• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.89-107
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• 2000

Underwear has undertaken the auxiliary role of outwear also. Thus, as outwear has changed forming the characteristic mode in every period, underwear has changed endlessly, so that it may match the form and function of outwear, in accordance with the stream of period. In this study, this researcher examined hoop and petticoat which were used for widening the skirt which is female clothes with diverse names in every period. under one name which is farthingale, centering around the West and korea, from 16th century to 20th century(the first term). In addition, it examined by comparison the relevancy between to the history and change factor of underwear which was used for swelling the skirt in Korean clothes. The result to have studied on the history and change factor about the farthingale of West and Korea is as follows: This study found that the silhouette of women's clothing has a strong relationship with underwear. Also The result to compare the underskirt of the West with that of Korea is as follows : They has other character, but in 18th century, being compared the underskirt of the West with that of Korea, for the swelling of skirt, this study found that they had something in common with the underskirt of the West and Korea.

• Proceedings of the SOHE Conference
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• 2003.10a
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• pp.77-77
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• 2003

본 연구의 목적은 후프(hoop)의 기원 및 변천과정을 고찰해보고 시대별로 후프의 유형을 분류한 후, 포스트모더니즘 이후 더욱 다양해진 후프가 현대패션에서 어떻게 응용되고 있는지를 살펴봄으로써 후프의 역사적ㆍ미적 가치를 재인식하여 오늘날 복식디자인에 창조의 영감을 줄 수 있는 하나의 모티브를 제시하는데 있다. 후프가 발생하였던 르네상스시대에는 신 중심에서 인간중심으로 사고가 변화하면서, 복식에 있어서도 인간의 신체미를 과시하려는 의도로 인체의 실루엣을 과장ㆍ확대하고자 하였다. 따라서 속옷의 중요성과 역할에 따른 심미적인 기능이 복식에 절대적으로 필요하였고, 뿐만 아니라 기교적인 면에서 속옷에 요구되는 장식성은 어느 시대보다 절실하였다. 그 결과 겉옷이 확대되고, 이에 따라 속옷도 인체를 크게 보일 수 있는 후프가 고안되었다. 후프는 스커트를 부풀리기 위해 철사나 고래뼈 등을 세공하여 만든 테를 넣은 속치마를 말한다. 16세기 중엽 스페인에서 유행한 종형의 파딩게일(farthingale)을 시초로, 영국과 프랑스에서는 드럼형의 휠 파딩게일(wheel farthingale)과 오쓰뀌(hausse col)가 유행하였다. 17세기 초기에는 후프를 착용한 16세기 복식이 유행하였으나, 1625년 이후 슬림한 스타일의 17세기 복식이 유행하자 후프의 착용은 점차 쇠퇴하였다. 18세기에는 파니에(panier)가 유행하여 옆을 부풀린 스커트의 실루엣을 형성하였고, 19세기에는 크리놀린(crinoline), 벗슬(bustle)이 유행하였다.

• Journal of Fashion Business
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• v.8 no.2
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• pp.126-140
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• 2004

The purpose of this study is to examine the fashion design applying to the hoop, which have become various since 1980. To do this, this study is investigated the origin and the changes of the hoop historically, then classified its types, and finally analyze the collections from 1980 to 2003. The hoop was appeared on the late 15th century. Then in the mid 16th century, bell-shaped farthingale was prevailed, followed by drum-shaped wheel farthingale and hausse-cul in England and France. In the 17th century, slim silhouette was popular, so that the hoop declined gradually. In the 18th century, panier and panier double were introduced which is to make side-expanded skirt silhouette. In the 19th century, crinoline and bustle were created. The hoops applied to modern collections are used various materials, techniques, and forms. It is a main item of historicism which appeared in the trend of post-modernism and the phenomenon of applying underwear to an outer garment like corset. The hoop is adapted into three ways: only with the frame of hoop, wearing a skirt with some parts of the frame exposed on purpose, and wearing a skirt on the frame, thus not showing the frame. Thus, it is thought that wearing a hoop as a frame is used an element of recreation of past fashion, at the same time it was affected by historicism which is a branch of post-modernism. Applying the hoop as an outer garment may be affected by eroticism which changed underwear into an outer wear in postmodernism and deconstructivism.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.75-85
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• 2005

This study analyzed the factors of change of women's underwear in the Renaissance, which had a sudden change of shape. First, the spirit of the Renaissance was focused on human-attached importance to glamorous beauty of the body and pursued the glamorous well-proportioned figure as the ideal of the human body. This expressed a woman's beautiful curved lines by reduction of their waist size and emphasis of breast and hip lines. It also created and emphasized one's physical figure, which is a characteristic of sex. Also the materials and size of underwear cleared up the classification of class. Second, through the development of weaving techniques, more textiles were produced, from linen, the most common material used, to silk in underwear and stomacher, and chemise, which was made more splendid be devising elaborate embroidery techniques. Third, as we know that the farthingale was devised in Spain and transmitted to France because of the prevalence of printing and trade, where it changed and developed to more convenient style, this shows that information interchange was active, and we can see the phenomenon that it is developing continually through the prevalence of printing and trade.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.3
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• pp.379-390
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• 2009

This Study is a research on symbolic meaning and artist's will of Vivienne Westwood's works which provide a new vision on woman's body and clothes. For the literary research, this study investigates theories of human's body which are phenomenal body of Merleau-Ponty's, the relations between power and body of M. Foucault's, cultural and social body of E. Goffman's and habitus of p, Bourdieu's. For the case research, Vivienne Westwood's collections are classified into each item which exaggerating and distorting woman's body such as Mini-Crini, corset, bustle cushion, bum-pad, farthingale and tailoring suits. Also she puts man's clothes item such as codpiece into woman's body. Through all of these design, she wants to reinterpret the woman's body and self-identity. Vivienne Westwood dose not leave the past just as a historic trace but recreates with her way of creation. Westwood has presented the satire which leads the parody of past in her unique ways of thinking and interpretation which mix the ideology of the past and the presents. Those make her look back the history and culture and express her esteem for self-identity of woman. Vivienne Westwood's works express woman's power and freedom in modem society.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.15-30
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• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.