• Fashion & Textile Research Journal
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• v.16 no.4
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• pp.543-553
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• 2014

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: , , and , set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in ; dailiness versus ceremonialness and dynamics versus statics in ; and independence versus conformity and variability versus continuity in .

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.56-68
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• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• Korean Institute of Interior Design Journal
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• v.16 no.4
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• pp.99-109
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• 2007

In the 19th century, a series of study by Hittorff, Semper, Ruskin, and others on architectural polychromy in various perspectives appeared. This presumed that the architectural polychromy could become an essential part of architectural composition and contribute to create new architectural style, if not, at least new architectural and cultural context of the 19th century, the period when it is considered that the stylistic evolution in architecture is absent. In the course of the stylistic development of church architecture of the 19th century in France, the architectural polychromy, grounded in a theory of representation, played a critical role as one of the main sources to create new architectural vision. The church architecture during the Second Empire in France was particularly susceptible to be influenced by this inevitable phenomenon, which signified an epistemological mutation in architectural perception beyond optical and perspective effect in the history of architecture. Here the study attempts to recognize the aesthetic value of the architectural polychromy in the 19th century, and investigate its application, as not just an aspect of architectural embellishment but an indispensable portion of architectural vocabulary, on the church architecture in France throughout the 19th century, then to define its role in creating new architectural environment.

• Journal of the Korean Institute of Rural Architecture
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• v.25 no.2
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• pp.17-24
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• 2023

Seokgojeon(石鼓殿) is a protective pavilion that protects stone drums made in 1902 during the Korean Empire in connection with Emperor Gojong's Mangyuksun (51'st birthday) and the commemoration of the 40th anniversary of his reign. During the Japanese colonial period, Seokgojeon was dismantled and transformed into the bell pavilion of Bakmunsa Temple, which was a memorial temple for Ito Hirobumi in 1935. In November 1945, just after liberation, Bakmunsa Temple was burned down, and the Seokgojeon Hall, which was transformed into Jonggak(鐘閣), was relocated to the Changgyeongwon(昌慶苑). Outdoor Stage in 1966, and was dismantled in 1984 due to the Changgyeonggung(昌慶宮) Palace restoration project, and only the members are currently stored. Therefore, this paper intends to use it as a basic research data to examine the style of monumental buildings during the Korean Empire through literature surveys, absence surveys, and case studies of similar buildings during the same period.

• Journal of Fashion Business
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• v.10 no.2
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• pp.147-165
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• 2006

The purpose of this study was to develop design of maternity dress combined with nursing. Six maternity wears combined with nursing were developed through the literature, preceding studies, and web sites those were about pregnancy, breast feeding, a maternity wear, and a nursing wear. The results of this study were as follows: 1. In order to develop clothes of diverse styles and designs, an after five dress, a poncho style blouse, wrap culotte as well as a skirt suit, a pants suit, an one-piece dress were designed. 2. It was established to make more amounts of front ease than those of back ease and to supplement a frontal hanging portion in consideration of breast development and abdominal prominence. 3. In order to make use of a maternity wear after a birth, stretch fabric was used for an abdominal part or whole clothes. Also an empire line and pleats, a poncho style, a shirts blouse, and inserting a string were used for it. 4. the fabrics of cotton, mixed cotton, polyester were used because pregnant women and nursing mothers perspires more than others do. 5. The horizontal, vertical, diagonal slits for a breast feeding were made. The storm flap of a trench coat, a machine pleated fabric, a poncho, a bolero style were used for a nursing cover.

• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• Journal of architectural history
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• v.32 no.3
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• pp.63-76
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• 2023

Homogot Lighthouse is located in Pohang of the easternmost of Korean Peninsula. Homogot has become first known as Cape Clonard in the West through the navigation log by La Perouse, a Frenchman who embarked on a global exploration in 1785. Homogot Lighthouse represents an outstanding accomplishment of modernization that numerous civilized countries scrambled to attain in the early 20^th century. Located where the geographical risk of earthquakes is high, the structure was nonetheless built to be 26.4m high with brick masonry. Structurally safe and aesthetically graceful, it demonstrates neoclassical ideas superbly in terms of style as well. Although the history of Asian lighthouses is shorter than that of European ones. Homogot Lighthouse, which demonstrates the history of a modern lighthouse along with those in Japan and China, is differentiated by the following characteristics. ① The 'living lighthouse heritage' is linked to one of the largest lighthouse museum in the world. ② Where you can see the earliest sunrise at the easternmost of the Eurasian Continent. ③ The completion of a modern-style lighthouse constructed at the easternmost of the Far East after being initiated in Europe. ④ Differentiated historical, architectural, and aesthetic value. ⑤ The heart of the national marine park.

• Journal of Fashion Business
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• v.3 no.2
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.131-138
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• 2006

The yanggwan is a striped headpiece for civil and military officials worn with jebok, a costume for the royal ancestral worship ceremony, or jobok, a ceremonial costume for the courtier. It was called a jegwan when it was worn with a jebok. The geumgwan and jegwan are of the same style but the geumgwan has a gilded band and backside and the jegwan is mostly lacquered. The yanggwan was worn first with the jebok by the officials, both of which were received from the Chinese Ming dynasty in the 19th year of the King Gongmin's reign during the Goryeo period. The royal crown and court clothing system was two grades lower than the standard clothing code of the Ming dynasty of China. In the Joseon dynasty, the oyanggwan worn by the highest grade officials had five-stripes but was later replaced during the Daehan Empire by the seven-striped chilyanggwan used by Ming dynasty officials. Oyanggwans make up the majority of the surviving examples of these headpieces, with the exception of the six-striped yukyanggwan of Chung In-hak (1839-1919), the Minister of Justice, which originated in the Daehan Empire and whose owner is definitively known. The gilt portion of this yukyanggwan is finely engraved in relief with a bird, flower and tendril motif. The yukyanggwan is topped by a decorative bird ornament, called a jeongkkot. EDSS spectrum analysis of the gold plating reveals a composition of 51.32% gold and 10.34% silver. The yanggwan is composed of bamboo, mulberry paper and silk crepe. The black portions are lacquered. The individual yang is made with twisted mulberry paper.