• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.231-241
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• 2009

Embroidery is one of the oldest methods of textiles surface decoration. The masterpiece "Tapisserie de Bayeux," is one of the earliest Medieval embroideries. Embroidery was popular on a broad scale with introduction of what was called Opus Anglicanum("English work") in the 13th century. France had been producing sophisticated embroideries since the 16th century. England was the country producing the greatest quantity of embroideries of the best quality in the 17th century. Until the 17th century, the Church was the most important patron of needlework. Then a shift in emphasis occurred towards the domestic embroidery. English 17th century domestic embroidery reached a high point of technical brilliance and charm. In France, embroidery was produced on hangings as well as costume. 18th century interest in embellishing the domestic environment, embroideries became much more finely detailed than those of the 17th century with the use of finer wool and silk threads. French silk were the finest in the world, and their embroidery was arguably equally fine both in furnishing textiles and on costumes. "Art Needlework" was the major movement in embroidery in the late 19th century. The Royal School of Needlework was founded in 1872, followed by similar institutions around Britan. Splendid fashion embroidery of French haut-couture that was represented to Lesage atelier in 20th century.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.657-670
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• 2003

It is quite common today for bride to wear white-colored wedding-dress in wedding ceremony. When does the color date back to? What does the “white” mean? Which other colors had been used for wedding dress and why? This research paper aims to answer those historical questions through literature review. It is found here that the “white” began to be generally accepted for a wedding dress color in the 18th century, and that the color became an official one since the marriage of Queen Victoria's (i.e. 1840). Prior to that, other colors were taken rather than the “white”. In ancient Greece and Roma, “Red” and “Yellow” were used to remove devils or to bring fortune. In medieval society, luxurious wedding dresses were popular and various colors were adopted in order to show up family power among leading classes. The “White” has meant purity of bride since the 18th century. However, two world wars in the 20th century happened to lead some brides in economic difficulty wear “black” colored wedding dress for a practical reason. After the world wars, some light colors such as white, beige, ivory are to be used in wedding dress.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.411-421
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• 2000

Black froak coat, white shirts, top hat and cane has been the symbol of gentlemen in 19th and early of 20th century. The pattern invented by Savile Row in London prevailed whole England. Such a pattern has been the standard form for two hundred years all over the word, although it was replaced with a functionalism which developed in Italy and America at the end of 20th century. The clothes of gentlemen was developed by several factors ; English people respect a tradition. The clothes was practical, since the weather in England was bad. The success of Industrial Revolution made England wealthy. Various special clothes in sports, for example, riding, criket, golf and tennis also contribute the modern gentlemen clothes with advance tailoring technique. The change of gentlemenship with social environment, from Regency dandy, Romantic gentlemen to Muscular Christianity, was studied. Idial gentlemenship and development its clothes which is now the standard of modern men's wear also studied.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.511-522
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• 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 the Korean Society of Costume
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• v.4
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• pp.25-37
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• 1981

Art Nouveau style refers to the movement of art which was started in France and Belgium in the last decade of the 19th and the early years of the 20th century. The distinguishing characteristics of Art Nouveau style are the sensous sinuosity of its line, nervously undulating, curving over itself, rhythmical, flowing in endless patterns, which are inspired by animals and plants, specially by flowers, leaves, long stalks. The Art Nouveau style includes also the extreme simplicity of form, and asymmetric design. This new trend of art movement spread into architecture, furniture, wall papers, graphic design, accessories and textiles. In this paper, I tried to find out whether or not the Art Nouveau style had an effect on clothing. Because I believe clothing, like architecture, painting, and sculpture, is an Art form that derives from a particular set of cultural circumstances and reflects the needs and aspirations of the society for which it is created. Fashions in clothing over the last five thousand years have mirrorred the art form as well as the spirit. The result of this study shows that the Art Nouveau style made a lasting contribution to the modernism of clothing as well as architecture and interior design at the end of 19th century and the early years of the 20th century. The modernism of clothing appeared in the straight silhouette, asymmetric design, simple and light trimming, embroidery with Art Nouveau pattern, and stylized flower design in textile. Art Nouveau made a great contribution toward the modern clothing to have its liveliness and its harmonious relationship between clothing design and the use of materials.

• The International Journal of Costume Culture
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• v.6 no.2
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• pp.83-92
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• 2003

This study aims to classify women's undergarments of the 20th century by periods, and to examine their characteristics. The research method consists of a literature study based on relevant documentary records and a demonstrative analysis of graphic data collected from each reference. The features of women's undergarments obtained from the study are as follows: First, silhouette changes of outer garments appear to influence the type and style of a new undergarment. Second, technological development results in a new type of undergarments. Third, the development of new material appears to influence functions and design of undergarments. Fourth, social changes including the development of sports affects the changes of undergarments. As seen so far, the form or type, material, and color in undergarment diversify when fashion changes become varied and rapid. As shown before the 20th century, the importance of undergarment's type, form, and function gradually reduces according to the changes of women's mind due to their social participation, although it still plays a role in correcting the shape of an outer garment based on the outer silhouette. The design also clearly shows the extremes of maximization and minimization of decoration.

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.159-174
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• 2017

The study uses lists of wedding gifts used from old Korean documents written in Hangeul in the western Gyungnam province during the 20th century. The study analyzed four lists of wedding gifts from the Muncheongak archive and two lists from the archive of ancient document. This analysis found that clothing accounts for the majority of the items in the lists, and items such as furniture, jewelry, household goods, and medical materials were also recorded. That the furnishings were commonly prepared by the groom's side, and the fact that the number of jeogori was higher than the number of skirt, speaks to the unique wedding custom of Gyeongsang province. While the groom's list of wedding gifts included a record of the bride's ornaments, jewelry, and furnishings in the bride's list, the groom's nickel top-knot pin was only included as an ornament. In the list of wedding gifts between brothers, the gifts for the eldest son differed from those for the third son in terms of number and price. The list of wedding gifts between father and son illustrates how economic development and changing times wedding custom. The lists of wedding gifts in the old Korean documents shed light on the oral research into 20th century wedding custom, which will be used as basic data in researching and reproducting the wedding culture and life conditions of the time.

• Journal of the Korean Society of Costume
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• v.33
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• pp.5-25
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• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.939-951
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• 2007

This paper is about bridegroom's wedding robe, danryung(團領, a kind of official uniform) which can be found in the scenes of wedding ceremonies such as Chohaeng(初行, a ceremony that the bridegroom goes to the bride's house for wedding) and Hoehonrye(回婚禮, a ceremony that celebrates the $60^{th}$ wedding anniversary) in the genre paintings from the $18^{th}$ century to the $19^{th}$ century. In the documents of the $18^{th}$ and the $19^{th}$ centuries containing the wedding information of that period, danryung was described in various red tones ranging from Ja(紫, purple), Gang(絳 crimson), to Yeonhong(軟紅, pale pink). Similarly, red danryung(紅團領) was seen most frequently at the Chohaeng sights of the genre paintings. On the other hand, it was often depicted that the bridegrooms put on various colored danryungs at Hoehonrye. This was because bridegrooms at Hoehonrye wore their full dress according to their official ranks. In the genre paintings of the 18th century, all bridegrooms wore simple danryungs without hungbae(胸背, official insignia panel) except those in Hoehonrye painting where officials used hungbae. On the contrary, hungbae was discovered in the $19^{th}$ century Chohaeng paintings even though it was not precisely painted. This change of the bridegroom's danryung with hungbae attached was related to that of the official uniform system itself, in which black danryung with hungbae was exclusively used for officials. Afterwards it became the basis of the blue danryung of the present day.