• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.145-158
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• 2002

The so-called 'Bustle'which was a support put on waist to heave the side the buttocks means the grandiloquent style to express to ideal body. Bustle style. one of the outstanding and remarkable fashion trends in the late 20th century, has significant meaning in fashion history. This is because not only the style has the longest history, but also it has been periodically repeated every end of a century from the 17th to the 20th century. To analyse to cause the Bustle style was shown, I studied first the sign of forthcoming activity of the Bustle style, the change of the Bustle style shown In the times at the end of century and feature of the Bustle style. Based on the previous reasons of appearance of the Bustle style In the history. there are two similarities. First. reaction led to an occurrence of the reactionary tendency, the Bustle style as they were eager for the past because of a feeling of uneasiness about a coming century. Second, the principle of retrogression led to an occurrence of the Bustle style craving for new style. This Bustle style welch was reaction from being tired of the former fashion appeared to expression a desire for new style. In short, Bustle style was an intermediation between different histories and the basis for continuous development of new eras. rather than lust a part of classicism.

• Journal of Fashion Business
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• v.23 no.4
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.

• Fashion & Textile Research Journal
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• v.8 no.1
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• pp.80-88
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• 2006

This study attempted to undertake comparative analysis of woman's jacket pattern and details based on the Crinoline and Bustle style of the 19th century, comprehend the relation and differences between the two styles. And it also presented the resultant characteristics and attempted reproducing the original dress of the past for the development of modern woman's jacket design. Larger portion was occupied for the breast front width than the back width for both Crinoline and Bustle style, which indicated the remarkable difference between these styles and modern jackets in terms of pattern size. Circumferences also showed that both styles had larger size for the front region than for the back. Divided by two types of pattern shape. The Crinoline style has a waist line and flare. On the other hand, the Bustle style does not have a waist line and has pleats. These two styles shows distinct differences of patterns even if they seem similar. It was essential to undertake the designing of models by giving a consideration to the characteristics of patterns of the two styles. With respect to how to sketch the study models which will be applied for the reproduction to modern body sizes were as follows: the front bust circumference; B/4 +1+1 cm, the back bust circumference; B/4 +1-1 cm, front waist circumference; W/4 +1+1 cm, back waist circumference; W/4 +1-1 cm, the height of sleeve crown; AH/3, armhole line; B/4, the back width /2; 17.5 cm, the breast front width /2; 16.5cm. And for the rest parts, sizes reflecting the characteristics of the patterns of two styles have been applied.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.31-42
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• 2008

The fashion of the 19C had been through many diverse styles, i.e. Empire style, Romantic style, Crinoline style and the Bustle style. These styles had emphasized a certain figures, such as exaggerated hourglass silhouette of crinoline style or S silhouette of bustle style. Following the trends, corsets became more than underwears. Actually they supported the fashion of the 19C. Apparently, the corsets had been evolved in many aspects. Patterns, materials and trimmings were developed and refined to make torso figures desirable. The initial purpose of the research is to find out how they developed corset patterns to make such a diverse figures, so that the techniques can be adopted in contemporary pattern design. The 16 corsets and their patterns were quoted from books related the subject. The patterns were redrawn of same scale for the comparative study concerning cutting lines and measurements. Coming to the late, more curved lines and more segmented cutting were used to make body more of glamour and natural. Gussets were another key technique to make them work. Various sized and shaped gussets were used to follow the trends of ever changing.

• Journal of Fashion Business
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• v.14 no.2
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• 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.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.114-128
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• 1999

In a turn a century, the skepticism, mysticism and eroticism used to prevail, the people becoming anxious, expectative and doubtful about an oncoming age. The costumes tend to become more exciting and erotic in the fashion. This thesis is on understanding “What would 21 century's clothes be\ulcorner” after analyzing the specific points in an end of the century. The characteristics found from 16th century to 20th century are going to the extremes in the shapes, consistent appearance of bustle style costumes and excessive ornaments which are closely interrelated with one another. I expect the fashion in 21st century would be changed in two ways. Firstly, going to the extremes and stressing on the buttock would be going down in the end of 1999. Secondly, the comfortable clothes highest in function and technology, and also friendly to the environment, might be the main stream, rather then outwardly good looking clothes, because spirit and environment is much more emphasized than the mode by the social impact or pressure in the next era. (Korean J Human Ecology 2(1) : 114~128, 1999)

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.81-81
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• 2001

• Journal of the Korean Home Economics Association
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• v.27 no.2
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• pp.1-19
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• 1989

Dress is an expressive art form which involves a human activity; utilizes techniques under sufficient technical control that results in the production of typical forms on the basis of aesthetic standards. This study was conducted to clarify a relationship of Impressionism and it's image in dress-Bustle style. Artists such as Manet, Renoir, Cezanne, Gogh, Gauguin, and Rodin were reviewed. Impressionism was a method of painting that consists in repoducing an impression exactly as it is experienced from contemplation nature. The Impressionists used a technique of separate, fragmented brush strokes and pure prismatic colore, aiming at rendering changing effects of light. Fashion designers such as Charles Worth, Givency, Cardin, Ungaro, and Lacroix were examined. Throughout their fashions, they focused on the naturalism of feminine and seductive image-the touch of Vegetable Venus depicted on the paintings of Manet and Renoir; expressed "unmitigated sexiness" in various forms of Bustle sytle creating a seductive beauty, revealing body contour, breast and legs, and using a fragmented motif and flowers with vivid color.

• The Journal of Natural Sciences
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• v.4
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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.