• 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.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.21-28
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• 2024

The public can access movies more easily than any other cultural genre. The film's costumes convey the social, political, and cultural climate of that time period. Additionally, it subtly conveys the message of the movie, including the intentions of the director and the characters. Filmmakers can now use fact-based materials to plan their films, and audiences can now watch costume in movies with objective standards, particularly in period dramas, thanks to the advancements in over-the-top (OTT) services. The 77th British Academy costume Award went to the movie Napoleon because of how much emphasis it placed on the outfit. Ninety-five percent of the costume was made by experts in military uniforms and costumery. In contrast to the previous aristocratic and exaggerated Rococo costume, Napoleonic clothing had a natural and common-class character. A natural-shaped Chemise dress composed of light, reflective material first appeared in the Directoire era, just after the French Revolution. Chemise dresses made of a variety of materials gained popularity during the Empire era. With Napoleon taking the throne and Josephine becoming the empress, the vibrant court culture resurfaced during the Empire era. The silk was embellished with gold thread and embroidery, train dangling forms, and different types of sleeves appeared in Empire styles. They wore Pellisse and shawls under the coat. The hair style had long, ancient hair and was adorned with fillets. They also wore straw hats, bonnets, and caps. Long gloves and parasols were also popular accessories, as were pearl or colored jewelry necklaces, earrings, bracelets, and rings. During the Empire era, tiaras were fashionable. Shoes were either low-heeled pumps or sandals. The movie uses Chemise and Empire costumes, which are versatile enough to be used in a range of settings and eras. When it came to details, the type of sleeve was employed without regard to time, such as when using those from an earlier or later period. Since jewelry was worn more often than not in that era, practically every character has earrings on their necklaces. Nearly exact replicas of the coronation costume can be found in paintings by Jacques-Louis David. The red trains, Josephine's Empire dress, the crown, the Tiara, and the costumes of every character in attendance were all clearly identifiable in terms of form and color. To further aid viewers in understanding and enhancing the film's overall coherence, a scene featuring David drawing the coronation was added. Overall, there were differences in that the historical costumes were accurately recreated, the materials and details were utilized without restriction, and some of the costumes were designed with modern materials or accessories that were used more than the historical costumes. This section appears to have been written to highlight the beauty of the characters' personalities or settings. There is a limitation to this study in that it only looked at aristocratic clothing, which includes Josephine's. We will concentrate on male clothing in future research.

• Acta Via Serica
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• v.8 no.2
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• pp.155-174
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• 2023

Trade along the Silk Routes reached its zenith during the Pax Mongolica, a period of relative stability in Eurasia that was created by the Mongol empire in the 13th and 14th centuries. It is generally believed that the Silk Routes declined after the disintegration of the Mongol empire in the second half of the 14th century and that they fell into disuse after the 1453 Ottoman conquest of Constantinople as the Europeans sought alternative maritime routes to Asia. This paper examines the aftermath of the Mongol-era overland and maritime Silk Routes from a non-Eurocentric perspective. Seen from the standpoint of various successors to the Mongol empire, such as the Timurid empire, the Mughal empire, the Uzbek khanate, the Ottoman empire, Manchu Qing, and Russia, the overland and maritime Silk Routes did not really collapse or sharply decline during the post-Mongol period. These Mongol successor states maintained close and thriving overland trade relations with each other or some important maritime trade relations with Southeast Asia. It may be argued that the Silk Routes in the post-Mongol world functioned rather independently of European seaborne commerce.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.310-321
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• 2008

In the era of the Korean Empire, the identity of nation is not secured, therefore police system are also changed many times which has not an consistent directions. There are efforts of the ruler to reinforce or protect the nation against the invasion of outside power in the process, of course. But these efforts which reinforce the power of despotic emperor and modernize the nation are disappointed by the exclusive control of japan after the Russo-Japanese War in 1904. Therefore, japan disseized the police power of the Korean Empire in various forms(general police and military police). And these general police and military police are faced role conflict often, finally integrate to the military police, which take root the basic model of colonial police in 1910.

• 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.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.140-149
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• 2013

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• Acta Via Serica
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• v.1 no.1
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• pp.119-135
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• 2016

The initial phase of the Mongol invasion resulted in the establishment of relative political stability in the vast expanses of Eurasia, which came under the control of a single political entity - the Mongol realm. This contributed to a fairly rapid restoration of the commercial links and trade routes between the East and the West. During this period, Chinese silk again became available in large quantities in the Western markets. At the same time, the beginning of silk production and manufacturing of silk fabrics in Italy and the fashion flash for these goods in Western countries affected trade between Europe and the Muslim world. The centers of silk production in the Ilkhanid Empire were some provinces of Azerbaijan and Persia, where from it was exported in large numbers along the trade routes of Anatolia and Syria to the Mediterranean ports and further to the west. There are numerous testimonies of European travelers, and Muslim authors related the international silk trade in 13th-15th centuries, ie in the era from the Mongol Ilkhanid Empire till the reign of the Turkman Aqqoyunlu dynasty. One of the most informative documentary sources on this issue are the legislative codes (kanuname) of sultan Uzun Hasan from the Aqqoyunlu dynasty regarding the eastern provinces of the Asia Minor. This article presents and analyzes the information from these documents concerning the whole range of goods related to silk and silk fabrics trade in the period under the consideration.

• Acta Via Serica
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• v.3 no.2
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• pp.23-48
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• 2018

The Silk Road usually implies a network of trade and communications that stretched from east to west and connected China and the countries of the Far East via Central Asia and the Middle East to the eastern Mediterranean, or through the northern coast of the Caspian Sea and the Volga basin to the Black Sea coast. However, at certain historical stages, a network of maritime and overland routes stretching from north to south, commonly called the Volga-Caspian trade route, also played a significant role in international trade and cultural contacts. The geopolitical realities of the early Middle Ages relating to the relationship of Byzantium, the Sassanid Empire, and the West Turkic Khaganate, the advance of the Arab Caliphate to the north, the spread of Islam in the Volga region, the glories and fall of the Khazar State, and the Scandinavian campaigns in the Caucasus, closely intertwined with the history of transport and communications connecting the north and south through the Volga-Caspian route. In a later era, the interests of the Mongolian Uluses, and then the political and economic aspirations of the Ottoman Empire, the Safavid State, and Russia, collided or combined on these routes. The article discusses trade contacts existing between the north and the south in the 15th and first half of the 17th century along the routes on the western coast of the Caspian Sea.

• Acta Via Serica
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• v.5 no.2
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• pp.25-49
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• 2020

This essay, based on an oral presentation, provides the non-specialist, with an evaluation of the Mongols' influence and China and, to a lesser extent, on Russia and the Middle East. Starting in the 1980s, specialists challenged the conventional wisdom about the Mongol Empire's almost entirely destructive influence on global history. They asserted that Mongols promoted vital economic, social, and cultural exchanges among civilizations. Chinggis Khan, Khubilai Khan, and other rulers supported trade, adopted policies of toleration toward foreign religions, and served as patrons of the arts, architecture, and the theater. Eurasian history starts with the Mongols. Exhibitions at the Metropolitan Museum of Art and the Los Angeles County Museum of Art confirmed that the Mongol era witnessed extraordinary developments in painting, ceramics, manuscript illustration, and textiles. To be sure, specialists did not ignore the destruction and killings that the Mongols engendered. This reevaluation has prompted both sophisticated analyses of the Mongols' legacy in Eurasian history. The Ming dynasty, the Mongols' successor in China, adopted some of the principles of Mongol military organization and tactics and were exposed to Tibetan Buddhism and Persian astronomy and medicine. The Mongols introduced agricultural techniques, porcelain, and artistic motifs to the Middle East, and supported the writing of histories. They also promoted Sufism in the Islamic world and influenced Russian government, trade, and art, among other impacts. Europeans became aware, via Marco Polo who traveled through the Mongols' domains, of Asian products, as well as technological, scientific, and philosophical innovations in the East and were motivated to find sea routes to South and East Asia.