• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• 자연과학논문집
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• 제4권
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• pp.233-244
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• 1991

This study was counducted to identify a relationship between the aesthetic costume arising from an and-social minority movement towards the end of 19c, England on the one hand, and bustle and crinolette style which were in fashion at that time, on the other. The aesthetic comstume is studied with articles and cricatures in the magazien "Punch" which was famous for its harsh criticisms of society. Aesthetic elements from various sources were praised or sometimes cricatured by Punch. Aesthets pursued naturalness as is found in Greek costume in reaction to the gross modernised Victorian costume. To be specific, the aesthetes pursued 1)loose robe instead of corset with bustle or crinolette, 2)2nd/3rd dimentionally-coloured dyes instead of anyline in the costume. Liberty Department Store in London has planyed a very important role as a major supplier or aesthteic articles to the aesthetes.

• 한국의상디자인학회지
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• 제15권4호
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• pp.157-173
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• 2013

In the pleats of the statue in the ancient Greece, a vivid expression is included about clothing, which has organic relationship with a human body. This study examined about diverse expressions of pleats that were shown in the Greek sculpture, based on understanding about a pleat meaning and function, and clothes. As a result, the clothes, which were shown in the statue in the ancient Greece, were reflecting spirit and fashion of the times. The pleats, which were expressed in clothing, are closely related to a human body and simultaneously are those that a sculptor showed own creative intention in a work by reflecting a historical demand, thereby having become an important element of dominating the image in the whole clothing. Also, a change and development in expression were being progressed according to a flow of each period. Amidst what expressiveness based on lines are excellent, the unity and the dynamic formative characteristic were forming the mainstream. The design-based elements related to these characteristics are judged to possibly give many inspirations to designers in the modern fashion design sphere, which is mixed diverse styles, and are considered to be able to be helpful even for establishing newer and more creative design.

• 패션비즈니스
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• 제14권2호
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• 대한가정학회지
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• 제36권10호
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• pp.119-130
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• 1998

This is on the dance costume of ancient Greece. The present study classified the characteristics of Greek dance and dance costume according to the silhouette, quality of material, color and ornaments. Materials of the study are the pictures and figures presented in literatures, sculptures, crockeries, murals, coins. The dances of Greece can be classified into religious dance, educational dance, recreational dance, dramatic dance and various forms of dance on each dances were developed. Especially, it is the greatest character that Greeks gave dances educational value and created composit art including song, lines and dance. As dance costume, Himation, Chiton, Chlamys which Greeks generally wore were widely worn. Also, the beauty of dance costume was maximized by the changes of basic costumes and development of various ways of wearing. Especially, professional dancers wore costumes shorter than knee-length ones forming a A-line silhouette different from a cylindrical one. Thin cloth revealing body silhouette such as fiax hemp, linen, silk were used as materials of dance costumes. As for colors, white was mainly used, But orange, blue and green were used, too. They wore band, scarf, bonnet on the head and seldom used any ornaments except for fibula. They wore the same sandals which Greeks wore, Crepis, front-heeled shoes which is thought to be the origin of modern ballet shoes for the technique of toe in dance. As mentioned above, as the dance costume of Greece were mainly worn as the similar forms of the dance costume of Greeks, various forms of costumes were worn with the development of dance and bold ways of wearing and silhouette were developed unlike the costume of common people.

• 복식
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• 제52권1호
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• pp.21-36
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• 2002

The Miaos have their own unique and luxurious culture traditional and modern formed as they have experienced repeated fusion into and resistance against the Han Race or the Chinese in their long and old history. Taijiang County of Guizhou Provice, in which whey have been living, is endowed with natural beauty. Thus their culture enjoys abundant and diverse contents of artificial and natural character. Naturally, their costume reflects cultural and natural features in abundance and variety. This dissertation aims to investigate the artistic character of Miaos' traditional costume as reflected in patterns for their embroidery. As for the artistic character of the patterns for embroidery, the following were found. To begin with, the space in the Miaos' embroidery is, unlike the measurable three-dimensional space found in Greek art, unmeasurable and fantastic with its beauty, majesty and peculiarity. It is as if immersed in limitless space, they were in communion with gods and universe. Another characteristic is the use of image construction beyond mere imitation. Their mode of image construction was realistic in that patterns as a whole reveal an abstract form or meaning but separately they portray visual representations of concrete thins in nature. Still another is that sense of motion conveyed by the basic curve line is full of life. It was the result of using light rhythm breaking stereotypic balance and symmetry. Finally, the colouring was abstract, and a strong contrast between black and white was gorgeous and fantastic.

• 복식
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• 제66권6호
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• pp.46-66
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• 2016

This thesis aims to analyze the costume changes according to the ideological transition through the portraits of Napoleon Bonaparte. This study selected 32 color pictures of Napoleon, which was taken during his time as a general to his ascension as Emperor (1785-1815). The study qualitatively analyzed the traits and costume elements in view of the items, color and ornaments of the costume, while studying the effects of the ideological transition. The costumes of Napoleon were categorized into three parts: general, governor and Emperor. Firstly, Napoleon most frequently wore the navy uniforms when taking the portraits as a general. The uniform gave Napoleon the image of strength, youth and intelligence, which reflected the ideology of enlightenment. Secondly, the red-colored administrator uniform, combined with a military coat with culotte, was worn to make the governor look intelligent, which would ascribe to the ideological demand of the enlightenment. Lastly, his portraits as emperor showed him in long white tunica, combined with red-colored coronation cape ornamented with embroidery, ermine fur, and the crown of laurel. This costume denoted both the enlightenment and also the neoclassical trend aspiring for the return to the Greek and Roman era. In this way, the portrait of Napoleon might be expected to reflect the periodical change of the ideology through describing the transition of the costumes. It might be evident that his image of the strong general changed to that of an intelligent governor, which was in demand when the enlightenment idea became popular. When Napoleon became the emperor, his image changed into that of a Roman emperor, which implies that neoclassical ideas were used as source of influence.

• 한국의류산업학회지
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• 제20권1호
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• pp.10-21
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• 2018

Kushan dynasty was located in the middle of Silkroad, from the 1st century BC to the second century AD, where it negotiated with various races. Therefore, the culture of the Kushan has multi cultural elements. The purpose of this study is to understand the life of the ancient Silkroad by accessing this characteristic culture of the Kushan through costume analysis. And the results of this study will be used as a basic data for studying the relationship between Korean ancient costumes and Silkroad costume type. As a research method, literature survey and artifacts analysis were performed in parallel. The results of this study are as follows: The basic type of the Kushan costume was a typical nomadic ethnic type with a long tunic and trousers. Tunic was fastened with a belt and straps at the waist, and the lower part of the belt was wider like a skirt. The tunic was divided into two types: open front and closed front. Because Kushan was originally a nomadic people who lived in Central Asia, the nomadic elements of Central Asia remained unchanged in the early costumes of the Kushan, but over time the details of the costumes changed according to the surrounding political situation. When Kushan negotiated with Parthia, the parthian coat was worn by the influence of them. After occupying Greco Bactria, accepting the Greek culture of Bactria, Kushan's costume was supplemented by the external costume element of drapery, which changed the style of the nomadic costume into a elegant style.

• 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.

• 한국의상디자인학회지
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• 제16권2호
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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.