• Journal of the Korea Fashion and Costume Design Association
• /
• v.19 no.1
• /
• pp.55-70
• /
• 2017

This study researched transition process of fur costume from ancient times to 20th century, extracted esthetic characteristics, and then understood how the esthetic characteristics appear in the recent fur collection. The result is as follows. First, magical meaning was revealed on leopard fur that ancient chief priests wore on top of shenti to symbolize immorality and fur tunics to which christian symbol was added in Byzantine. During middle age and the Renaissance, extravagance appeared on sable and amin jackets that the noble decorated to show off their high status. During the rococo age and mid-20th century, sensuality and elegance appeared on the fur dresses that the female body was emphasized. Second, in recent collection, extravagance appeared on over-sized and voluminous fox-coat, sexsuality and elegance were revealed through mink-dresses and jackets with soft touch and gloss that curved-silhouette was emphasized. In addition, practicality and functionality were shown through short length and light, soft material, and activeness was in the mink jacket to which functional elements such as zippers and rubber were added. To pursue uniqueness and fun, fox jackets were made with over-sized vivid green color. Besides, abnormality and vulgarness appeared through the fashion with abnormal and distracted images with ambiguous forms and new processing methods applied.

• Journal of the Korea Furniture Society
• /
• v.28 no.2
• /
• pp.103-110
• /
• 2017

A folding screen, which spread from china, is varied by many country. Each country make folding screen to fit their culture. Since oriental culture spread to europe, Chinoiserie and Japonism arise in europe at 18C, 19C. Specifically, Chinoiserie arise at 18C, after rococo. And Japonism arise at 19C, after World's fair. But korean culture, even if korea is part of the orient, doesn't found in europe. Korean folding screen doesn't found neither. Chinoiserie and Japonism are not special to oriental people. It's just customs for them. But europe feel it is special because their customs is not familiar to europe. We have to research about our familiar customs and diffuse it to world. That is our task. So this research will compare symbolic meaning and frame between each country's-korea, china, japan, europe- folding screen at formal concept angle. This research will be a basement data about what we concentrate for find korean's own culture style. Because this research is about folding screen, which stimulate western people's interest and has deep oriental color. Also this research help to make modern explication about korean old tradition.

• Korean Institute of Interior Design Journal
• /
• no.32
• /
• pp.90-96
• /
• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• Journal of Fashion Business
• /
• v.17 no.1
• /
• pp.13-29
• /
• 2013

The purpose of this study was to analyze eroticism shown in the fashion of Lady Gaga's music video. This study methods taken theoretical consideration and then was classified eroticism based on previous studies and was analyzed costumes from Lady Gaga's music video. The results of this study were as follows: Avant-garde style exaggerates shoulders, hips, a hat or uses metal and glossy material, tape, leather and it was expressed into emphasizing or baldly exposing breast. Primitive style was expressed in ethnic style and animal patterns, lingerie look with drastic, bald exposing fashion. Romantic style was expressed using rococo style costume, frill, pleats, decoration and was produces eroticism with see-through look or costume fitting to the body. Sportive style expresses a healthier and erotic image using tight costume in yellow, blue and black while exposing belly and legs. Janus-faced style was expressed by dressing up like a man or using the method of attachment and exposure in clergy's costume. Humorous style was expressed by emphasizing parts of body or costume itself. As examined in the above, Lady Gaga was expressed various eroticism images in her music video and is builds her own sexually appealing.

• The Research Journal of the Costume Culture
• /
• v.30 no.6
• /
• pp.861-879
• /
• 2022

Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard's four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre-due to the development of photography technology and the photographer's artistry-appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photo-graphs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.20 no.1
• /
• pp.29-47
• /
• 2018

This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.

• Journal of the Korean Society of Costume
• /
• v.66 no.6
• /
• pp.17-31
• /
• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• Journal of the Korean Home Economics Association
• /
• v.11 no.3
• /
• pp.247-261
• /
• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• Journal of the Korean Society of Costume
• /
• v.51 no.4
• /
• pp.15-30
• /
• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.9 no.2
• /
• pp.115-125
• /
• 2007

A hat is a general term for what human beings wear on their heads in order to protect them from the cold or heat, to be used for ornament, or to symbolize social position. A hat represents the position of a man who wears it, attitude toward the society, and faith for a religion for males. Since men's hats can create their image and uniqueness in casual wear from current fashion items, they are proposed as a fashion accessory item of designers each season. The purpose of this study is to review hats, which are part of costume, in a more analytic method. The research range of this study is hats for men in the upper class in the 17th to 18th centuries from the history of costume when diverse periodic and characteristic costume changes occurred. In the 17th to 18th centuries in the middle of the Chosun Dynasty, changes in costume occurred as the feudal society of the dynasty had been dissolved since the Japanese invasion in 1592. Political power was established in France as the Baroque Age began in the 17th century. Since European costume, especially women's costume led fashion in France, the country represented the age better than any other countries. Aristocratic costume in the Rococo Age of the 18th century was changed to completely different shape of costume after the French Revolution. In this regard, this age was deemed to be the most appropriate for the comparison or costume. Another purpose of this study is to review the common and different features of periodic factors that affect changes in costume by researching the hats of the two countries in the same age in order to understand relation between periodic characteristics and costume throughout history of costume.