• 복식
• /
• 제57권9호
• /
• pp.161-176
• /
• 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The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the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.

• 패션비즈니스
• /
• 제14권6호
• /
• pp.188-203
• /
• 2010

This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women's dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the $19^{th}$ century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A.line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three-dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women's suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. In the late Victorian age when the hourglass style was in fashion, mantle returned again to plain design emphasizing the details of the shoulders. The results of this study are expected to present motives for the development of contemporary designs, to contribute to the new recognition of the value of mantles, and to open a new research area of clothing history.

• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2005년도 춘계 학술발표대회 논문집
• /
• pp.120-121
• /
• 2005

• 복식
• /
• 제30권
• /
• pp.153-166
• /
• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• 디자인학연구
• /
• 제18권4호
• /
• pp.25-34
• /
• 2005

본 연구는 빅토리아 양식의 주택 실내에 대해 그 기본적 특징을 구체적으로 밝혀봄으로써 오늘날에도 지속적으로 영향을 미치는 빅토리아 양식 주택 실내의 특징을 구체적으로 밝히고 양식의 의미를 재조명해 보고자 문헌고찰을 실시하였으며 그 결과는 다음과 같다. 첫째, 빅토리아 양식의 주택은 전원의 단독주택이나 도시의 빌라, 타운하우스의 유형에 매우 다양한 역사주의 양식이 나타났고 지금까지 어느 시대 보다 다양한 주택유형이 등장하였다. 그중에서 벽돌과 뾰족한 지붕 사용과 같은 중세 고딕양식이 대표적인 특징으로 나타났다. 둘째, 빅토리아 양식의 실내는 로마네스크, 로코코, 고딕과 같이 과거 양식들이 사용되거니 하나의 실내에 절충적으로 표현되는 것이 특징이었고 방의 기능과 규범에 따라 양식들이 적용되거나 디자인의 비중을 달리하여 형식성을 갖는 것으로 나타났다. 셋째, 실내는 낭만주의와 자연주의 영향으로 자유롭고 불규칙하며 다양성이 특징이었고 절충주의와 장식과다는 이러한 맥락에서 이루어진 표현 특징인 것을 알 수 있었다. 또한 직물과 소품을 이용한 장식은 당시 공기오염이나 위생문제와 같은 환경적 요인이 관련된 것으로 나타났다. 기술적 발달은 주택에서 부엌과 위생설비 설치와 같은 전국적인 변화로 반영되었을 뿐 아니라 생산된 신재료와 주택 제품들을 통해 조화를 고려하는 다양한 디자인이 가능해지고 풍성하고 화려한 표현이 가능하게 해 주었다. 결론적으로 빅토리아 양식의 표현 특징에 영향 미친 요인은 낭만주의와 자연주의 사조 뿐 아니라 기술발달을 바탕으로 가족의 편이성을 고려하고 사회적 규범, 공기 오염과 같은 환경적 요인과 위생문제 해결, 빈번한 외곽과의 교류에 의한 개인의 가치 반영이라는 다양한 요인이 결부되었음을 알 수 있어 이와 같이 문제에 대처하는 방식으로써 빅토리아 양식에 대해 재고되어야 할 것이며 새로운 평가가 이루어져야 할 것이다.Cicindela(Cicindela) lewisi[sic] Bates: 한국곤충명집(1994)] 12. C.(Cicindela) sachalinensis Morawitz, 1862 산길앞잡이 13. C.(Cicindela) transbaicalica Motschulsky, 1845 참길앞잡이(=참뜰길앞잡이, 들길앞잡이, 왜길앞잡이) 14. C.(Cicindela) gracilis Pallas, 1777 깔다구길앞잡이 15. C.(Cicindela) obliquefasciata Adams, 1817 화홍깔다구길앞잡이(신칭) 16. C.(Eugrapha) elisae Motschulsky, 1859 꼬마길앞잡이 17 C.(Myriochila) speculifera Chevrolat, 1845 쇠길앞잡이 [=Cicindela(Myriochile) specularis Chaudoir: 한국곤충명집(1994)] 18. C.(Sophiodela) chinensis De Geer, 1774 길앞잡이게임, 토론그룹, 전자메일, 채팅과 상호관련을 가진 것으로 나타났으며, 교육/정보는 검색과 쇼핑, 현실도피는 게임과 토론그룹, 외로움은 토론그룹, 전자메일과 채팅, 쇼핑은 온라인 쇼핑과 상호관련성이 있는 것으로 분석되었다. 흥미로운 사실은 성적 만족과 관련해서 게임과 채팅은 긍정적인 상호관련을 가진 것으로 나타난 반면 전자메일 서비스 이용은 성적 만족과 부정적인 상호관련을 가진 것으로 분석되었다. 이는 대학생들이 지루하게 느끼거나 외로움을 느낄 때 전자메일을 주로 이용하지만 성적 만족을 위해 전자메일을 이용하지 않고 있다는 사실을 보여주는 것이다. (3) 인터넷 이용 이후 다른 미디어와 면대면 커뮤니케이션과의 관계 인터넷을 이용한 후 응답자들의 전통적인 미디어(텔레비전, 라디오, 신문, 잡지, 편지, 전화) 이용이 감소되었으며 친구, 가족, 이성친구와의

• 패션비즈니스
• /
• 제8권4호
• /
• pp.68-79
• /
• 2004

This study aims to understand the history of the Victorian age that attached importance to various designs and aesthetic aspects by art and craft movement, and to present that the Victorian pattern is a factor with unlimited possibility in application and development of the modern textile product designs. Therefore, through documents research home and abroad, I considered the periodical background of the Victorian style, a change course of textile, and the theoretical backing of the Victorian pattern, and I studied and analyzed the cases of being applied in the modern textile product designs by classifying apparel, home interior, and fashion accessories. First of all, in apparel, the Victorian pattern transformed into geometrical form had much relative importance, and secondly, in the home interior, the Victorian pattern was expressed realistically or it was represented more boldly and complexly with new materials or techniques introduced. Thirdly, in fashion accessories, decorative nature was shown in intense design with the real description of the Victorian flower pattern and brilliant colors. With these results, it was found out that when the Victorian pattern was applied in the modern textile product designs, it was the factor that could be expected to make a high value added suitable with the modern sense, and it was the pattern with developmental potential with its unlimited use range. Therefore, based on this study, it is considered that the development of textile product designs utilizing the Victorian pattern and academic research, reorganizing the Victorian pattern in accordance with the modern design should be continued.

• 한국의상디자인학회지
• /
• 제13권4호
• /
• pp.127-138
• /
• 2011

The style which is created by grafting the characteristics of goth onto haute couture designer works is called 'Haute goth'. The purpose of this study is to analyze the modem Goth fashion style based on Goth's historical background and characteristics. Also, I investigated the aesthetic characteristics of haute goth style appeared from the work of haute couture designers. Goth means a member of East Germanic people who invaded and settled in the Roman Empire from the 3rd to the 5th century. Goth style had been developed to the medieval European architecture style or the literature style of 18th~19th centuries and later it was reappeared in the gothic band in the late 20th century. Goth fashion shows the characteristics of the medieval times and Victorian times mixed with punk and fetish style. Goth fashion is expressed with the images of fear, darkness, mystique, dandy and eroticism. 'Dark esthetics' is realized through black clothes, pale complexion and silver accessories. Many designers like Alexander McQueen and John Galliano designed 'haute goth fashion' in various ways. The characteristics of 'haute goth' can be summarized in four things. It creates new images, seeks various changes and pursuits newness. It upgrades a street look style gothic fashion to a luxury high fashion and the creative design with artistic value. It also shows an experimental sprit by using a unique shapes, silhouettes, different materials and extreme images or creating new combination through the mismatch of opposite objects or emotions. Although it is rooted in the past because of the influences by late medieval times, Victorian times and Edwardian times, it displays enough of future-oriented historicism designs.

• 한국농촌건축학회논문집
• /
• 제16권4호
• /
• pp.83-90
• /
• 2014

The aim of this study is to find out the ways of community landscape design in American garden city, Logan in Northern Utah. I had been surveyed historic homes and single units to take a dig how to keep and develope a good community landscape of the city in both the Historic District and residential area, researching of documents. City of Logan surveyed contains a remarkable landscape views of various historical house styles and contemporary single units based on traditional house styles out of central street. For they have been controled by Center Street National Historic District Design Standards and Logan Land Development Code with Logan General Plan. Logan community shows today a particular identity and harmonious landscape of residential area in a view point of old and new buildings. There are three results of the study as follows: First, the types of homes in Historic District are focused on Victorian style with Prairie homes which are unique American style, the Craftman that is revised as American home style, and vernacular style. Second, the historical houses have been controled by HPC since 1978 in order to keep the original buildings and landscape architecture, and the general single units by building code of the city in General Plan. Third, it must be citizen participation design to build up a beautiful landscape that Logan has maintained a safety garden city people hope to live in.

• 한국의상디자인학회지
• /
• 제4권3호
• /
• pp.75-87
• /
• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• 한국가구학회지
• /
• 제17권4호
• /
• pp.59-83
• /
• 2006

This article was written in order to understand rockers of today and to provide basic data of their designs and manufacture studying pattern changes in the West. This article contains, the characteristics of the style of the Adirondack rockers, the Mission style rockers in America and the European rockers. Adirondack rockers ($1850{\sim}1940$) were made in various styles out of the mingling of rustic sensibilities with the formalism of Victorian designs. They were Old Hickory chair Co. style, Westport style, bentwood rocker style of two shape and Mottville rocker style. Mission style denoted American furniture design style of the early 20th century especially the work of Gustav Stickley and Roycroft Community. Mission style rockers had a simple, rectilinear style with exposed construction techniques, unpretentious materials (usually oak, with covering of leather, canvas or plain cloth) and little or no decoration. European rockers ($1660{\sim}1918$) have come to mean rockers from the English regional chair, Thonet, J&J Kohn, Henry Van de Velde and Hoffmann. The modernism of modern furniture was affected by the characteristics of the Adirondack rockers, the Mission style rockers and European rockers.