• International Journal of Costume and Fashion
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• v.4 no.2
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• pp.40-44
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• 2004

Fragrance-like style-is one of the intangible aspects of costume history that we often wish had been preserved. Garments were perfumed both to impart a pleasurable impression and to mask disagreeable odors from use or from production processes such as tanning and dyeing. Expensive gloves were traditionally perfumed, as well as lace collars, silk stockings and shawls. Both historical and modern attempts have been made to create scents that please the wearer and attract the oppoiste sex, while (preferable) also repelling osquitoes and moths! Unintentional perfuming also occurred, which we sometimes may be lucky to find in our museum collections. How do we describe and identify the transient odors of museum objects, and at what cost can they be preserved and presented for the public? This lecture includes samples of reconstructed historical scents presented in costume exhibitions at the Royal Danish Collections.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.37-46
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• 2004

'Fleeting fragrance: the history, preservation and display of perfumed clothes' Fragrance - like style - is one of the intangible aspects of costume history that we often wish had been preserved. Garments were perfumed both to impart a pleasurable impression and to mask disagreeable odors from use or from production processes such as tanning and dyeing. Expensive gloves were traditionally perfumed, as well as lace collars, silk stockings and shawls. Both historical and modern attempts have been made to create scents that please the wearer and attract the oppoiste sex, while (preferable) also repelling osquitoes and moths! Unintentional perfuming also occurred, which we sometimes may be lucky to find in our museum collections. How do we describe and identify the transient odors of museum objects, and at what cost can they be preserved and presented for the public? This lecture includes samples of reconstructed historical scents presented in costume exhibitions at the Royal Danish Collections.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.447-457
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• 2001

Moliere completed classical French comedy by combining farce and commedia dell\`arte. Moliere believed that it was a plays obligation to give a lesson and entertainment. Moliere recreated commedia dell\`arte\`s typical acting patterns and characters in his work. He created with Lully comedie ballet that combined ballet and comedie for taste of Louis 14. Les precieuses ridicules critically displayed women at that time. Both contemporary high status women\`s custom and behavior were the targets of the author\`s synical criticism. There are three notable clothing imageries are shown in this work. First, Moliere used a variety of items in order to show emptiness of noble at that time. Items are ribbon and loop decorated rhingrave, feather decorated hat, perfumed wig and glove, lace covered canon and flower decorated shoes. Second, the author showed people\`s stutus through their clothes. Last, the author used clothing used clothing as a metaphor for hypocrisy. Thus when he said “take off the clothes” he meant take off hypocrisy and return truth.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.319-332
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• 2008

The purpose of this study is to analyze Kapa, the traditional bark cloth of Hawaii, including materials, method of manufacture, and colors and patterns, and to show the characteristics of Kapa to identify traditional culture of Hawaii as well as the unique culture of cloth of Hawaii in tropical area. The method of study is qualitative research using documentary records about Kapa. The cultivated Wauke proved to be the best material for bark cloth in Hawaii. The manufacture of Kapa was made by beating divided into two stages. The dyes for coloring were very different due to the existence of various plants. Indigenous Hawaiians showed the unique textures like grooving and watermarks, and the various designs in their Kapa. The characteristics of Hawaiian Kapa appear the symbol of some colors, the preference of geometrical patterns, the various uses of Kapa, and perfumed Kapa. Through these characteristics of Hawaiian Kapa, the traditional culture of indigenous Hawaiian can be understood very well. This study will help people understand indigenous bark cloth of tropical areas including Hawaii.