• 복식
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• 제64권7호
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• The International Journal of Costume Culture
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• 제4권3호
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• pp.217-228
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• 2001

This study* 1) historically considered the meaning of light which has frequently wed as the subject of artistic expression since Renaissance, in order to grasp an artistic atmosphere about light and rays before the allusion of Rayonism. non it inspected closely the course of changes of light as a result of historic circumstances and intended to understand how Rusian Rayonism of the 20th, which maintained these effects of light more rationally, had an influence on modern fashion. It was created by Mikhail Larionov and developed by his wife, N. Goncharova. The main special feature of Rayonism wag the crossing of reflected ras, emerging from various objects. Most of these things depended on line and color. Re purpose of Rayonism paintings was to create a new space from arising from which reflected rays from various selected objected crossed one another. Namely, artists maintained that they should give up various objects of visible world and express rays which were reflected objects and crossed in complex. Rayonists were affected by Cubism and Futurism and came to fake an interest in relations whose rays of parallel or convergent color made, also in expression of themes. Since that, Rayonsim affected Supermatisme and Constructivism. Re pursuit of light and rays from the 19th until the early 20th came to appear in fashion as well as in art as it was. As Rayonists created a new space from which reflected rays from selected objects crossed one another, they used line and color as the main techniques of expression. in this way the attempt which intended to express rays, using itself of the line and color, appeared as futile design of tots of designs like Donna Karan, Cianni Versace and Rococo Barocco and so on of Modem fashion. This was designed for essential elements of pure art to express the new aestheic consciousness through fashion.

• 복식
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• 제50권4호
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• pp.147-164
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• 2000

This thesis examines the origin, the change and the symbolic meanings of class representation, and offers a comparative study on the differences of class representation in the history of Korean and western costume on the basis of class representation methods and types shown from ancient times to 18C. In both eastern and western costume, the differences in status are commonly represented in the width and length of costume, color, textile, ornamental design, wearing, decoration, etc. The costume of noble class was wide and long, while that of common class was narrow and short so that it could be convenient for them to move around. Especially, from 16C to 18C in the west the costume of noble class was expanded to the extent that it was inconvenient for them to move around not only by skirt swelling by using hoop, but also by pad, ruff, lace, etc. This appears to show that they are not working class. Wearing and decoration of noble class were much more colorful, complicated and varied, while those of common class were simple and plain. In the west, the wearing of chiton and toga in Greece and Rome was different depending on social status. More specific look at the differences in class representation shown in the eastern and western costume reveals that the higher the rank, the more the women in both Gothic and Chosun period covered the body, thereby representing rank. In 18C, the women in both Rococo and Chosun period commonly showed excessive decoration and lavishness on their hair, and in this period the width of skirt was also commonly expanded to the longest extent, with a slight difference put aside.

• 복식
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• 제54권6호
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• 한국의류학회지
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• 제16권4호
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• pp.357-369
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• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.

• 복식
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• 제62권1호
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• pp.14-28
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• 2012

'Beauty(美)' is pursued by many women. It has been expressed through fashion which has become more various as the society became wealthier. This phenomenon can also be found in the Salon Culture of the 17~18th Centuries and in the way that the free-style socialization without specific purposes began by women. Such 'salon culture' fashions have been reproduced in various methods by contemporary fashion designers as they met the trends or as they became the inspiration and source of ideas and were reinterpreted in various styles. Therefore, it is necessary to compare and analyze the studies and expression methods regarding that style's effects on contemporary fashion at a time when the women's salon culture fashion of the 17~18th Centuries is being naturally combined with or restructured to fit in with contemporary fashion. Therefore, the purpose of this study is to analyze, establish the concept of, and summarize the characteristics of the salon fashion style in order to provide fundamental scholarly information and a direction for the fashion design market by establishing a database on the characteristics of both eras based on the characteristics analysis results of the contemporary fashion style and salon culture era. Moreover, this study is also significant in that it will be a helpful tool for new design development to satisfy consumer needs, and in that the comparison analysis on the salon culture and contemporary fashion characteristics can be a useful tool to understand the fashions of both era. The study methods were, first, through a literature review to study the concepts and background of the salon culture. The second method was to setup a style analysis of a period of 4 years and collect visual data from internet fashion information web sites, such as collection books, to collect and analyze the data. Third, the analysis focused mainly on the results of the categorization of images with 20 fashion experts. Fourth, the details of the salon culture fashion style that are used the most in contemporary fashion were summarized and analyzed. Therefore, the results of this study are as follows The development of the socializing culture during the economically abundant era of the 17~18th Centuries became the stepstool for women to enter a new society and at the same time became the background of the development of the salon and related literature. For the characteristics of the salon culture fashion of the 17~18th Centuries, the changes were more significant in the details of the collars, necklines, sleeves, and robes, rather than in partial silhouette changes. It was found that the same fashion repeats in several-century intervals depending on the era changes; however, it has been reinterpreted newly based on consumer preferences and era situations instead of being reused exactly. Therefore, this study will become scholarly and fundamental data to establish the contemporary understanding of the fashion of the salon culture.

• 한국의상디자인학회지
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• 제24권2호
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• pp.97-115
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• 2022

The study aims to explore a new direction for research on buttons by understanding the functions and artistic features of buttons on Western clothing in the 18th and 19th centuries, and to use the findings to develop a textile design. In terms of the research method, the period was set in the 18th and 19th centuries, when decorative features and artistic values of buttons on Western clothing reached theirpeak, while theoretical analysis was made based on literature and previous research papers on Western clothing, websites of the Metropolitan Museum and French Museum of Decorative Arts and other website materials, as well as special exhibition materials of the National Museum of Modern and Contemporary Art. Textile designs were developed using computer programs, including Clip Studio Paint and Adobe Photoshop, by integrating the reinterpreted motif of buttons in the 18th and 19th centuries and the styles that prevailed at that time. The results are as follows. First, buttons on Western clothing had the following three functions: a practical function, a symbolic function representing the wearer's status, and a decorative function expressing individuality and beauty. Second, buttons in the 18th century were works of art made with various handicraft techniques and were an important medium that expressed the wearer's fashion sense. In addition, buttons in the 19th century were mass-produced as a result of industrialization and took a major step forward with the development of materials and dyeing. Buttons reflected themes of poetry, drama, biblical stories, music and art, lifestyle,, along with the political and social atmosphere that rapidly changed after the revolution and fashion trends. Third, the artistic features and shapes of buttons were reinterpreted to create a design motif, and the design was developed reflecting the characteristic elements of the rococo style of the 18th century and the art nouveau style of the 19th century that can conform to modern fashion, thereby rediscovering the artistic meaning and value implied in buttons. In the future, the research on creative buttons of 20th century artists is expected to be conducted from various perspectives.

• 디자인학연구
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• 제18권4호
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• pp.25-34
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• 2005

본 연구는 빅토리아 양식의 주택 실내에 대해 그 기본적 특징을 구체적으로 밝혀봄으로써 오늘날에도 지속적으로 영향을 미치는 빅토리아 양식 주택 실내의 특징을 구체적으로 밝히고 양식의 의미를 재조명해 보고자 문헌고찰을 실시하였으며 그 결과는 다음과 같다. 첫째, 빅토리아 양식의 주택은 전원의 단독주택이나 도시의 빌라, 타운하우스의 유형에 매우 다양한 역사주의 양식이 나타났고 지금까지 어느 시대 보다 다양한 주택유형이 등장하였다. 그중에서 벽돌과 뾰족한 지붕 사용과 같은 중세 고딕양식이 대표적인 특징으로 나타났다. 둘째, 빅토리아 양식의 실내는 로마네스크, 로코코, 고딕과 같이 과거 양식들이 사용되거니 하나의 실내에 절충적으로 표현되는 것이 특징이었고 방의 기능과 규범에 따라 양식들이 적용되거나 디자인의 비중을 달리하여 형식성을 갖는 것으로 나타났다. 셋째, 실내는 낭만주의와 자연주의 영향으로 자유롭고 불규칙하며 다양성이 특징이었고 절충주의와 장식과다는 이러한 맥락에서 이루어진 표현 특징인 것을 알 수 있었다. 또한 직물과 소품을 이용한 장식은 당시 공기오염이나 위생문제와 같은 환경적 요인이 관련된 것으로 나타났다. 기술적 발달은 주택에서 부엌과 위생설비 설치와 같은 전국적인 변화로 반영되었을 뿐 아니라 생산된 신재료와 주택 제품들을 통해 조화를 고려하는 다양한 디자인이 가능해지고 풍성하고 화려한 표현이 가능하게 해 주었다. 결론적으로 빅토리아 양식의 표현 특징에 영향 미친 요인은 낭만주의와 자연주의 사조 뿐 아니라 기술발달을 바탕으로 가족의 편이성을 고려하고 사회적 규범, 공기 오염과 같은 환경적 요인과 위생문제 해결, 빈번한 외곽과의 교류에 의한 개인의 가치 반영이라는 다양한 요인이 결부되었음을 알 수 있어 이와 같이 문제에 대처하는 방식으로써 빅토리아 양식에 대해 재고되어야 할 것이며 새로운 평가가 이루어져야 할 것이다.Cicindela(Cicindela) lewisi[sic] Bates: 한국곤충명집(1994)] 12. C.(Cicindela) sachalinensis Morawitz, 1862 산길앞잡이 13. C.(Cicindela) transbaicalica Motschulsky, 1845 참길앞잡이(=참뜰길앞잡이, 들길앞잡이, 왜길앞잡이) 14. C.(Cicindela) gracilis Pallas, 1777 깔다구길앞잡이 15. C.(Cicindela) obliquefasciata Adams, 1817 화홍깔다구길앞잡이(신칭) 16. C.(Eugrapha) elisae Motschulsky, 1859 꼬마길앞잡이 17 C.(Myriochila) speculifera Chevrolat, 1845 쇠길앞잡이 [=Cicindela(Myriochile) specularis Chaudoir: 한국곤충명집(1994)] 18. C.(Sophiodela) chinensis De Geer, 1774 길앞잡이게임, 토론그룹, 전자메일, 채팅과 상호관련을 가진 것으로 나타났으며, 교육/정보는 검색과 쇼핑, 현실도피는 게임과 토론그룹, 외로움은 토론그룹, 전자메일과 채팅, 쇼핑은 온라인 쇼핑과 상호관련성이 있는 것으로 분석되었다. 흥미로운 사실은 성적 만족과 관련해서 게임과 채팅은 긍정적인 상호관련을 가진 것으로 나타난 반면 전자메일 서비스 이용은 성적 만족과 부정적인 상호관련을 가진 것으로 분석되었다. 이는 대학생들이 지루하게 느끼거나 외로움을 느낄 때 전자메일을 주로 이용하지만 성적 만족을 위해 전자메일을 이용하지 않고 있다는 사실을 보여주는 것이다. (3) 인터넷 이용 이후 다른 미디어와 면대면 커뮤니케이션과의 관계 인터넷을 이용한 후 응답자들의 전통적인 미디어(텔레비전, 라디오, 신문, 잡지, 편지, 전화) 이용이 감소되었으며 친구, 가족, 이성친구와의