• 한국의류산업학회지
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• 제4권4호
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• pp.347-357
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• 2002

In 1536, two Piedmontese merchants set up workshops in Lyons, and Henri IV encourged further development later in the 16th century. The development of Lyons as a centre of the silk weaving industry was helped by the perfection of drawloom weaving technique there in 1605 by Claude Dangon. In the 17th century, the French silk industry could finally compete with the dominance of the Italian silk trade. The French silk industry was promoted in the mid-17th century under Louis XIV's minister Colbert. In 1667, he published an ordinance creating La Grande Fabrique, a corporation for craftsmen within the silk industry, and Lyons became the undisputed French silk capital. Under Louis X IV, France was becoming the dominant force in Europe in matters of fashion and style. The major innovation of weaving was the Jacquard head attachment, which provided a mechanical means of raising warp threads by a series of punched cards. The are nouveau style did not have much impact on French silk design at the end of the century. Silk manufacturers began to collaborate with haute-couture designers such as the House of Worth. This collaboration with the burgeoning Paris haute-couture industry continued into the 20th century and safeguarded the future production of silk textiles in France.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.83-94
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• 2005

20th century was the age of Modernism which was based on rational side of human mind. However, with the fall of Modernism, also came the fall of rationalism's dictatorship. Now, we see the pursuit and quest of irrational thinking as a new possibility of human expression which actually was already begun by Dada and Surrealism in early 20th century. It was facilitated by re-evaluation of Freud's psychoanalytic theory at the end of 20th century. This paper researches psychoanalytic approach applied to the analyses of unconscious human desires in art and design, especially its application to contemporary space design. These designs represent, without making any ethical evaluation, the fact that those unconscious desires are part of inborn human nature and the fact that 21st century is heading toward open society which embraces diverse values and possibilities. By analyzing irrational tendencies in contemporary space designs, this paper aims at proving the meaning and value for one of new directions in 21st century space design. First chapter is an introduction. Second chapter studies Freud's psychoanalytic theory. Third chapter examines the psychoanalytic methodologies with which unconscious desires are expressed in art and design. Fourth chapter classifies the types of subconscious desires expressed in contemporary space designs and analyzes their case studies. Fifth chapter is the conclusion.

• 비교문화연구
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• 제36권
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• pp.97-122
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• 2014

During the Edo-period [江戶時代 1603-1867], Japan accepted the modern western science and culture while trading with Holland since 1609, and also through the influx of optical instruments in the $18^{th}$ century the culture of viewing pictures began to be developed. Especially, the peep-boxes and their pictures had been imported from China and Holland since the mid 1750s when they were flourished. The peep-box was rapidly and widely spread. Soon after, the peep-boxes and pictures had begun to be produced in Japan (megane [眼鏡] and megane-e [眼鏡繪]) since 1770s when the early visual culture settled down in Kyoto and Tokyo etc. The visual culture developed with the peep-box contains two remarkable factors in the cultural history of the $18^{th}$ century Japan. First, the peep-boxes became the popular device of visual entertainment, and opened the first phase of the modern visual culture before the advent of photography and cinema in the mid and end of the $19^{th}$ century. Secondly, the peep-box played a role of an educative media as a 'window to the unknown world' in the $18^{th}$ century Japan, by showing various pictures of many European cities. Through the peep-box pictures the 'western images' were spread and knowledges of Japanese about the west increased, although they were recognized just as 'Holland's images' without differentiation in each country.

• 한국의류산업학회지
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• 제12권6호
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• pp.821-829
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• 2010

The men's costume of eighteenth century showed feminine image of elegant decoration through the influence of social feminine atmosphere. As years go, heading towards the end of the eighteenth century, most of men's wear were simplified except vest, which had gorgeous decorations showing feminity. Therefore, men's vest of eighteenth was regarded as good item to apply to modern women's wear. The men's vest design of eighteenth century were divided into three types due to the passage of time, they showed the difference in the length, detail and trimming. Cutting lines in the modern fashion are used to give comfort and show the three-dimensional body silhouette. Also, cutting lines, as a decoration element, can define the costume's image and characteristics. Therefore, by using cutting lines, we can represent historical costume as modern costume and men's wear as women's wear. I made five women's costumes applying design characteristics of the men's vest of the eighteenth century. These five women's costumes have decorative aspect of men's vest of eighteenth century and simple aspect of men's costume. I applied dart manipulation in several different ways to make various cutting lines for women's costume. These cutting lines were emphasized by matching various colors and patterns of fabrics. I made small buttons and cords of these various fabrics. I sewed fabric buttons on five costumes for the purpose of function and decoration like buttons of the men's vest of eighteenth century. I applied fabric cords to decorate five costumes in various way. We should further study how to express important characteristics of historical costumes as modern costume in many ways.

• 한국수학사학회지
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• 제19권3호
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• pp.71-84
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• 2006

조선 말기부터 대한제국, 일제 강점기를 지나면서 근대수학을 도입하는 과정과 해방 직후 국내 수학계의 주변 환경을 소개하며, 이를 통하여 근대수학을 도입하는 과정에서 겪었던 우리의 노력과 장애물들을 회고해보고 이를 현 시점에서 반추해보고자 한다.

• 한국의류학회지
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• 제18권1호
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• pp.140-159
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• 1994

Heraldry, which originated from the culture of knights in the 12th century, came to be drawn on shields, and was inherited as a symbol of the family at the end of the 12th century and developed rapidly through the 13th and 14th century. Afterwards heraldry was in great vogue and used in the shields, clothes of men and women, armors, housings and flags. Therefore the citizen class as well as nobles and knights came to possess heraldry. In particular parti-color and impaled coat were accepted in the clothes, and served the dual purpose of status symbol and ornament in the 13th century. It can be said that the appearance of heraldry on the clothes was typical of the Middle Ages. The origin, generally accepted, was that the crusaders wore the surcots, also known as the cyclases, on the armors to prevent the powerful sun of Syria and dust of deserts, and to prevent the armors from rusting due to moisture. As the surcot was made of white linen or white silk till the beginning of the 13th century, knight's heraldry came to be put on the surcot in order to identify each corps. According as the coat of mail covering all the body was devised, the same heraldry attached on the shield seemed to appear on the clothes of surcot or jupon(afterwards pourpoint) in order to identify the status in the battlefield and tournament. Heraldry, a system of mark in the 12th century, was used as a symbol of authority of the upper class such as the Royal House, nobles and knights, and may have been mysterious instruments in the Milddle Ages. However, in the modern times of the 20th century heraldry has come to be a kind of symbol marks such as badges and banners symbolizing the hallmark of the goods of enterprises, organizations and groups. Heraldry, existing up to now, of the individuals as well as international organizations can be seen as a result of deep-rooted tradition for esthetic appreciation and symbolism for heraldry.

• 한국의상디자인학회지
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• 제9권3호
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• pp.205-220
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• 2007

In the 17th century, men's hair style showed a dramatical change to thick hair style with femineity. During the 17th century, men wore their hair longer than at any other time in the history of western culture. Men's hairs in the early 17th century were defined as short hair style influenced by ruff collar of renaissance and thick beards and moustaches During the mid 17th century, shoulder-length hair style was predominant over all classes. As hair style became long, beards and moustaches gradually declined in favour: from 1625, small neat beards, and moustaches turned up at the ends, got progressively smaller, and by 1650 the beard was only small tuft on the chin, disappearing completely by 1680. In the late 17th century, very long, thick and shiny hair got a great popularity with the gorgeous and decorative baroque costume dominated over the entire Europe. The habit of adding false hair when natural hair was deficient led to the introduction of the periwig, which became an essential part of a fashionable man's attire. Wiggery were widely used to express curled and puffed hairs more exaggerated. As the long hair style with wiggery became popular, various style of beard and moustache got smallar so that they were ended up in entire disappearance in the end of the 17th century.

• 한국의사학회지
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• 제26권1호
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• pp.97-106
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• 2013

What is the fundamental cause of the broader gap between East and West medicine? This is a very long story that began in the late Renaissance and still continues today. Why it took so long time from the end of the XIIth century when acupuncture was firt imported to Europe to XX century when it was finally settled in France? We present three cases which caused the delayed establishment : A "blisters" article from Diderot and D'Alembert in the eighteenth century, the practice of acupuncture by Dr. Berlioz in Paris in early 19th century, and the reception of the works of Georges Soulie de Morant in France in the 1930's. We attempt to show the misunderstanding that has always prevailed between the East and West medicines because of different viewpoint : the West has not understood the richness and subtlety of the approach of East asian thought and wanted to "align" the Asian medical modality to west medicine with inappropriate and insufficient "experiments" without enough explanation of the principles and philosophical backgrounds. It was not the matter of technology but the mutual incomprehension of history and culture.

• 복식
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• 제54권7호
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• pp.27-40
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• 2004

The purpose of this paper is to make it easy to reproduce the Pattern and sewing technique of men's coat in 18th century. which are modified in order to be made readily available in Korean theatre costume. The investigation was performed in three steps. 1st, The papers and records about development and change of men's coats were reviewed. End; The whole process of the way how to make a typical 18th century men's coats were sewn. 3rd ; The modification or revision into the more simplified pattern using by CAD system and sewing technique were suggested in detail. The size of the pattern in the original one, which we chose for this research, was generally small. with the side line being moved back a little. Moreover, arm movements were severely restricted because of the small arm-hole. The problems of original pattern were corrected by making both front and back pattern snug and side line being moved to the front, and making arm-hole wider. In the sewing technique, the simple way how to use of Padding, inter-linings and linings and to create the most noticeable figure of 18th century men's coat. This article may help theatre costume production in Korean performing art.

• 패션비즈니스
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• 제18권3호
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• pp.117-133
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• 2014

This thesis aims to investigate the morphologic relationship among the neckline, collar, and hair style, in which the width and height were measured by selecting the representative costumes from 16th to 19th centuries. The pieces of 170 pictures selected by fashion experts were cut in the same condition, with the part of the end of shoulder, head, and chest all placed on the equal level. The products were directly measured by a team of 3 specialists for verification of this study, of which results were calculated into average. The values of output were categorized into the unit of decade and finally into a graph of variation, in which the trend and relationship were evaluated according to the width and height. In 16th century, the width and height of the neckline were inversely proportional to those of hair style, while those of collar were proportional to those of hair style. In 17th century, the width and height of the hair style were proportional to those of neckline and collar. In 18th century, those of the neckline were inversely proportional to the hair style, with no collar found. In 19th century, the width of the neckline and collar were proportional to that of the hair style, while the height of the neckline and collar were inversely proportional to that of the hair style. The analysis of the morphologic relationship among neckline, collar, and hair style resulting from this study revealed that the change of the hair style took place corresponding to those of neckline and collar. Generally, the width of the hair style was found to be more resistant to change, compared to those of neckline and collar that were more susceptible. The height of the neckline was more resistant to change, compared to those of the hair style and collar presenting their frequently fluctuating height. Conclusively, the factor of height rather than that of width showed more dominant proportions, because the various forms of the collar and hair style evolved in terms of the height rather that width, relative to that of the neckline.