• Journal of Fashion Business
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• v.22 no.1
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• pp.82-99
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• 2018

The purpose of this study is to examine the characteristics that appeared in the fashion and colors of exotic tastes used by Renoir with a view to re-evaluating his-attitude towards exotic tastes. The methods used in this study were literature research and analysis of visual data from Renoir's works. The results of the study are as follows. Renoir's exotic tastes originated from the material perspective appearing in the fashions and accessories of Algeria, Orient, Spain, and Japan. Parisienne Odalisque Lise in Harem-style, Jeanne Samari in parisienne fashion holding a Japanese fan, and Gabriel in oriental fashion were portrayed as major muses. The Algerian style consisted of white, yellow or red veils, thobes, loose pants worn in Haik, and burnous. The Oriental-style was composed of harem pants, turbans, hair accessories, ornate zouave jackets, and oriental ornaments. The Spanish-style showed gay ornaments, fitted red or yellow matador costume, red bandannas, black hats, and red dresses, plus Spanish guitars. The Japanese-style consisted of kimonos, accessories such as fans, and backgrounds with interior articles such as vases, wall picture frames, and folding screens. The exotic fashion colors were red, yellow and white. Renoir expressed the works with his delicate skills and sense of craftsmanship, and he even added creative design portrayals sometimes. He selected fashions and accessories of exotic tastes as objects and expressed the objects with materials and colors reflecting regional characteristics as such, he can be regarded as an artist wed to who fashions of exotic tastes.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.176-190
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• 2007

As the globalization has increasingly brought in the disintrgration of boundary between cultures, the hybrid of styles, or fusion styles in various cultural spheres have been introduced as important theme. With this new trend, the traditional culture of Asia appeared as the source of inspiration for the West, and as the source of enhanced pride and asset for ethnic groups which have been considered "the Other" by the West. 1990's witnessed a drastically increased interest in Orientalism and Ethnic trends in most social aspects, especially in culture and art. They have been the main theme in fashion, providing the source of inspiration with elements such as the unique color schemes, composition methods and geometrical simplicity. The creative application of traditional culture into modern design as well as fashion can make a significant contribution and be a solid foundation for the development of national culture in general, since images containing cultural authenticity are the visual representation of the nation and they can be important tools for the globalization of design. This study aims to find out the formative characteristics of Korean traditional embroidery and the ways they are applied in modern fashion by world-renowned Korean fashion designers. The purpose of this study is to make a fundamental source for further study by the same author on creative design development utilizing the result. The study methods are literature study combined with research of genuine articles from museums and personal ownership as well as photos from magazines and internet. The significance of this study lies in enhancing the appreciation of Korean traditional culture and expanding the possibility of its globalization by modern application.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.110-123
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• 2007

This study is purposed to analyze the characteristics of different images of Hollywood movie costumes centering on the costumes of actresses who are the fashion leaders creating fashions especially focusing on those in 1930s. The scope of this study covers the movie costumes selected from the movies ranging from 1930 to 1939 centering on the Hollywood movies produced and released by large movie distributors and the movie costumes of heroins that exerted great influences on the culture and clothing history of 1930s were examined. As for the methods of study, visual data and image data including movies were collected through related dissertations, articles in journals, internet sites relating to movies and photos and we have analyzed each of the characteristics of the movie costumes appearing in each image. The result of this study is as follows. Firstly, ethnic images were the reflection of orientalism that was popular in the fashion of the age with the purpose of highlighting the exotic appearances of the actresses and were the cases where the characters of the actresses had to be expressed in ethnic styles due to the spatial backgrounds of movie works. Secondly, glamorous images were highlighting the appeals of plump breasts, shoulder lines and the bodies constricted in the middle and the Hollywood movie costumes in 1930s. The smooth and flowing silhouettes of the heroins of the age were mainly long and slim patterns and female's images were expressed by highlighting the beauty of leg lines or especially by halter neck evening dresses that exposed backs and covered breasts. Thirdly, mannish images reflected tough images of males in order to further highlight the reality of the characters of the heroins of the age pursuant to the emergence of the opinions advocating the equality between men and women.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.12-32
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• 2007

This study aims at investigating Geisha costume hidden in the history until now and how the fashion of Geisha style is expressed in accordance with character through the movie 'Memoirs of a Geisha'. Major contents of the text consist of studies including the historical background and characteristics of Geisha costume in Chapter 2, the Japanese style expressed in the movie through the analysis of the work in Chapter 3, The movie brought in an opportunity to spread the mysterious culture and art of Japan to the world, making Japanese style an important interest in the world of fashion as well. In a way to study this, the investigation was carried out through literature data, DVD and newspaper of , fashion magazine, articles from the Internet, ete. The Geisha trend has made the hot blast blown harder in such ways to affect not only fashion but also cosmetics, electronic appliance, interior, etc. In S/S 2006, it was not limited to the Japanese style but diffused to the Orientalism in China, India, Korea, etc. It can be said that this study has its significance to be a starting point in investigating the special characters of Japanese Geisha costume hidden up to now. In the studies following in the future, the formative beauty demonstrated per Japanese designer needs to be more studied. Furthermore, it seems noteworthy to analyze and compare Chosun Dynasty's Kisaeng with Japanese Geisha.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.681-706
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• 2000

This study is intended to understand an implication system and significance in the current community which a body image symbolizes by correlating it with fashion that is on the rise as a principal issue in various fields. For this study, the symbolism of the body image was contemplated in terms of philosophy and art, and then on the basis of it, the symbolism of the body image shown in modern fashion design was analyzed through fashion works. The research results are as follows, 1. The manifestation of sex can be taken as the symbolism of the body image which is expressed in modern fashion design. Recently sexual chaos and vagueness such as homosexuality and bisexuality are expressed through a dress and its ornaments. Though displaying sexual characteristics of male and female as they are exposing a sign or a diagram, decorating a part of body or representing sex in garments, uncertain sex identity in modern society is manifested in dress and its ornaments. It is to deny absoluteness regarding sex and emphasize diversity indwelt in human beings, and after all it shows to pursue the human essence. 2. Another symbolism of the body image is body expression as the human race and an ethnic group. The discriminating situations and the restoration of their status appeared in modern fashion too. Moreover, their cultures and issues came to alter the aesthetic standard of body made from a view of the Western white supremacist. Hereupon, fashion trends like ethnic fashion, Orientalism and African look etc. appear according to this tendency, which represents race and national identity and in addition, which signifies to present transcendental human conception embracing alienated human conception. 3. The symbolism of the body image expressed in a body, and a dress and its ornaments as nature can be considered in terms of the concern on environmental contamination and the respect of echo system. Getting away from reigning over, developing and stamping down nature at their will, the human beings pursue unity with nature, which is described in fashion. They are stressing that natural materials and objects such as animal, plant and soil etc. should activily be introduced into fashion and humans are a communal fate group and should reframe their status in nature at last. 4. The body image shown in a body, a dress and its ornaments as technology is transformed and recreated by modern scientific techniques and medical science to show post human conception namely, forthcoming future human conception as a cyborg which loses individual identity. This presents a perfect future human conception with high level of preternatural power but after all, leaves us a task to seek the meaning of human existence in alienation caused by the loss of human identity and existence. In this manner, the moderns crave for perceiving the identity of a natural human being in the current thoughts tendency of the modern times such as postmodernism, post structuralism, deconstructionism, feminism and so on, which build discussions affecting the art and fashion worlds. The categories, like sexual characteristics indwelt in a human body, racial classifications, the natural environment surrounding human beings and development of science, bring out the importance of the internal and external meaning in today's fashion which a human body contains, and present sew human conception in the coming future society.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.143-157
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• 2003

본 연구의 목적은 (1) 1970년대 서양복식에 존재하는 오리엔탈리즘의 반향에 대해 정의하고, (2) 서양 복식을 통해 표출된 오리엔탈리즘의 의미를 당시 정치, 사회, 문화적인 측면과 연결하여 탐구하는데 있다. 이론적 틀로는 문화인류학 이론에서 유래된 Hamilton의 Unifying Metatheory of Clothing and Textile(1987)이 적용되었다. 연구 방법으로는 1970년부터 1979년까지 미국에서 발행된 총 142권의 VOGUE 잡지 중 80권을 분석하여, 오리엔탈리즘이 보여지는 45장의 패션사진을 자료로 추출한 후, 연도, 디자이너의 소속 지역. metatheory에 따라 분석하였다. 각 연도별로 오리엔탈리즘이 표현되는 정도와 방법은 다양하였다. 서양디자이너들은 동양의 전통의상을 거의 그대로 모방하거나 하나 이상의 국가들의 전통의상 디자인 요소들을 하나의 복식에 혼합, 표현하는 방법을 주로 보여주는 반면, 동양 디자이너는 전통의상을 포함한 자국의 다양한 문화적 요소들을 서양복식에 도입하여 표현하였다. 또한, 본 연구에서는 복식에서 보여지는 시각적인 면의 분석과 더불어, 1970년대 당시 미국의 정치. 사회, 문화전반의 상황과 복식에 있어서 오리엔탈리즘의 도입과의 영향관계가 파악되었다. 따라서, 복식을 연구함에 있어서 문화인류학적 이론과 같은 다른 분야의 이론의 적용은 복식을 새로운 측면에서 이해하는 넓은 안목과 통합적인 틀을 제공한다는 측면에서 가치가 있다고 사료된다.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of Fashion Business
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• v.1 no.2
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• pp.74-85
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• 1997

폴 푸아레 (1879-1944)가 패션 역사상 혁명적이라고 할 수 있는 여성의 코르셋을 제거시켰다는 것은 익히 알려진 사실이다. 그리고 그러한 결과로 인해 발생된 새로운 직선형의 실루엣에 화려한 색채와 장식을 하여 이전 시대와는 전혀 다른 현대패션의 근원이 되었다. 본 연구는 푸아레의 새로운 직선 실루엣과 화려한 색채와 경이적 장식의 근원이 다름아닌 동양이라는데 중점을 두었다. 이미 국내의 몇편의 논문에서 이러한 논의가 지적되어 왔으나 다른 논제를 다루는 중에 언급이 되었고 당시의 작품이나 동시대의 자료를 분석한 것이 아닌 근래의 출판물에 의존한 연구가 대부분이었다. 따라서 본 연구에서는 그의 동양풍 디자인의 근원을 밝히는데 있어 가능한한 1 차적 자료의 접근을 시도하였다. 1912년 작품인 이브닝 드레스, 터번, 숄, 구두 각 1점과 그의 작품 의도와 생애의 추구를 말해주는 자서전(1930년 불어본 및 1931년 영어본)과 보그(Vogue)지의 기사(1920년 2월호, 9월호) 등을 통하여 그의 동양에 대한 관심을 살펴보았다. 그 결과 푸아레의 동양 영향의 근원은 19세기 말 유럽에서 절정을 이룬 'Sino-Japonism'(중국-일본주의)의 심취, 러시아 발레단의 의상과 색채, 천일야화의 영향에 의한 중동(페르시아)에 대한 열망, 그리고 인도 토민병의 복식에서 비롯된 터번에의 매료 등이었음을 알 수 있었다. 이러한 근원에서 탄생된 디자인으로는 직선형의 튜닉, 기모노 소매(처음엔 푸아레 자신도 중국의 것으로 혼동을 하기도 했지만), 하렘팬츠, 비대칭적인 카프탄식의 코트, 원색의 사용, 극동지역의 직물과 문양, 술장식, 터번 등으로 나타내었다. 따라서 폴 푸아레의 동양적인 관심은 단지 개인적 '취향 혹은 취미(taste)'가 아니라 한 시대양식으로 자리잡은 '동양주의(Orientalism)'라 할 수 있으며 이러한 푸아레의 동양주의는 당시의 패션에 있어 신체의 선을 부정하여 코르셋을 제거 시키게한 그의 모더니즘의 근거가 된다. 본연구의 제한점으로 1차적 자료를 수집하는데에 있어 보다 폭넓지 못했던 점을 밝혀둔다.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.947-959
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• 2009

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

• Korean Institute of Interior Design Journal
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• v.21 no.6
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• pp.224-232
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• 2012

Although evolution of construction materials brought about development of modern architecture, they caused destruction of the environment and pollution. This problem is not a new one in terms of ecological esthetics and materials of sustainable architecture in light of the Eastern view of nature and this idea became a background of this study. The basic concept is to try to find out their characteristics from a perspective of ecological esthetics in relation to traditional building materials that nature, architecture, and humans coexist and live with each other to balance. Based on ecological esthetics and precedent studies on materials of traditional architecture, we investigated connections, expressive methods and characteristics in traditional residential construction space. This attempt has meanings in that it can propose a new framework of forming various viewpoints and spatial perceptions in relation to esthetics and traditional construction materials. The current study examined the characteristics by dividing them into tangible and intangible elements based on expressive features of elements of nature. The characteristics found by this process are not simply notion of physical materials, but plays a key role aesthetically and ecologically. Nature and materials take circulation of the law of nature, regulate energy, increase efficiency and play a major role in an economic way. Nature in itself becomes natural alternative energy, and plays its role in an invisible fashion. It examined how expressive characteristics of construction materials are reflected through analyzing residential space and Korean traditional garden having relationships with Eastern viewpoint of nature in relation to Korean traditional construction materials from a perspective of ecological esthetics. Findings of the above study indicate that expressive characteristics of Korean traditional construction materials from a perspective of ecological esthetics are that nature, space, humans coexist and live together and they will provide a clue to an alternative to solve ecological and environmental problems modern society will have in the future. Through this process, it provided a possibility that traditional space and materials can be succeeded in creative and new ways, and it found out the way for nature, space, and humans to coexist and a possibility of ecological esthetics. It addition, it will provide a key base as an alternative of sustainable design of the future.