• Journal of the Korean Institute of Rural Architecture
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• v.18 no.4
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• pp.25-32
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• 2016

Historical and cultural heritage provides a clue to reflect on the life of the era. Views of traditional village are the thing which can show us the life style and value of our ancestors and must be conserved as the values and traditional culture. Traditional village that has the historical value and descended to this day by adapting to environmental and social changes with the strong continuity is a part of the value of the residents' life and should be conserved with the physical environment, community and quality of the inhabitants' life. Therefore, this study is to analysis the difference of perception and the cause regarding conservation of the historical landscape and how the landscape influences on the residents and visitors. Based on those things, this study is to ultimately introspect importance of the residents' participation and meaning of the difference of perception about conservation of the historical landscape.

• Journal of Fashion Business
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• v.7 no.4
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• pp.105-120
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• 2003

Culture and society exist in the present, but they came from the past. So did clothing. As dressing is deeply based on culture pattern of the times, it is affected by various culture patterns and still keeps developing in modern times. This study is intended to examine the features of retro fashion on culture and dressing of the 19th century. The features of retro fashion on Neoclassical and Romantic culture and dressing are objection to the existing pattern, recursion to the past, and creativity characteristic of pattern of those days. Neoclassicism arose as it rejected Baroque and Rococo style, and imitated culture and artistic pattern of Greece and Rome. Romanticism objected to formal and universal pattern of Neoclassicism, and imitated Gothic style while recognizing historical facts and studying medieval times. Dressing in Neoclassicism did not accept exaggerated and luxurious Rococo pattern, and imitated simple, soft and straight silhouette of Greece and Rome and created its unique Empire Style. Romanticism imitated luxurious style of Renaissance, the Middle Ages, Baroque, and Rococo, different from simple and straight neoclassical style during the Bourbon restoration, and created its unique style. Thus, it is shown that retro fashion on Neoclassical and Romantic culture and dressing reflect the style of those days.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.168-174
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• 1998

In the Western Civilization you can clearly see the change in the architectural system. In the 19th Century many of arcitectural style resurrected in the appearance of style revival. And each of the Style's appropriateness and exactness were very complicatedly discussed. After the middle of 19th Century a series of morality movement which showed an expectation for a historical revival started to show declining atmosphere. To architects at the periods more universal formation seeking and new surpassing style pursuing logic has exacted which care from very different from the past During this period a question were brought up about architecture ornamental rightness and appropriateness. As each of the architects had a saying about the ornament was recognized as important part of architect. On this bases this study's purpose is finding out whst is the maeaning and content of G.Semper's "Bekleidungstheorie"

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.54-67
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• 1997

Now, this time we regarde as daylife is a part of culture in novelty view of modern culture study. Specially, we can see terms about style surfing supermarket style through visulization process for critic, combination, reconstruction, of modernism, that is post modernism. Not new style show up any more but displayed union of past style history complex, slices of decoration series. A designer group called as memphis, they designed such like that. Our view for fashion could be new in the technology, mixed media, cyber situation is stimulated us and accepted in extened concept of culture. In this study, I approched as a view of streetism cyber punkism haute couture Romanticism linked extension concept of culture. Haute couture fashion has the most historical, and constructive and decorative aspects, and regarded as principle of construction of deconstruction. And this season trend is romantic & emotional image are complexed.

• Journal of the Korean Society of Costume
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• v.18
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• pp.321-337
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• 1992

Fashions are constantly subject to change, so that forecasting trends in fashion is very difficult and the forecasting is very important. The reason is that forecasting is identifying a hot trend for the next days' business and projecting the future. The purpose of this study is to suggest the realistic forecasting theory identify fashion trends at present, further forecast fashion trends to 1995. For this study, historical models (th historical resurrection model, the historical continuity model) and the art movement model among the behavioral science models which was suggested in 1986 by Geoge B.Sproles were selected. According to this study, was exhibited. This curve was resulted from relation between 1980s fashion trends and the behavioral science models of fashion. Fashion trends to 1995 through will be followings; 1. Body Conscious look as one of the characteristics of modern fashion will bi continued throughout 1990s' fashion trends. 2. The attraction of Mini style was started from the middle of 1980s, recently gets near micro mini and super shouts, These are representative of the historical continuity model. 3. Mini look as revivals of '60s in early 1990s fashion trends. This phenomenon identifies that "Fashion is repetition" 4. When Mini look and super shorts reach, will not progress any more. In this time, will bi seen transfer of style be using classic style. Tat is modern classic will be appeared. also this condition is same from late 1960s to early 1970s. In view of the historical base, the action of the varieted pants will be prominent. 5. Fashion trends which passed through this process will transfer from young look to elegant look. In this time, designers will retrospect '30s and '50s fashion trends, and then will design modern feminine look. 6. Ethnic look, the fashion trend after that condition will be accelated feminine look. This look with the feminine look will reveal rich, colorful, elegance feminine image. 7. In 1980s, activity and function in clothes were demanded. The clothes which are considered these condition will be demanded continuously. 8. The variety of fashion will appear as mixmode and new coordinate look in a clothes simultaneously in fashion of '90s. And these looks will creat mixed beauty. 9. Pop art, op art, graphic art will be not only development of textile but also movement of fashion soul in 1990s. The fashion behavior will be continuously scientificated.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• Fashion & Textile Research Journal
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• v.16 no.4
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• pp.543-553
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• 2014

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: , , and , set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in ; dailiness versus ceremonialness and dynamics versus statics in ; and independence versus conformity and variability versus continuity in .

• Journal of Fashion Business
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• v.13 no.4
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• pp.60-76
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• 2009

Expression of woman characters in fusion traditional dramas plays a role of making the progress of dramas not bigoted and new. Especially, woman characters have a high weight as a heroine by an increase in their image in fusion traditional dramas. Expression of characters harmonizing modern with tradition has also given a help in reflecting a trend of the present times. Hair style and face makeup of woman characters in fusion traditional dramas are in the process of fusionization getting an effect from postmodernism. They are expressing the hair style of symbolization modern elements of hair style to traditional hair styles. They also expressed a neutral image with faded hair styles in the shaggy cut style and dye of neoplaticism. Neo-hippie style was changed into the style of naturalism and nationalism and the hair style braided in various branches as the one of Indians was changed into a primitive and national feature. It is producing a new style by permitting even a long-hair permanent wave hair style. Expression of straight hair style, a long-hair shaggy & bulging wave style and a hair style of neoplaticism, was distinguished. In the side of face makeup, they expressed its luxurious and splendid style by attaching great importance to its luster and are exposing images of characters by a smoky makeup emphasizing eye lines. Their face makeup was almost never separated from present dramas as using pearl shadow in a glossy lips makeup and color, which made it possible to express it more dramatically in fusion traditional dramas than in present dramas. In the event of the makeup element of fusion traditional dramas permitting diversity, the character makeup of fusion traditional dramas made a foundation to show people diverse elements of makeup by mix & match a present elements and past elements of historical research, which made it possible to express a unique makeup or a special makeup. Diverse makeup expressions were limited by reflection of illumination even in the existing videos. Therefore, 'Fusion' made it possible to express it more freely in fusion traditional dramas than in present dramas.

• The Research Journal of the Costume Culture
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• v.10 no.4
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• pp.319-335
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• 2002

Nongae was the official Kinye(관기) who had exhisted, her portrait was enshrined at an ancestral tablet hall beside Choksukloo. This portrait of Nongae was a work of a painter, Un Ho-Kim. In any case, a study on the costume of the portrait of one person must be taken the costume of the period. This study investigates the character of clothing style in King Sunjo 26(1593) and in her present portrait. And so, her portrait who was enshrined at the place didn't agree with it's clothing in King Sunjo 26(1593) The results of this study are as follows : The portrait of Nongae took the costume style of the beginning of about 1910. and so this style was different from the style of costume, King Sunjo 26(1593). The style of costume, King Sunjo 26(1593) : Jacket : It's jacket was long(near hip) and broad, it's sleeve length was long, it's form was a straight line. Skirt : It's skirt was very long. It's silhouette was formed a soft line The costume of the figure in this picture in wrong from historical point of view. And so, the costume of Nongae in the portrait must adjust it in the clothing style of about 1593.

• Journal of the Korean Society of Costume
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• v.53 no.6
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.