• Journal of the Korean Society of Costume
• /
• v.50 no.5
• /
• pp.25-39
• /
• 2000

Raoul Dufy devoted and was involved in textile design between 1910 and 1928. It was a transitional period in fashion. especially Poiret took an important role as a fashion designer at that time. After meeting Poiret, he won the fame as a textile designer rather than a painter, in his early stages, He had been deeply involved in fashion design. For instance Dufy and Poiret shared their world of art, collaborated to mount exhibitions, the Print textile fabrics by Dufy was used for dresses by Poiret and so on. The textile design which showed Dufy's artistic abilities was used as a method of expression of an exchange and a communication between art and fashion in the same period, through collaborations with Poiret. For instance, Dufy as a fauvist created and produced textile designs using his magnificent and cheerful colors and lines. He brought about a revolution in the textile design due to his participation in fashion design, as well as encouraging fashion designers. Textile design by Dufy, which grafted onto his world of art impressed Poiret greatly. It proposed the new direction of the fashion and influenced modern costume. The positive collaborate between Dufy and Poiret provided a momentum to a costume for being a part of art. Textile design as one of the important area in modern fashion needs a design originality for creating a high value-added products.

• The Research Journal of the Costume Culture
• /
• v.11 no.4
• /
• pp.525-540
• /
• 2003

This survey paper aims to compare two significant figures in the history of Haute Couture e.g, Paul Poiret and Coco Chanel, who played a leading role between 1910 and 1930. It is found here that they have common features with respect to giving freedom to body through costume, enlarging Garconne Mode, creating more value of Costume Jewelry, exploiting advertisement strategy using models, proving exotic styles, and last but not the least contributing to Haute Couture. The research shows, however, that Poiret differs from Chanel in that he made most of various natural colors whereas Chanel used black or beige colors that had been rarely used woman wear previously. They also differed in using fabric, permitting copy by others, ingredients and bottling of perfume, meaning of silhouette. This kind of comparative research is expected to provide more understanding of fashion history and to contribute to more rigorous analysis of key success factors of designers in his or her age of fashion.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.3 no.1
• /
• pp.77-91
• /
• 2001

Remembering a meaning of fashion started in the early 20C, Paul Poiret is one of the most important designer. If so, what does his achievements and assessment his costume design have to be？ That is the spirit of his design. Through the creation of the new style which is totally different from a period before, introduction of the vivid color, the new line and the enthusiasm of the fashion business, he showed the roll and the possibility of the modern designer. In Poiret's women's costume, harmonious beauty of women could be discovered in beautiful color which was not used in the 19th and elegance line. Furthermore, in the creation of the color and style, he got a strong influence by the art of early 20C's Europe. This was an opportunity that todays fashion has treated as a part of the or her art, and many modern designers are contacting with the art. The excellent ability in the fashion business has the composite as total fashion. Fashion business including perfumes, cosmetics furnitures, accessories is a model for most designers who follows him.

• Natural Product Sciences
• /
• v.9 no.3
• /
• pp.154-157
• /
• 2003

In the present study, the roots of Sesbania grandiflora L. Poiret (Papilionaceae) were successively extracted with petroleum ether (PE), chloroform (CE), methanol (ME) and water (AE) by soxhlet extraction. The extracts were vacuum dried and screened for analgesic, antidiarrhoeal, antibacterial (Staphylococcus epidermidis, Staphylococcus aureus, Micrococcus luteus, Bacillus cereus, and Klebsiella pneumonia) and antifungal (Candida albicans and Aspergillus niger) activity. All the extracts exhibited potent, dose dependant (40 and 80 mg/kg) and significant analgesic and antidiarrhoeal activity in the order of AE>PE>CE>ME and ME>PE>AE>CE respectively. AE at the experimental dose was found to exhibit more potent analgesic activity than standard drug. All the extracts exhibited significant antibacterial $(100\;{\mu}g/ml)$ and antifungal activity $(50\;and\;100\;{\mu}g/ml)$. ME exhibited the most potent antibacterial activity.

• Proceedings of the Costume Culture Conference
• /
• 2004.04a
• /
• pp.59-62
• /
• 2004

조형예술은 의상디자인 창작에 있어서 디자이너들에게 가장 큰 영감을 주는 분야라 해도 과언이 아니다 많은 디자이너들이 자신의 영감을 조형예술에서 찾는다고 볼 수 있는데 20세기 초부터 Paul Poiret를 선두로 하여 디자이너들이 예술작품에서 영감을 얻었을 뿐만 아니라 예술가들과 공동작업을 벌여왔고 예술가들의 의상디자인 직접적 관여는 의상을 예술의 위치에 놓는데 한 몫을 담당하였다. (중략)

• Proceedings of the Korea Fashion and Costume Design Association Conference
• /
• 2004.06a
• /
• pp.49-52
• /
• 2004

20세기초의 패션지에는 폴 푸아레(Paul Poiret, 1880-1944)가 머릿속의 디자인을 조르주 르파프(Georges Lepape)나 폴 이리브(Paul Iribe; 1883-1935)와 같은 실력있는 아티스트들에게 그리게 한 패션 플레이트가 첨부되었다. 그것은 디자이너의 환상이 아티스트의 환상으로 연동해간 결과, 이중의 꿈을 꾼 패션화로서 나타나게 되었다. 이 시대의 패션은 꿈을 실현하는 아트였다.(중략)

• Proceedings of the Plant Resources Society of Korea Conference
• /
• 2002.11b
• /
• pp.69-69
• /
• 2002

갯대추(Paliurus ramosissimus (Lour.) Poiret)는 갈매나무과에 속하는 낙엽관목으로 드물게 교목으로 자라며, 우리나라에서는 제주도에만 분포하는 것으로 알려진 희귀식물이다. 이 종의 주요 분포대는 동아시아의 열대 및 아열대로 제주도는 위도 상 북한계로 알려져 환경부 지정 보호식물 제 39호로 지정\ulcorner보호하고 있으나 자생지에 대한 구체적인 조사가 이루어진 바 없다. 따라서 본 연구는 자생지의 현황과 생육상황을 파악하여 자생지 보전에 기여하고자 실시하였다. 갈매나무과는 세계적으로 58속 900여종이 분포하고, 갈매나무속(Genus Rhamnus), 헛개나무속(Genus Hovenia), 대추속(Genus Zyzyphus) 등이 주요 속으로 알려져 있으며, 그 중 갯대추속(Genus Paliurus)은 과실이 건과이고 날개가 있는 특징으로 다른 속과 구별된다. 꽃은 양성화로 7월~9월에 피고, 화서는 수 개의 꽃이 달리는 취산화서, 열매는 반구형으로 과병에 연한 갈색의 복모가 있으며 얕게 3부분으로 갈라져 각 실마다 편평한 공모양의 종자가 1개씩 들어있다. 갯대추 자생지는 제주도의 동부지역인 북제주군 구좌읍 김녕에 1개소, 남부지역인 남제주군 남원읍 태흥에 1개소, 서부지역인 북제주군 한경면 용당에 1개소, 한경면 용수에 1개소, 한경면 신창에 3개소 및 남제주군 대정읍 일과에 2개소 등 총 6지역 9개소였다. 분포지는 해발 20m이하의 해안가 토심이 얕은 암반 위였으며, 주로 해수의 영향을 직접적으로 받는 곳이었다. 생육상황을 조사한 결과 바다 쪽으로 갈수록 수고가 급격히 낮아지는 경향을 보였으며, 최소 0.3m, 최대 4.5m였고 평균 1.6m 정도였다. 수반종으로는 순비기나무와 갯기름나물, 갯까치수영 등 해안식생의 구성종이 대부분이었으며, 돌가시나무, 상동나무 등도 혼생하는 것으로 조사되었다. 자생지 위협요인으로는 양식장 시설, 도로개발, 해안매립 및 쓰레기 투기 등과 같은 인위적 간섭과 상동나무 등 주변식물의 피압이 주 요인이었다. 한편 갯대추는 희귀식물로서 뿐만 아니라 해류에 의해 전파되는 종으로 알려져 있어 제주도의 식물지리학적 연구에도 좋은 연구대상이 되고 있으므로 종 보전대책 및 자생지 보호에 대한 추가적인 연구가 필요하다.

• The Journal of Natural Sciences
• /
• v.7
• /
• pp.121-131
• /
• 1995

Orientalism showed in early 20th century as change of Style. Modern characteristics is understanded through big stream of change before historical conception. Change of style in West began by artist having oriental and exotic taste. These are mimesis of outershape about Japanese, Moroco, north Africa etc. Theses are called chinoiserie & turquise taste. Stream of 20th century style is continued expressionism. Cubism, Sur realism, Pop Art etc. but in my thesis orientalism is caused change of 20th Century after exotism (after showed as Primitivism ). In modern costume, concerned works of Paul Poiret changed body concious. He's a image creator as Yve St. Laurent, Chanel, Balenciaga. At that time Russia Ballet, Fauvist, vivid colors are back ground of series of modern costume. Soft and sleek body, transparent stocking, minaret tunic, turban is begin of oriental image. Modern costume and modern art are begins as change of aesthetic taste before historical conception.

• Journal of the Korean Home Economics Association
• /
• v.34 no.2
• /
• pp.5-30
• /
• 1996

The purpose of this study is to observe artistic of Expressionism reflected to works of European costume designers by analizing works of seven major representative costume designers in the twentieth century. They are Mariano Fortuny, Paul poiret, Madelene Vionnet, Jean Patou, Jeanne Lanvin, Gabriel Chanel and Elsa Schiaparelli. These designers deployed individual and various creative costume design work with peculiar expresive techniques, which is based on the Expressionism. Although each creative work was made in extremely unique sense, there was comon expressive spirituality I their creative activity. The findings are as follows : 1. Based on the "Medieval-directed characteristic" which arose over all fields of art of those days, a modern and reformative clothing beauty was created by reanalyzing traditional motive. 2 Characteristic of Cubistic Expressionism were described in overall silhouette of clothing and fine decorative element. 3. Fantastic Expressionism, which pursued basic worth from the primitive and ethnic customs, effected costume style of early 20th century and draw such designers as Mariano Fortuny, Leon Bakst, Paul Poiet, Elsa Schiaqarelli to adopt intensive and primary color. And it also gave an impact against traditional concepts by accepting fantastic oriental Exoticism.Exoticism.

• Journal of Fashion Business
• /
• v.6 no.3
• /
• pp.60-68
• /
• 2002

Fashion has been affected by the change of periodic conditions. A good example is found in the relationship between fashion and periodic conditions before and after World War I in the U.S. During the pre-wartime, the artificial silhouette achieved through using devices like the corset was popular and then women's dresses were very decorative and gorgeous using a wide variety of details. S-curved silhouettes and Paul Poiret's style will be reviewed as distinctive shapes of pre-war fashion in the beginning of the 20th Century. Through the war, women's rights improved enormously, the use of the automobile increased tremendously, and various kind of sports, the movie industry and ready-to-wear market developed very much. Women's clothes also changed to be much more practical and functional in post-war fashion. It seems that fashion is affected by the change of periodic conditions.