• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• Journal of Fashion Business
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• v.14 no.6
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• pp.188-203
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• 2010

This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women's dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the $19^{th}$ century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A.line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three-dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women's suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. In the late Victorian age when the hourglass style was in fashion, mantle returned again to plain design emphasizing the details of the shoulders. The results of this study are expected to present motives for the development of contemporary designs, to contribute to the new recognition of the value of mantles, and to open a new research area of clothing history.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.120-121
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• 2005

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• Archives of design research
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• v.18 no.4 s.62
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• pp.25-34
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• 2005

The purpose of the present study is to investigate the characteristics of the current Victorian-style interior by reviewing the basic Victorian-style house in the past. this research was analyzed various prior studies and literatures, and found the following results: First, the Victorian-style house and interior space showed various historical trends and adopted every style from Gothic to rococo, and sometimes more than one style influenced a single place. Its formality was applied depending on the function and standard of each room. Second, the interior had many decorative things with free, irregular or other patterns, influenced by Romanticism and Naturalism. The several environmental factors such as air pollution and hygienic matter were also related with its trend. the dramatic changes in the kitchen and sanitary facilities were appeared based on the technical development, and affluent design styles were also used. All these reflected the characteristics of the Victorian age. In conclusion, the characteristics of Victorian-style were influenced by many factors including: (a) the trend of Romanticism and Naturalism, (b) consideration of family convenience based on the technical development, (c) the Socio-Environmental factors like air pollution and the social norm, and (d) reflection of the individual value in accordance with frequent contacts with foreign cultures. In this respect, it is necessary to reevaluate the Victorian-style after paying due regard to such factors.

• Journal of Fashion Business
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• v.8 no.4
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• pp.68-79
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• 2004

This study aims to understand the history of the Victorian age that attached importance to various designs and aesthetic aspects by art and craft movement, and to present that the Victorian pattern is a factor with unlimited possibility in application and development of the modern textile product designs. Therefore, through documents research home and abroad, I considered the periodical background of the Victorian style, a change course of textile, and the theoretical backing of the Victorian pattern, and I studied and analyzed the cases of being applied in the modern textile product designs by classifying apparel, home interior, and fashion accessories. First of all, in apparel, the Victorian pattern transformed into geometrical form had much relative importance, and secondly, in the home interior, the Victorian pattern was expressed realistically or it was represented more boldly and complexly with new materials or techniques introduced. Thirdly, in fashion accessories, decorative nature was shown in intense design with the real description of the Victorian flower pattern and brilliant colors. With these results, it was found out that when the Victorian pattern was applied in the modern textile product designs, it was the factor that could be expected to make a high value added suitable with the modern sense, and it was the pattern with developmental potential with its unlimited use range. Therefore, based on this study, it is considered that the development of textile product designs utilizing the Victorian pattern and academic research, reorganizing the Victorian pattern in accordance with the modern design should be continued.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.127-138
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• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• Journal of the Korean Institute of Rural Architecture
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• v.16 no.4
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• pp.83-90
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• 2014

The aim of this study is to find out the ways of community landscape design in American garden city, Logan in Northern Utah. I had been surveyed historic homes and single units to take a dig how to keep and develope a good community landscape of the city in both the Historic District and residential area, researching of documents. City of Logan surveyed contains a remarkable landscape views of various historical house styles and contemporary single units based on traditional house styles out of central street. For they have been controled by Center Street National Historic District Design Standards and Logan Land Development Code with Logan General Plan. Logan community shows today a particular identity and harmonious landscape of residential area in a view point of old and new buildings. There are three results of the study as follows: First, the types of homes in Historic District are focused on Victorian style with Prairie homes which are unique American style, the Craftman that is revised as American home style, and vernacular style. Second, the historical houses have been controled by HPC since 1978 in order to keep the original buildings and landscape architecture, and the general single units by building code of the city in General Plan. Third, it must be citizen participation design to build up a beautiful landscape that Logan has maintained a safety garden city people hope to live in.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.59-83
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• 2006

This article was written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. This article contains, the characteristics of the style of the Adirondack rockers, the Mission style rockers in America and the European rockers. Adirondack rockers ($1850{\sim}1940$) were made in various styles out of the mingling of rustic sensibilities with the formalism of Victorian designs. They were Old Hickory chair Co. style, Westport style, bentwood rocker style of two shape and Mottville rocker style. Mission style denoted American furniture design style of the early 20th century especially the work of Gustav Stickley and Roycroft Community. Mission style rockers had a simple, rectilinear style with exposed construction techniques, unpretentious materials (usually oak, with covering of leather, canvas or plain cloth) and little or no decoration. European rockers ($1660{\sim}1918$) have come to mean rockers from the English regional chair, Thonet, J&J Kohn, Henry Van de Velde and Hoffmann. The modernism of modern furniture was affected by the characteristics of the Adirondack rockers, the Mission style rockers and European rockers.