• Fashion & Textile Research Journal
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• v.12 no.6
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• pp.821-829
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• 2010

The men's costume of eighteenth century showed feminine image of elegant decoration through the influence of social feminine atmosphere. As years go, heading towards the end of the eighteenth century, most of men's wear were simplified except vest, which had gorgeous decorations showing feminity. Therefore, men's vest of eighteenth was regarded as good item to apply to modern women's wear. The men's vest design of eighteenth century were divided into three types due to the passage of time, they showed the difference in the length, detail and trimming. Cutting lines in the modern fashion are used to give comfort and show the three-dimensional body silhouette. Also, cutting lines, as a decoration element, can define the costume's image and characteristics. Therefore, by using cutting lines, we can represent historical costume as modern costume and men's wear as women's wear. I made five women's costumes applying design characteristics of the men's vest of the eighteenth century. These five women's costumes have decorative aspect of men's vest of eighteenth century and simple aspect of men's costume. I applied dart manipulation in several different ways to make various cutting lines for women's costume. These cutting lines were emphasized by matching various colors and patterns of fabrics. I made small buttons and cords of these various fabrics. I sewed fabric buttons on five costumes for the purpose of function and decoration like buttons of the men's vest of eighteenth century. I applied fabric cords to decorate five costumes in various way. We should further study how to express important characteristics of historical costumes as modern costume in many ways.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.25-35
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• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.

• The Research Journal of the Costume Culture
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• v.24 no.1
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• pp.54-66
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• 2016

This paper examines the transition of the Hungarian men's costume. Transition of the Hungarian men's costume can be divided into pre-eighteenth century, eighteenth century, and since the nineteenth century. Hungarian costume was derived from the Magyar who settled in Hungary in the ninth century. Hungry had begun to accept Western culture in the tenth century, so when the prototype of Hungarian costume was completed, it consisted of Dolman, Mente, pants, and boots combining traditional Magyar style with Western European style. In particular, Dolman shows the uniqueness of the Hungarian men's costume; it has a high, stand-up collar in the back center, closes on the left, has a right front plate with a diagonal cut at the waist, and a wide front closure. In the eighteenth century, Hungarian men's costumes played an important role in displaying national pride while living under the oppression of the Habsburg Empire. In particular, Dolman was worn as a uniform at the battle of independence (1703~1710). This dress of male courtiers became the distinctive style of the eighteenth century and then became the basic style of men's costumes. Since the nineteenth century, Hungarian men's costumes have acted as an means to promote the national consciousness of Hungary through the Citizen Revolution (1848), the War of Independence (1849), and the formation of the Dual Empire (1867). Looking at evolution of the Hungarian men's dress style, it reveals that resistance and struggles against other nations, a history of aggression, and living under oppressed are factors that impact on important clothing transitions.

• Journal of the Korean Society of Costume
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• v.55 no.6 s.96
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• pp.125-140
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• 2005

The purpose of this study is to define the special characteristics of the neoclassic style in eighteenth to nineteenth century fashion. Researching into philosophy and aesthetics in eighteenth to nineteenth century, the characteristics of the neoclassic style in fashion is considered the clarity of form, the utility of function, and the sensuality combined with body. The results of this study are as follows: The clarify of form is found in geometric form based on anatomical truth of the human body in relation with rational and scientific thoughts. The utility of function is found in simple and suitable construction considering purely practical purpose of dresses. The sensuality combined with body is found in natural silhouette dress alluding naked body in connection with Rousseau' naturalism. Understanding aesthetic value of the neoclassic style will help to develop fashion designs associated with neoclassical forms.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.36-36
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• 2003

• The Research Journal of the Costume Culture
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• v.20 no.4
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• pp.616-620
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• 2012

The objectives of this paper are to examine some of the factors which may account for the rise in predominance of British textile manufacture in the eighteenth and nineteenth centuries. This paper identifies a range of important eighteenth century British inventions and associated developments, such as the 'factory' system, which stimulated expansion in textile manufacture in the British Isles and led to the rise in international importance of various 'heritage textile industries', including the Lancashire cotton industry, the Yorkshire woollen and worsted industry, the Dundee jute industry and the Irish linen industry.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.265-282
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• 1994

The mask used in drama has been reappreciated, and it needs profound and systematic studies in order to form the mask to effective use. In research, the aesthestic values in the masks of he latter period of Chosun(the mideighteenth century-the early nineteenth century) was examined through the analysis of traditional drama in accordance with the historical social background. In the later period of Chosun, the active performance of the mask in company with the occurrence of a popular movement caused by people's self-awakening showed a close relationship between the development of the mask and its historical background the moulding characteristic of the mask was analysed before and after the eighteenth century, and regionally in the south and in the middle and the north. The mask express the quality of art before he eighteenth century. It showed, on the other hand, a strong social nature and a touch of satires on society in the south and a religional interest in he middle and the north. This study shows from the viewpoint of a aesthetics that traditional Korean mask during Chosun period had comfortable and voluminous forms with beauty curved lines and colors and rhythm. The aesthetic values in mask as expressed through the aesthetic characteristics have been classified the beauty of nature the beauty of personality, the beauty of traditions. Visual image with these beauty in masks were expressed into fashion illustration of suits and dresses.

• The Research Journal of the Costume Culture
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• v.1 no.2
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• pp.221-232
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• 1993

This study analyzes the symbolism of costume in the genre paintings of Yoon Bok Shin, the great artist of Korea in eighteenth century, based on the symbolic interaction theory. We classify the symbolic character into tow categories, the symbolism of social status and position as a social factor, and erotic symbol as a sexual factor. The symbolism of the social status and position include the sex, age, class, occupation, and diginity. From the costume In the paintings, the symbolic character of the clothing in the social and sexual contexts can be visualized.

• Journal of the Korean Society of Costume
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• v.39
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• pp.139-166
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• 1998

This dissertation is to help understanding about the emergence of active children's clothes in the latter part of the 18th century in England. In previous ages children had not been look-ed upon as children, but as incomplete and in-ferior men and women, the costume of children had not been distinguishable from that of their elders. The early eighteenth-century chil-d could not play in comfort because they dressed like their parents. But in the third quarther of the eighteenth century children became free from their con-comfortable and became active. English chil-dren's clothes was prevailing even in Europe as well. In the background of this liberation, there were many enlightened ideas, such as philosophers of enlightenment, doctors, writers, educators. Among these John Locke and Jean Jacque Rousseau criticized openly about rampant fashion which was distorting the body by corset and hoop. Rousseau was the one who wrote$\boxDr$Emile$\boxUl$and played the most important role to free children from an old fashioned idea, and emphasized to bring up children by the natural process of mental and physical development as human beings are a part of nature. Fashion reflects politic, economic, social, ideology, culture of the days and these factor function to create fashion which shows“Time Spirit”.Children's clothes, like those of their parents, follow the fashion, but with a difference, the form of which varies with the attitude to the child. Thus this dissertation was to study in relation with the background of the times in the latter part of 18th century in England and Rousseau's Naturalism in connection with the emergence of active children's clothes. The result is that diffusion of the idea of freedom and equality, the growth of bourgeoisie, the development of clothing and tex-tile industry have influenced to the emergence of active children's clothes. Also a great deal of middle and high class parents devoted to their children's education and was influenced by Rousseau's Naturalism. Specially the bourgeoisie who made their fortune by their own effort were eager to educate their achievement and business by their children through education. This factor influenced to the children's clothes as well.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.