• The Research Journal of the Costume Culture
• /
• v.26 no.5
• /
• pp.793-805
• /
• 2018

At the beginning of the $20^{th}$ century, Cartier developed Art Deco jewelry designs that have been used as design inspirations to this day. The purpose of this study is to analyze the characteristics of the Art Deco jewelry designs of Cartier in the early $20^{th}$ century. Regarding the research method, this study explored the jewelry designs from 1904 to 1939 by extracting 288 analysis subjects from Cartier's exhibitions, auction picture books, and foreign books, and analyzed the characteristics in terms of design motifs, colors and materials. The results of the study are as follows. Regarding the design motifs, 73% were geometric motifs, and 66% were a combination of circular shapes and polygons, the most frequent. In terms of colors, 69% were chromatic in color, and vivid colors were mostly used in the order of red (24%), - green (19%), and - blue (14%). Of the materials, 92% of the metals consisted of platinum, and gemstones were used in the order of diamonds (41%), - onyx (13%), - emeralds (11%), - rubies (9%), and - sapphires (8%). In the early $20^{th}$ century, Cartier's Art Deco jewelry designs featured abstract and geometric motifs, vivid colors and strong contrasts, platinum and precious gemstones. This study is meaningful in that it explores the competitiveness of Cartier's designs and provides practical ideas to combine Art Deco style with contemporary jewelry designs successfully.

• The Korean Journal of Quaternary Research
• /
• v.17 no.2
• /
• pp.55-61
• /
• 2003

In the year 2000 we culminated a successful five year investigation of climate change by completing a preliminary east-west transect across Mongolia. An earlier tree-ring study at Tarvagatay Pass, Mongolia indicated unusual warming during the 20th century similar to other paleo-investigations of the northern hemisphere. This record had represented one of the few tree-ring records for central Asia. New data from several sites in western Mongolia confirmed the preliminary temperature. The highest twenty-year growth period for the composite record is from 1973-1994. The western Mongolian record was significantly correlated with the Taimyr Peninsula and two northern hemisphere temperature reconstructions reflecting large-scale temperature patterns while showing some important regional differences. These differences should prove useful for climate models. We have also developed a millennial length temperature-sensitive record at the Solongotyin Davaa site (formerly Tarvagatay Pass) using relict wood and living trees. Conspicuous features over the last 1000 years are a century scale temperature decline punctuated by the end of the Little Ice Age in the late-1800s and 20th century warming. The record also shows a cold period early in the 12th century and warm intervals late in the 10th, early in the 15th and at end of the 18th centuries. Despite a limited sample size before 900 AD, the long Solongotyin Davaa record is useful in indicating severe cold events and suggests some cold intervals nearly as severe. These tree ring series, spanning much of the circumpolar northern treeline, have been compiled to create a long-term reconstruction of the Earth's temperature over centuries. The new chronology, in addition to its value as a detailed record of Mongolian climate, provides independent corroboration for such hemispheric and global reconstructions and their indications of unusual warming during the 20th century.

• Korean Linguistics
• /
• v.71
• /
• pp.1-22
• /
• 2016

The early 20th century is a period of time when Korea confronted with the surging waves of modernization, and made a variety of internal reactions. The Korean language, not immune to the upheaval, also experienced new changes and gradually gained characteristics of today's Korean. Although scholars have not yet fully agreed upon the time division of Korean, Gabo reformation (1896) is usually considered to be the beginning of modern Korean. Thus, the early 20th century was also the beginning of modern Korean. Phonological, lexical, and grammatical characteristics of modern day Korean began to appear during this period of time. Phonologically, the 10 vowel system was established, glottal sounds and aspirated sounds increased, vowel harmony declined. Phenomena such as vowel raising, front-vowelization, monophthongization, and the word-initial rule appeared. Meanwhile, hangul-Chinese mix writing became common practice, and hangul-only writing also started to take place in narrative writing, and elements of spoken language began to reflect in written language. All those pointed to the unification of written and spoken language. Under the influence of modernization, a great amount of new words appeared. Especially, Japanese and other foreign words flooded in in great quantities. Grammatically, '-eos-(-엇-), -neun-(-는-), -ges-(-겟-)' trichotomy system of tenses was established, and hearer-oriented honorific system also formed a binary system of 'hasoseo(하소서), hasibsio(하십시오), hao(하오), hage(하게), haera(해라)' and 'hae (해), haeyo(해요)'. In word formation and sentence construction, the use of '-gi(-기)' became more frequent than '-eum(-음)', while '~geot(~것)' also significantly increased. In negative, causative and passive expressions, the use of long form, which has fewer restrictions than the short form, became more frequent. A tendency towards simplicity appeared. In the same vain, long and complex sentences with several clauses tend to be avoided. Instead, short simple sentences became more favorable. Korean linguistics scholars should pay closer attention to the modernization period, which includes the early 20th century. In order to fully understand today's Korean language, more thorough research on this immediately preceding period is necessary.

• Journal of the Korean housing association
• /
• v.14 no.6
• /
• pp.105-114
• /
• 2003

This study aims to investigate the thoughts of the utopians for the ideal community in 19th century. Around late 18th century, the ideal community proposals by the utopians were coming out as an alternative to reform the social and economical structure. The experimental community proposals which suggested by the utopian socialists such as Robert Owen and Charles Fourier took their emphasis on the social reform to improve the environment of work in terms of social and economical organization. While the thoughts of ideal community showing up in the literature by utopians were based on the state socialism that accompanied by the ultimate corrective system of production and distribution and the unified social system, the physical organization was described in more detail without a restriction in contrast to the real proposals for the ideal community. Based on the experimental community and the ideal community in the literature in 19th century, the urban model of late 19th century were proposed as a real community model. With the optimistic belief to the technological development resulted from the Industrial Revolution, the urban models of utopia placed greater emphasis on the physical organization than the previous ideal communities in 19th century and had much influence on the modern urban planning in 20th century.

• The Research Journal of the Costume Culture
• /
• v.9 no.3
• /
• pp.511-522
• /
• 2001

Various art trends of the 20th century that contributed to the creation and development of abstract art had showed the transition from the convention of mere representation of the object to the formative sensitivity emphasizing self-expression. Noticing that such trends had influenced the fashion industry to move toward a free and individualized style, this study attempts to express the formative way from the existing art to wear, especially, based on early 20th century paintings, 5 casual wears were made which applied korean materials and silhouettes that are functional, sample and show traditional korea beauty. The purpose of this study is to search for a solution to expand the world market by producing dresses utilizing our own tradition that can be distinguished in the global market and that derive inspiration from the formative of the sensitivity of the paintings during the first half of the 20th century. It also aims to let national economy as a high-added industry. The result of this study are as follows: First, the expression method and element of various styles of art such as Fauvism, Expressionism and Cubism, during the period of transition to abstract art, clearly presented the direction toward the artistic liberation and made possible a new formative artistic expression of dress in the early years of the 20th century. Their ideas inspired the dress designers of the time with a reformative and creative sense of fashion and have greatly contributed to the development of a new era of uniqueness and individuality. Second, the color and the simplicity of form of the early 20th century paintings are suitable fro utilizing a motive of functional dresses and express unique and concise modern beauty. Third, it was confirmed that utilizing our tradition in contemporary dress can be a significant method of creation in which the uniqueness and creativity of Korean dress can be expressed, distinguishing it on the global scene, as well as inspire the originality and pride of our culture. Fourth, a possibility has been discovered. It is the functionality and uniqueness of aesthetic expression technique of the contemporary arts that can contribute to the fashion of tomorrow, by searching a modern fashion which was affected by the past and also by taking a look at the trend of modern fashion as the same field as casula wear.

• Journal of Fashion Business
• /
• v.17 no.4
• /
• pp.90-106
• /
• 2013

This study investigated the development of eyeglasses and design transition in materials and types through literature survey. The scope of this study on the basis of the 15th century, for this study survey reaches from the 15th century to modern. The result of this study were as follows. Real magnifying glasses was first mentioned by the Arab physicist al-Hazen who was famous of his treatise on optics. The oldest documents which explicitly refer to the art of making lenses for eyeglasses and magnifying glasses were the Venetian artisans of 1300. In the 15th century someone thought to remedy the unstability of glasses by securing the bridge on the forehead. But it was only in the 17th century that someone contrived to stabilize the frame by strapping it on the face by means of fine cords that reached behind the ears. Eventually in the early years of the 18th century the English optician Edward Scarlett invented the rigid earpieces which solved once and for all the problem of holding the eyeglasses firmly in place. In the 19th century, eyeglasses' fashion were monocle and pince-nez. In the 20th century, various lenses and frames were appeared. Therefore eyeglasses to correct defective sight, sun-glasses, as well as a most succesful item among modern fashion accessories.

• The Research Journal of the Costume Culture
• /
• v.8 no.2
• /
• pp.205-216
• /
• 2000

The purpose of study examined of historical changes of western men's nightclothes from middle ages to the modern ages and analyzed functions and features of men's nightclothes. This study presented meaning and importance of men's nightclothes. The method of study researched the many literatures and internet sources. Until medieval age, men slept naked or in a day-shirt. In the 16th century, a nightshirt was worn in bed. A night-cap was usual, in rather more elaborate form, also worn by day in the house, and even outdoors. In the 17th century, nightshirt was elabrated with ruffles and lace. The nightshirts of 18th century, resembled the day-shirt except that it was slightly longer and fuller in cut. The turn of 19th century, men weared nightshirt with a high folding collar, one button and night-cap of jellybag shape. In the early 19th century, nightshirt had a plain turned-down collar, buttoned at the neck. A night-cap with colored tassel was usual. The middle of 19th century, a nightgown was reaching to the ankle. Pyjamas, in the 1890s, were steadily replacing the nightshirt, before long pyjamas had become generally accepted in place of the nightshirt. A pyjamas which preseverved his male dignity by giving him trousers. Man's ingenuity also modified his nigntclothes so that these took on sexual characteristic. In 20th century, the fabrics had become lighter in weight, and the choice of materials wider. By 1930s, nightclothes had become the man's most colorful garment.

• Journal of the Korean association of regional geographers
• /
• v.11 no.1
• /
• pp.123-144
• /
• 2005

• Journal of the Korean Society of Costume
• /
• v.54 no.7
• /
• pp.41-54
• /
• 2004

This study purposed to apply function form content, the three concepts that have been discussed by many philosophers since ancient times, to fashion design. Specific research goals are : first, to define fashion design based on the three concepts : and second, to examine how each of the three concepts function-oriented, form-oriented and content-oriented design have been expressed in women's fashion in the $20^{th} century. For these purposes. the author considered Morris' semiotics, which is the theoretical background of the three concepts, reviewed previous researches in design area, and applied the findings to fashion design. According to the result of applying the threefold structure of semiotics. which is the theoretical background of the three concepts, the pragmatic dimension of fashion design comprehends all functional rules related to the use of dress such as body motion and protection, health and safety. air flow and durability, and its syntactic dimension comprehend all the formal elements of visual design such as the structure, shape, line, color and material of dress. The semantic dimension of fashion design includes the symbolic meanings of dress expressed by emotion, sentiment and images. The three dimensions exist interdependently with one another. According to the result of considering the characteristics of the three concepts in the scope of women's fashion in the $20^{th} century. function-oriented design is characterized by practicality and simplicity, and has been expressed as the fashion of functionalism in the 1920s, that of minimalism in the 1960s, and the basic style from 1970s to 1980s, 1990s and the present. Form-oriented design has pursued aestheticism, putting stress upon form, and has been expressed with organic shapes imitating patterns found in nature in the 1950s and with optical art fashion in the 1960s. Content-oriented design attaches importance to transmission of delicate meanings related to the mental world of human beings, and is represented with symbolic forms. Such a characteristic has been expressed in fashion in the early 20th century influenced by surrealism and, with various types of design breaking established forms as well as metaphors and humors that characterize design in the late 20th century.

• The Research Journal of the Costume Culture
• /
• v.6 no.3
• /
• pp.126-156
• /
• 1998

The purpose of this study was intended to analyze mechanical beauty of the art style represented on the second half of the 20th century fashion. From the early 20th century, when the mechanical civilization began to develop in full scale, various distinctive styles of art began to emerge by the denial of the traditional artistic style, which is said to be an inevitable consequence fo the 20th century's spirit. That is, the diversified styles of modern art, which has developed in line with the rapid growth of civilizations, experienced environmental pollution, non-humanization and un-individualization. Those phenomena became mental anguish for artists and designers, they have come to meet with changes, by their efforts to find new way. SO, the mechanical beauty is becoming a very important factor arts. Especially, the collage of the Cubism have used as art techniques of positive mechanical beauty. And in the transition from Dada to Surrealism, the objects provided an important harmony, suggesting that all things, even those achieved by chance or presented in new associations or radical dissociations, could be said to have meaning. Pop Art that expressed daily living of spending culture in the post industrial society, scaled up the induction of mass media which was much more realistic than Dada or Surrealism. According to the results of this study, the second half of the 20th century fashion has generated mechanical beauty was examined and plundered by modern art styles. The mechanical beauty of modern art was represented in the modern fashion as the positive and negative formativeness. Above all, the best way that the fashion design should take in the future, is in the search of ways how to restore humanity that was lost due to use of machine, how t develop its merits and how to harmonized with mechanical civilization.