• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.708-717
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• 2017

Industrial innovation in Britain, during the eighteenth and nineteenth centuries, stimulated the introduction of the factory system and the migration of people from rural agricultural communities to urban industrial societies. The factory system brought elevated levels of economic growth to the purveyors of capitalism, but forced people to migrate into cities where working conditions in factories were, in general, harsh and brutal, and living conditions were cramped, overcrowded and unsanitary. Industrial developments, known collectively as the 'Industrial Revolution', were driven initially by the harnessing of water and steam power, and the widespread construction of rail, shipping and road networks. Parallel with these changes, came the development of purchasing 'middle class', consumers. Various technological ripples (or waves of innovative activity) continued (worldwide) up to the early-twenty-first century. Of recent note are innovations in digital technology, with associated developments, for example, in artificial intelligence, robotics, 3-D printing, materials technology, computing, energy storage, nano-technology, data storage, biotechnology, 'smart textiles' and the introduction of what has become known as 'e-commerce'. This paper identifies the more important early technological innovations, their influence on textile manufacture, distribution and consumption, and the changed role of the designer and craftsperson over the course of these technological ripples. The implications of non-ethical production, globalisation and so-called 'fast fashion' and non-sustainability of manufacture are examined, and the potential benefits and opportunities offered by new and developing forms of social media are considered. The message is that hand-crafted products are ethical, sustainable and durable.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 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 the Korean Society of Costume
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• v.61 no.8
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• Journal of the Korean Society of Costume
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• v.18
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.75-87
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• 2017

Sensitivity has become more important in relation to design in the changing social environment and atmosphere. In the West, the concept of aesthetics has long been established but in the East, only in the seventeenth and eighteenth century China did the discussion begin. In Korea, where the first scholarly discussion on aesthetics began around 1929, more and more rigorous and theoretical discussions are emerging now. Korean beauty consists of the beauty of no-artfulness and the beauty of natural artfulness. Japanese beauty consists of the beauty of half-articulation and the beauty of articulation. While both Korea and Japan base their sense of beauty on nature, Korea emphasizes nature as it is while Japan values artful decorative elements. Especially in modern Korean fashion, the characteristic Korean aesthetics of un-artfulness appears in various expressive techniques such as the movement with natural gathering, the use of natural materials like cotton, the harmonization of black and white, and a simplified silhouette. In Japanese fashion, one can see techniques such as: the beauty of half-articulation expressed through the ambiguity of shapes, colors, and genders or simplicity and paucity using straight lines, the beauty of articulation expressed with bright flower prints and ornaments, accessories of Obi and feathers and the transformed silhouette.