This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th an...
This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.
This study aims at looking into women's costume style seen in 18th century to 19th century, and reason out a major decoration, then the formative and aesthetic characteristics of the decoration were analyzed. Research results are same as follows. Firstly, the style of women's costumes in the 18th and 19th century includes the Rococo style, Polonaise style, Neo-classic style, Romantic style and Bustle-style. The main decorations shown in these styles are the gather pleats drape of Fold decoration, the flat embroidery quilting of embroidery decoration, and the ribbon braid fringe button feather and fur of attachment decoration. Secondly, the analyzed results found the formative and aesthetic characteristics of the decoration in the 18th and 19th century women's costumes. Fold decorations appeared as a voluminous property in the form of gown mantua jacket pelisse and dress. Especially, femininity and exaggeration were expressed through greatly inflated skirts. Embroidery decoration appeared as planarity by making patterns of gown mantua jacket stomacher overskirt coat dress shawl and dolman. Especially, exaggeration and extravagance were expressed through embroidered mantua surfaces with peony rose poppy primrose daffodil morning glory tulip leaf and lattice patterns in variety of colored silk threads. Attachment decorations were mixed with elements of heterogeneity added to jackets, coats, gowns, petticoats, stomachers, mantuas, pelisses, mantles, dolmans, capes, overskirts and dresses. In particular, exaggeration and extravagance strongly expressed through the decoration with white fox fur at the hemline, neckline and sleeves of cream colored silk dolman.
윌리엄 보링거(William Worringer)는 장식이 독자적 표현성을 가지며, 하나의 형식을 갖는 근원적인 예술 활동이라고 말한다(한명숙, 1998). 그리고 복식 장식은 복식의 미적 수단으로서 다양한 방법과 기법을 통해서 스타일별 독창성을 강조한다.
장식의 효과는 무엇인가?
장식은 그릇･ 가구･옷 등에 쇠붙이･헝겊･뿔･돌 따위로 여러 물건을 만드는 근원적인 예술 활동에 토대를 두고 있다(한명숙, 1998). 장식은 구성상 꼭 필요한 부분은 아니지만 디자인의 미적 표현을 돕기 위하여 변화시키거나 덧붙여 효과를 주며, 인간자신과 생활공간에서 다양한 의미를 가지며 나타난다(Herbert, R., 2001).
인간이 자신의 신체를 장식하고자 하는 이유에 대해 에드문드 리치는 뭐라 하였는가?
인간이 자신의 신체를 장식하고자 하는 이유에 대해서는 학자들마다 그 견해가 다양하다. 에드문드 리치(Edmund Leach)는 “인간의 장식행동은 이성적이고 기술적 측면에서는 어떤 의미를 찾을 수 없으나 행위자의 문화적 관습이라는 측면에서 본다면 사회･문화적 의미를 내포하고 있다.”고 언급하였다(Victoria, E.
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