• Journal of the Korean Society of Clothing and Textiles
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• v.5 no.2
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• pp.1-12
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• 1981

Nous avons essaye, dans cette etude, de deceler les caracteristiques de la silhouette du style d'Empire en eclairant it la fois le processus de sa formation ai travers La Monarchie, La Republique, Le Directoire, Le Consulat et l'Empire. Nous avons souligne comme suit: En premier lieu, comme les caracteristiques generaux, la simp lification et la democratisation. En second lieu, comme celles de La Monarchie et de La Republique, la transformation renovatrice en forme grossiere du style cylindriforme de la mode d'epoque ancienne. En troisieme lieu, comme celles du Directoire, la formation de l'unite esthetique au haut degre et les lignes naturelles du corps. En quatrieme lieu, comme celles du Consulat et de l'Empire, l'achevement du style d'Empire d'ornement somptueux refletant l'autorite politique de l'Empereur.

• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.687-696
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• 2006

This study aims at analyzing the silhouette, dress patterns and detail of Empire Era(1789-1825), and making use of this results for the modern stage costume construction. The dresses of Empire era were divided into X and H style. The results revealed that the bust girth of X style group was bigger than that of H style group. Such patterns as high waistline, puff sleeve, train, etc. which appeared during the peak time of Empire style period were more remarkable for H style group. This obviously indicated that more epical characteristics were observed for H style group than for X style group. Similarly to silhouette analysis, based on the results from cluster analysis conducted to put similar groups together, two groups were formed - a visually differentiated and complex group and a simple group in the absence of detail. Most dress details from Empire period had simple embellishments. Comparison of the average size of the patterns between two groups indicated that waist front length of H style was shorter than that of X style. Front interscye was even greater than back width for both groups. Such trend was quite different from today's pattern in which back width is larger than front width based on body measurements. Preference for big breast during the period was reflected on dress patterns and the side length of front side goes across the back much further for bodice patterns. Two representatives were selected and reproduced using materials similar to those of real dresses of Empire style, following two times fit test.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.445-460
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• 1994

This paper analyzes Empire style costume based on the fashion theory of Lauer and Lauer. We classify fashion into tow categories, a personal identities, the social competition and sexual competition, he economic factor as a functional factor, and the reflective thing of zeitgeist, eroticism as a dynamic factor. These factors can be visualized from fashion design, textiles, ornaments expressed in the paintings.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• Journal of architectural history
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• v.27 no.2
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• pp.79-88
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• 2018

Foreign Reception Hall in Gyeongungung Palace was constructed during 1899-1902 according to Yesigjangjeong (禮式章程), Korean Empire's modern diplomatic protocol. This bulilding is a case worthy of notice, because its construction process was written in Jubon(奏本), Korean Empire's official document. Yesigjangjeong(禮式章程) regulates the process of diplomat's audience with Emperor Gojong. The process suggested that Foreign Reception Hall was designed as the place of the end as well as the beginning for audience. According to the process, diplomat came through main gate, Daehanmun and outer gate of main hall(Junghwajeon Hall, Audience Hall), then arrived at the stair to Foreign Reception Hall. After waiting time in the hall, he was going to be granted an audience with Emperor. And he exited through Foreign Reception Hall as the reverse way. This hall was constructed as western-style. Subcontracted carpenters and wood sculptors and laborers from China represents that chinese workers were prevailed in the government construction at that time. And modern building materials, such as glass, colored brick, sanitary wares and lightings were applied, which showed the new landscape in the middle of Gyeongungung Palace. Above all, official documents related with this hall reveals Korean Empire supervised this construction for diplomatic protocol. That is the identity of western-style buildings in Gyeongungung Palace.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.439-453
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• 2015

This research is regarding Park Ki-Jong's Western-style court costume and emphasizes the shape and style peculiarities of Western-style court costumes in the Korean Empire from the 1876 Port Opening to the 1910 annexation of Korean to Japan. Park Ki-Jong's frock coat was made during the period of the established law from 1900 to 1910. 1) The brand was ASADA TAILOR from Kyung-Sung. 2) The shape was long at the front and back, and it featured a picked lapel and double breast with six buttons to fasten and two buttons for decoration on the upper part. 3) The frock coat's materials were black wool fabric and black ridged silk. The lining's material was black plain silk and the sleeve's lining was white with blue striped silk. 4) The front separated the upper and bottom parts. The bottom was composed of a one-piece A-line skirt that continued from the front to back. The top of the back was separated by the princess line and the center-back seam was also separated with a vent. However, the center-back of the waistline was not separated, and it continued to one piece. The sleeve shape was a two-piece sleeve style with a phony vent and two wrapping buttons.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.142-152
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• 2006

The purpose of the study was to demonstrate how to recreate Spencer jacket of Empire Style in an attempt to apply this historic style to theatrical costumes and other high fashion items in modern times. The study was carried out through 2 steps. First, Literature, films and other visual information were utilized in order to classify the designs of Spencer jacket. Second, Production of Spencer jacket using patterns shown in literatures and those commercially used and commercial patterns were investigated to find out design characteristics of jackets. Results and discussions are as follows: The results showed that Spencer jacket can be categorized into following three styles: (1) Jackets having front opening without button stands and standing collar, (2) Double breasted opening and notched collar, (3) Single breasted opening and flat collar with waist band. The characteristics of Spencer jacket design were as follows: (1) Short jacket length, (2) Armhole line moved inwards, (3) Long fit shaped puff sleeves, whose puff being distributed more heavily over back of the sleeve, (4) Diamond shaped back bodice, which are consisted with princess lines and shoulder lines moved backwards.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.31-42
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• 2008

The fashion of the 19C had been through many diverse styles, i.e. Empire style, Romantic style, Crinoline style and the Bustle style. These styles had emphasized a certain figures, such as exaggerated hourglass silhouette of crinoline style or S silhouette of bustle style. Following the trends, corsets became more than underwears. Actually they supported the fashion of the 19C. Apparently, the corsets had been evolved in many aspects. Patterns, materials and trimmings were developed and refined to make torso figures desirable. The initial purpose of the research is to find out how they developed corset patterns to make such a diverse figures, so that the techniques can be adopted in contemporary pattern design. The 16 corsets and their patterns were quoted from books related the subject. The patterns were redrawn of same scale for the comparative study concerning cutting lines and measurements. Coming to the late, more curved lines and more segmented cutting were used to make body more of glamour and natural. Gussets were another key technique to make them work. Various sized and shaped gussets were used to follow the trends of ever changing.

• Cross-Cultural Studies
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• v.38
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• pp.7-28
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• 2015

This article considers Chunhyanjeon written in Japanese by Jang Hyukju in 1938. His Chunhyangjeon was presented from among the collusion and crack of 'things Japanese' and 'things Chosun' discussed in Japanese literary world in the 1930's. This article analyzed the writing method and the meaning of the text. Jang Hyukju(張赫宙, 1905~1997) became known to Japanese literary world by the second grade nomination of the prize contest of the magazine Kaizo in 1932. Since then, he worked actively in the Japanese literary world by writing novels in Japanese and introducing the literature of Chosun. Thanks to his activity, the literature of Chosun drew attraction from the Japanese, which can be called 'boom'. Jang Hyukju was in the middle of this boom. So, his text presented the collusion and crack of empire and colony. We can make sure this issue from his play Chunhyangjeon. When he presented Chunhyangjeon, Jang Hyukju mentioned his purpose of writing. He intended to write modern play in new literary style. Chunhyangjeon was surely the material of things traditional Chosun, which was corresponded to the demand of Japanese literary world. Through the story of Chunhyangjeon, however, he formed the modern text style. He wrote in standard Japanese language, and described things from the perspective style which is often used in modern novel. And he renewed the character characteristically and arranged the structure of the play. His writing style showed clear distinction in the comparison to Chunhyangjeon written by You Chijin which was presented in Korean language 2 years earlier than Jang Hyukuju's. The text Chunhyangjeon written in Japanese by Jang Hyukju reflected specificity as a district of Japan. But on the other hand, a new literary method of modern realism was tried. Chunhyangjeon written by Jang Hyukju shows the cross penetration of empire and colony. And in his Japanese-language literature, the literature of Chosun is coexisting and playing variation.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.13-29
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• 2012

Art works reflect the spirit and aesthetic information of the times. More specially clothing shown in paintings indicates the phases of the times and contains the aesthetic values of the era. The purpose of this study is to examine the characteristics of German Romantic Era on male and female clothing style represented in Caspar David Friedrich's paintings. The study aims to highlight the following: First, German romanticism ironically gives conceptual importance but high value to freedom of inner self and imaginative sensitivity of human beings. Second, the paintings of Friedrich show the consistency with nature through human beings' inner self and transcendency ultimately expressing religious ideals paradoxically. Third, the characteristics of male and female clothing style shown in Friedrich's paintings are considered religious, contemplative, paradoxical, transcendental, conceptual, political, grass-roots oriented, and female liberating. Female clothing reflects simple empire-style, while male clothing shows romantic style of people's leaders, reflecting the political features in those days.