• 복식
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• 제59권9호
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• pp.55-70
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• 2009

This study aims at analyzing the formativeness of women fashion shoes shown in the high fashion since 2000 along with the necessity of study for such purposes. Fashion shoes designed for the perfection of high fashion have been positioned as an important item to increase the value of fashion. Subsequently, three formative images through the research method under the literature study could be analyzed as follows. First, the Fetishism image appeared from 18th century and the shoe heel has the erotic internal beauty while attracting the erotic nature from the perspective of 'feet confinement'. The high heel came to have an absolute relationship with the feminine beauty, and the feet and shoes are accepted for the erotic symbol regardless of anyone in the East or West. Second, the fashion shoes in the Maximalism image to pursue for the dream and excitement at the same time have been shown at the same time by using various ornaments in an exaggerated manner for the use of ornaments to clothes through designs by shoe designers. Third, the Aristocratism image in the fashion shoes was remarkably highlighted with the use of materials from processing natural materials with the best quality, which was expressed in an exotic manner with roughness and comfort despite the nature of refinement balanced with the simple reactionary tendency and technical senses of handicrafts. It can be perceived that the inner emotions of human beings are expressed by intentionally dismantling the functions of shoes in terms of functionality even in the fashion shoes in completing the ideal images after which are pursued by people.

• 한국의류산업학회지
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• 제5권1호
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• pp.25-33
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• 2003

Rococo, which is represented as immoderate pleasure and luxurious aristocratism, had required to be liberal and unconventional in art and life, and the hairstyles were also much more fantastic, huge, and splendid than ever. Women's hairstyles in the early 18th century were the relatively simple style of Pompadour style that didn't inflate hairs and combed them backward. Then, as changes in haristyles began to appear in around 1760, the styles became gradually higher and huger, and very queer styles also appeared. In the 1780s, they ornamented these hairdos by using various things. This can be considered as women's behaviors that showed off their status and wealth instead of their husbands. Although men's hairstyles were not as huge and decorative as women's, wigs were worn frequently. Wigs became smaller and simpler than those in 17C, and while wearing them, they made wigs whitened by spraying hair-powders enough not to recognize their ages. Several names such as Pig tail, Ramilleis, Bag wig, Brigadiere, and so on existed, according to the way to tie the wigs. Somewhat exaggerated men's hairstyles were shown by Macaronis in 1780s. However, this can be regarded to reflect the situation of the age.

• 복식문화연구
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• 제21권2호
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• pp.234-245
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• 2013

The modern fashion was developed the basis on the western dress structure and its historical flow was continued until today. Particularly, the Britain has coexised the unique cultural identity in the aristocratic high culture and rebellious tendency of the subculture so it is necessary to the consideration about whole culture in order to grasp the British fashion identity. The purpose of this study was shown the methodological framework of the culture identity research of one country through the background of this formation of culture and process high culture and subculture study by analysis the culture identity in the today's Britain. Also, the purpose of this study that it draws whether the feature of the British fashion shows up as any aspect in this culture identity. The range of this study subdivides and considers with the imperialism, industrial revolution, aristocratism, union nations, and geographical aspect as the island country into the economy, politics, society, and natural characteristic about the Englishness and the notion of British culture then it draws the dichotomy of the British fashion through the culture identity formed in this society cultural background with both sides in the high culture and subculture aspect.

• 비교문화연구
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• 제45권
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• pp.349-380
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• 2016

이 논문에서 우리는 귀족적인 18세기 문화를 과도하게 애호했던 공쿠르 형제의 입장을 살펴보고자 했다. 그들은 작품에서 로코코, 로카이유, 왕의 애첩, 골동품 등의 주제를 주로 다뤘는데 이는 두 형제가 루이 15세와 루이 16세 시절의 귀족적 세계를 되살리려는 의도에서였다는 것은 널리 알려진 사실이다. 그런데 그들이 귀족 가문 출신이라는 사실만으로 18세기 귀족 문화에 깊이 매료되었다고 여기는 것은 정당할까? 그들이 18세기 문화를 탐미하는 또 다른 이유는 없는 것일까? 이 연구는 이런 의문에서 시작되었다. 왜냐하면 그런 문화에 대한 두 형제의 집착에는 미학적인 편애를 넘어서는 또 다른 이유가 있다고 생각하기 때문이다. 이에 대한 해결을 위해 우리는 먼저 이념적인 원인을 살펴보았다. 우리의 관심은 무엇보다 귀족적 문화에 대한 그들의 집착과 자신들이 살았던 시대의 부르주아 문화에 대한 거부 사이에 어떤 관련이 있는지에 집중되었다. 그런 다음 1848년 혁명 직후 그들이 프랑스 대혁명을 연구한 이유와 의미를 밝히고자 했다. 이 탐구를 통해 우리는 그들이 유쾌하고 활력 있는 18세기 문화를 특화했고 동시대 사람들에게 1848년의 끔찍했던 기억을 잊게 하는 방법을 제시하고자 했음을 확인했다. 이에 따라 우리는 공쿠르 형제가 자신의 시대가 안고 있었던 심리적 고통을 치유하려는 의도를 가지고 작품을 썼다고 말할 수 있다.