp.1-9
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• 2006

This study examines the esthetic characteristics in the haute couture work of Jean Paul Gaultier, who represents the fashion in France and is famous for avant-garde and experimental works through dismantling, from the first haute couture collection in 1997 to the present. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in domestic and international fashion journals. Three characteristics are revealed in his works. First of all, he provided a transcendental fashion different from the established wearing or ornamental ways by dismantling the dichotomies between male and female, time and space, and beauty and ugliness. Second, he reflected the decadent beauty recognized as representing women's sexual and provocative expression based on exposure, suppression, perversion, and grotesque manifestations by shaping an esthetic value within a different point of view. Finally, he was characterized as being transcendental with an eclectic fusion of intercultural differences or dynamics, items in costume formation, time and space, and eastern and western. This transcendental expression, Gaultier's desire for creativeness, can be an ideal characterizing this era.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.147-165
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• 2001

Haute couture denotes a luxurious made-to-order dressmaker's shop. In principle, it refers to a place that is registered with the Paris Apparel Association and has met the size and criteria specified by the association. The features of modern fashion expressed in haute couture have been contemplated by categorizing them into mixed impression appearing in haute couture work pieces. turning the collection event into a spectacle and commercialization for the succession of haute couture. Mixed impression manifested in the haute couture has engendered (1) the creative and dynamic feature (2) eclecticism with popular culture (3) mixed impression of reactionism (4) ethnic characteristics. From the above considerations, one could say that the factors drive the very existence of haute couture and comprise three elements of impeccable backgrounds, They are (1) organizing ability and protective policies of the French fashion industry, (2) relentless experimental spirit of the haute couture designers and (3) Paris that supports creativity and fashion fabrication, have coincided with rising up of the value of persistence on originality of work pieces in accordance with diversifying cultural transformations. consumer-oriented patterns by way of capital symbolized by consumers and restructuring of company operation by each shop. This report describes comprehensive understanding of haute couture, creativity and dynamic power of the haute couture work pieces. Akin to the efforts to maintain the existence of high-grade cultures throughout the overall cultures themselves, haute couture, on the basis of these factors, should also become the motive power through which luxurious culture in fashion is created in the days ahead.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.14-26
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• 2013

The purpose of this study is to compare and analyze Jacqueline Kennedy and Michelle Obama's fashion style from a perspective of modernism and postmodernism. The method utilized in this study was first, to examine the properties of modernism and postmodernism. Next, we explored the types of role performance of the first ladies and the application of their fashion as an aid to their roles through the precedents of the research concerning modernism and postmodernism. The results of the study are as follows. First, there was a trend of formalism and anti-formalism. Jacqueline Kennedy made her public appearances wearing a formal dress in order to express the first lady's authoritarian figure of restrained elegance. The fashion of the first lady aspired to formalism. Meanwhile, Michelle Obama followed more of a free style by eschewing the typical formality of the first lady. She created diverse styles utilizing a variety of items, which were not interrupted by form or by using heterogeneous items. Second, there is a trend of elitism and populism. While Jacqueline Kennedy preferred only haute couture designers' costume in order to show the prestige and dignity of the upper class, Michelle Obama patronized unknown designers' clothing or mid-level casual brand goods that the public favors in order to interact with the public through her fashion. Third, while modernism regards totality or unity to be important, postmodernism puts an emphasis on the eclecticism by pursuing complexity and diversity through the deconstruction of an indigenous genre. In case of Jacqueline Kennedy, this tendency featured monotone clothing color, which presented a unified full set dress that excluded decoration. Michelle Obama, in contrast, mixed and matched formal dresses and a casual cardigan or felicitously mixed luxury brand or low to middle priced brand goods.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.109-123
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• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.