• 복식
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• 제64권6호
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• pp.176-191
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• 2014

This article focuses on the late 19th to early 20th century gat, the Korean top hat for men, to understand the diverse meanings behind the hat. During the late 19th to early 20th century, the Joseon Dynasty (1392~1910) was plunged into confusion and turmoil as it was nearing its end. It was a period of drastic changes in regards to philosophy and ideology. To that end, the hats of society mirrored such changing times, as well as the differences in the awareness of Joseon's internal subject entities and external observers. Based on the analyses of the relevant documents, this study takes a multi-faceted approach to the process in which traditional Korean hats, which were once a symbol of the Joseon civilization, became reduced to an outdated object, as well as observing the awareness and attitudes of the entities involved in such a pivotal process.

• 복식
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• 제58권5호
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• pp.87-101
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• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.

• 패션비즈니스
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• 제27권1호
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• pp.61-76
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• 2023

The purpose of this study was to derive exotic products handled by Bon Marche department store, examine characteristics, and reveal the meaning of exotic taste in the 19th century. The research method is literature research centered on original materials of the time, such as old literature related to department stores, and films, newspapers, magazines, and periodicals as well as books and papers. Commercial catalogs and Agenda-Buvard published by Bon Marché were used as visual materials. Results are as follows. Exotic tastes of products of the Bon Marche department store in the late 19th century showed an oriental style centered on Persia, India, China, and Japan. Products from various regions such as Turkey, Spain, Algeria, Tunisia, England, Italy, and Russia were also accepted. These exotic tastes had the following contributions and meanings. First, they expanded items and product development and activated domestic industry through production of imitations and replicas. Second, before the advent of department stores, foreign items that came to Europe were exclusive properties of a few privileged classes. However, in the late 19th century, as the number of consumers who wanted to have a new status higher than themselves increased, exotic products of the Bon Marche department store became the object of desire for material pursuits toward the upper class rather than sentimental fantasies. Third, exotic tastes gradually spread to the public as production of products imitating foreign products became possible industrially with an easy access to them. From this, it can be seen that department stores were mediators of trends and the epicenter of popularizing exotic tastes.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 한국지역지리학회지
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• 제11권1호
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• pp.123-144
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• 2005

• 패션비즈니스
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• 제19권3호
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• 동아시아식생활학회지
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• 제21권4호
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• pp.471-484
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• 2011

In this study, we attempted to understand the cultural characteristics of Korean food based on a traditional understanding of a Korean novel. To achieve this, food characteristics related to "Gaesung's foods" were analyzed in the representative Korean literary work Mimang. Mimang is a novel, from the latter era of the Chosun Dynasty to the Korean War in the Gaesung area. From that novel, it was discovered that first daily foods in the Gaesung area of the 19th century were various stored fermented foods. The second was the devotion of Gaesung food's cooking process and formal attire. The third was reflected in the economic abundance and the splendor of Gaesung food courts. The fourth was a modern public restaurant in Gaesung, an economic and commercial city. Another historically significant food found in Mimang was Gaesung ginseng.

• 헤리티지:역사와 과학
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• 제43권3호
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• pp.208-241
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• 2010

본 고는 조선시대 왕실의 태실에 유존하는 태실 석함(이하 태함)의 현황을 살펴보고, 제작연대를 바탕으로 형식을 분류하여 고고학적인 태함의 양식을 설정하고 그 편년을 시도한 것이다. 태함은 태실을 처음 조성할 때 매납하는 유물이지만 명문이 각자되지 않으므로 태함 자체만으로 연구하기에는 큰 어려움이 따른다. 하지만 태실 조성 시 함께 제작하는 태지석과 아기비의 명문을 찾아 살펴보고 문헌기록을 대조하여 그 제작시기를 밝힘으로 인해 태함의 제작시기도 밝혀 낼 수 있다. 먼저, 편년의 결정적 요소는 태함을 구성하는 함개와 함신 모두임을 알 수 있었으며, 또한 태함의 변화와 양식은 크게 4단계로 구분할 수 있었다. 조선 왕실의 태함의 변화는 조선 초기에는 고려시대의 양식을 이어받아 상자형으로 만들었으나, 15세기 중 후엽에 과도기를 거쳐 15세기 후엽에 반원형 함개 원통형 함신이 정착하게 된다. 그리고 16세기 후엽에는 앞 시기의 양식에서 발전하여 태함에 돌기가 부착되는 등 장식성이 가미되나, 이는 예술성보다는 기능성에 기인한 것으로 판단된다. 하지만 반원형 함개 원통형 함신이 다시 17세기 초에 재현되며, 17세기 중엽 후부터는 함개에만 돌기가 있거나 무보주의 원추형 함개 또는 절구형의 함신 등 다양하게 나타나는 과도기의 현상이 발생한다. 그러나 다시 보주가 부착된 원추형 함개라는 새로운 양식이 18세기 전엽~18세기 중엽 초에 출현하며, 이것이 다음 시기인 18세기 중엽까지 지속되나, 함신의 감실이 일단벽호형의 방형으로 바뀐다. 계속해서 18세기 중엽에는 함개는 앞 시기의 양식을 유지하나 함신은 감실이 다시 한 면이 ㄷ모양의 열쇠구멍형으로 변화한다. 하지만, 18세기 말에 와서 다시 가장 전형적인 양식인 반원형 함개 원통형 함신의 태함이 재출현하여 태함의 양식이 이 형태가 가장 정형성이 있음을 보여준다. 마지막으로 19세기 중엽에는 함개가 반원형에서 상부가 편평한 장방형의 새로운 양식이 출현하여 쇠퇴기를 맞는다. 그리고 이를 다시 양식상 크게 4단계로 구분할 수 있는데, 조선 초에는 태함이 아직 정형화되지 않아 고려시대의 양식을 이어받았으나(I단계; 1401~15C 중엽), 15세기 후엽부터는 자체적인 발전을 거듭하여 정형화되고(II단계; 1477~1641), 시기가 지나면서 다시 일부 돌기나 보주가 부착되는 등 장식성이 가미되나(III단계; 1660~1754), 결국 18세기 말에는 정형화된 양식이 재출현하다가 조선 말기인 19세기 중엽에는 간략화되어 쇠퇴과정을 겪게 되는 것(IV단계; 1790~1874)을 알 수 있었다. 그러므로 이러한 태함의 양식과 편년 결과는 문헌기록이 부족한 상태에서 앞으로 태실지에서 태함만 확인되더라도 그 조성시기와 주인공이 누구인지 밝혀내는 데 많은 도움이 되리라 생각된다.

• 한국수학교육학회지시리즈E:수학교육논문집
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• 제23권4호
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• pp.1093-1130
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• 2009

1895년부터 조선은 초등, 중동교육기관과 근대 고등교육기관을 설립하면서 꾸준히 새로운 교육과정을 도입하며 근대 수학을 받아들이고 전수하는 부단한 노력을 기울였다. 그리고 이 노력은 1897년 8월 대한제국으로 국호를 바꾸면서 더욱 적극적으로 추진된다. 그러나 이러한 노력은 1905년(광무년). 한국의 외교권을 박탈한 을사늑약 이후 1908년 일제의 사립학교령, 1911년 학부령등을 통하여 조선통감부와 조선총독부가 기존의 고등교육기관을 폐지하고, 조선에서의 교육을 식민지 보통교육에 초점을 맞추고, 특히 수학분야의 고등교육은 방기하여 한반도에는 1911년에서 1945년 사이에 수학과는 대학과정의 고등교육기관에는 존재하지 않았다. 이런 식민지 수학교육정책의 잔해는 20세기 한국이 세계 수학의 주류에 진입하는 과정에서 큰 장애물이 된다. 본 연구는 이 시기의 교육정책과 수학 교육환경 그리고 한반도에서 교수된 근대 수학의 내용과 교육과정을 심도있게 연구한다.

• 한국의류산업학회지
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• 제23권6호
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• pp.744-757
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• 2021

This study aims to develop a bodice and a jacket in 3D of the late 19th to early 20th based on the pattern drafting book of Gordon S. S., which contains body measurement method and pattern drafting system. The findings of this research are as follows. First, female tops of the late 19th to early 20th century are categorized as outer, jacket, vest, and bodice. Of these, this study highlights the jacket, which can be divided into 4 types: 4 kinds of basic jacket, 2 kinds of riding jacket, bolero jacket, and newmarket jacket. Second, by referring to Gordon's pattern drafting system and book, a bodice was developed in 3D format based on the adherence to the following steps: analysis of the pattern drafting system, pattern drafting, 3D virtual simulation, 3D virtual fitting analysis, and the pattern correction. A bodice pattern corrected by 3D virtual clothing simulation results was proposed. Last, a basic sleeve and collar pattern for a basic jacket was drafted, which was followed by the correction and transformation of the bodice pattern. The jacket developed shows great fit except for the issues at the armhole line and shoulder, which were caused by the unique shape of the sleeves(big sleeve head) of the time. The study attempted to develop the past costumes in 3D, providing the basis for interdisciplinary research in the field of fashion history field and suggesting a new approach for the virtual restoration of costumes. Future studies should target to 3D virtual simulation in accordance to the 3D avatar pose in the developed virtual costume.