• 복식문화학회:학술대회논문집
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• 복식문화학회 2005년도 Joint International Conference
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• pp.81-83
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• 2005

• 비교문화연구
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• 제38권
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• pp.215-243
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• 2015

This paper looks at the literary mood of southwestern Russia in the late Russian Empire, while examining the writers of this area and their literary tendencies. Southwestern literature was formed in the late Russian Empire, and prospered centering around Odessa. Because of the uniformity in the Soviet culture, however, it could not stay alive but disappeared in the history of Russian literature. Odessa, the center of southwestern literature was a multiracial region unlike other Russian cities. A unique culture was created, therefore, combining the western European culture and local ethnicity. Jews in Odessa could enter into the Russian society and assimilate naturally. They could utilize their talents as a strength to enrich the Russian culture without giving up their cultural heritage. For example, in lingual aspects, using Yiddish was not against the Russian culture. In addition, it contributed to interesting new coinages and led to efforts among writers to minimize the gap between the two languages. Many Jewish writers showed special interest not only in Yiddish but also in French, German and other languages. Therefore, they took the lead in translating and introducing west classics. As evident in the way Yiddish language was formed, mixing their language with other languages enabled jews to soak their way into other cultures naturally. Their yearning for the Russian and western European cultures, combined with their unique sense of humor, led to generic twists and problematic experiments. From another point of view, it is also unusual that southwestern literature diversified locational settings and heroic characters in literary works. European style heros, appearance of multiracial people, pain or waggery experienced by Jews in their assimilation process, thrilling revenge to unfair violence of Russians, and espiegle swindlers are the new domains that southwestern literature pioneered. In summary, southwestern literature was formed in a heterogeneous cultural climate, which was entirely different from the Russian Empire. In this regard, it was in deviation from the Russian literary tradition. From the Soviet point of view, it existed as a heresy which was against the Russian Empire.

• 복식
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• 제63권6호
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• pp.140-149
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• 2013

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.

• 한국주거학회:학술대회논문집
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• 한국주거학회 1994년도 학술발표대회논문집 상
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• pp.57-63
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• 1994

The purpose of this study is to examine how Korean changed and applied the railway official residence space constructed by the Japanese, when they occupied these railway official residence space after liberation from Japan, and specify the relationship between the life culture and residence space by analysing the differance in important life style, as well as element of change in important residence spaces according to modernization. In addition, this study was carried out by means of research on the form and pattern, visual anthropological method by photograph and direct observation.The result of this study is summarized as fellows. The residence space at Kyounaju constructed by the Japanese on the basis of the culture has been changed and applied to the life style of the Korean when the Korean occupied these Japanese style residence space.Then, it seems that the change of the Japanese style residence was caused by both differance in the life pattern between Korea and Japan, and the medernization of the life.

• 건축역사연구
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• 제6권1호
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• pp.47-65
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• 1997

In the time of the rule of Japanese imperialism, Japanese style official residence played major role at the implantation of modern dwellings into Korea and its influences on Korean modern dwellings are distinguishable. This study focuses on the Japanese style official residence implanted into Korea before 1910. Before 1910 Japanese civilians in Korea builded just a traditional Japanese dwellings at the Japanese settlement in the ports opened. But Japanese engineers engaged in governmental organization of construction in the Old-Korean Empire builded a central corridor type Japanese dwellings as official residence. The central corridor type Japanese dwelling was an urban dwelling compromised between Japanese style and western style and distinguished by an outer-court type plan, Japanese entrance hall, central corridor and western style reception room. It is certified that the central corridor type Japanese dwelling was implanted into Korea before 1910 and this was the first time an urban dwelling to be implanted and spread through the whole Korea. The central corridor type Japanese dwelling implanted into Korea took in On-Dol and transformed to Korea-Japanese eclectic style. The central corridor type Japanese dwellings implanted into Korea in the time of the rule of Japanese imperialism makes function as a precedent of a modern urban dwelling to Korean and makes Korean dwellings transform from the rural inner court type into the urban outer court type.

• 복식
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• 제44권
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• 패션비즈니스
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• 제7권4호
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• pp.105-120
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• 2003

Culture and society exist in the present, but they came from the past. So did clothing. As dressing is deeply based on culture pattern of the times, it is affected by various culture patterns and still keeps developing in modern times. This study is intended to examine the features of retro fashion on culture and dressing of the 19th century. The features of retro fashion on Neoclassical and Romantic culture and dressing are objection to the existing pattern, recursion to the past, and creativity characteristic of pattern of those days. Neoclassicism arose as it rejected Baroque and Rococo style, and imitated culture and artistic pattern of Greece and Rome. Romanticism objected to formal and universal pattern of Neoclassicism, and imitated Gothic style while recognizing historical facts and studying medieval times. Dressing in Neoclassicism did not accept exaggerated and luxurious Rococo pattern, and imitated simple, soft and straight silhouette of Greece and Rome and created its unique Empire Style. Romanticism imitated luxurious style of Renaissance, the Middle Ages, Baroque, and Rococo, different from simple and straight neoclassical style during the Bourbon restoration, and created its unique style. Thus, it is shown that retro fashion on Neoclassical and Romantic culture and dressing reflect the style of those days.

• 한국의상디자인학회지
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• 제10권1호
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• pp.79-97
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• 2008

This paper is a study on the Bisotun relief of the Achaemenid Dynasty in ancient Persia. The Bisotun relief consists of the relief and the inscriptions which was completed through 7 phases. The inscriptions describe how King Darius suppressed the rebels in Elamite, Babili and ancient Persian languages. This relief is a work during the early Darius period and it describes using the traditions of Mesopotamia in terms of the theme and structure. In terms of structural features, it follows the typical features of the Assyrian arts, the beard and the shape of hair style. On the other hand, the smooth curves used to describe the creases of the clothes and the supple body was not a typical oriental feature. It was known to be because of Greek influence from their communications. It also showed the dressings of the clans that made up the Achaemenid Dynasty through the 9 rebellions wearing clothes unique to their clan and the inscription that was inscribed with the name of the clans. The clothing and ornaments they were wearing can be divided into two groups, the clans that wore one-piece style Persian dress and clans that wore tunic jackets and trousers which is a typical dressing style of the nomads.

• 복식문화연구
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• 제11권6호
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• pp.941-955
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• 2003

In this study, the researcher investigated how tailored garment were accepted and developed in India where the traditional costumes, such as Sari and Dhothi, excluding the tailored process, were mainly worn. It is suspected that pants and coats were first introduced during the Kushan Dynasty but they scarcely influenced on the costumes of India. In the 7th Century when Islam made its entrance in India, pants and coats were not accepted in India due to the exclusive attitudes of Indians, Hindu. Pants and coats were worn locally as Indian costumes through the Islamic Mughul Empire in the 16th Century. During that period, the cultural exchange between Islam and Hindu made the change of the clothes of India reflected the mixing of Islamic and Hindu elements. The colonization of India by Great Britain that was the turning point for diverse kinds of tailored garment in the costume history of India inasmuch as western elements were introduced. The western style tailored method and design changed the appearance of Indian pants into slimmer style. The style spread and influenced on the design of indian clothes greatly; hence, western style shirts and coats were accepted in India.

• 한국의상디자인학회지
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• 제13권4호
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• pp.127-138
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• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.