• Title/Summary/Keyword: cravat

Search Result 6, Processing Time 0.071 seconds

A Development of Necktie Design in Western Art (서양 예술작품에 나타난 넥타이의 역사적 고찰)

  • Lee Eui-Jung;Chung Se-Hui
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.8 no.1
    • /
    • pp.81-96
    • /
    • 2006
  • This study aimed to investigate the sociocultural phenomena which affected to clothing change in 1650-1900 and to examine the features of men's necktie in the western art. For this study, information about historic neckwear is obtained from the visual evidence of painted or engraved portraits, contemporary written sources. The covered area of this study was Europe mainly England and France. For this process, research steps were as follows : 1. Investigating the sociocultural phenomena which affect to clothing change through 1650-1900 and analysis of men's clothing and appearance. 2. Finding the changing characteristics of neckties including it's different types, shapes, knots, colors and materials and analyzing similarities and differences of neckties by the times. 3. Examining necktie as one of important and representative icons of male gender identity. The results of the study was as follows: 1. In 1660-1900, men's fashion was simplified in color and detail due to the influence of practical Puritanism and matured civil culture. And British men's fashion spreaded throughout whole European countries and get popularity. 2. In 1650-1720, there were band, cravat and steinkirk. And expecially cravatier, a expert custodian of cravats, was appeared in that period. In 1720-1800, there were stock, solitaire and cravat. In 1800-1850, neckwear were popularized and got various sizes and types up to shape and size of chemise collars. Black stock, scarf cravat and shawl cravat were popular and terms of 'necktie' were used for an certain neckcloth shape. And abundant literature for necktie were published thanks to the development of printing technology in that period. In 1851-1900, the leady-made neckties were spreaded and there were changes in shape, length, knot of necktie up to V-zone formed with shirt's collars and vest types. Neckwear was gradually evolving through four distinct styles, bow tie, scarf or neckerchief, Ascot and four-in-hand. 3. After the mid-l7th Century, as civil culture matured and splendid and extravagant colorful men's wear disappeared, British men's fashion spreaded throughout whole European countries and got popularity. The necktie become an essential ornamental accessory of men's fashion and one of important and representative icons of male gender identity.

  • PDF

A Study on the Futurist Manifestos and Clothing in Italy (이탈리아의 미래주의 복식 선언문과 그 복식연구)

  • Keum Hee Lee
    • The Research Journal of the Costume Culture
    • /
    • v.8 no.1
    • /
    • pp.102-114
    • /
    • 2000
  • The works of the Futurism were developed along with manifestos and statement in publishing. Futurist aesthetic and ideological agenda on futurist fashion displayed in manifestos on clothes. Futurist fashion propagated in consummate Futurist style through the written manifesto. The Futurists anticipated much of modern fashion phenomenon. In Futurist Men's Clothing, men's clothing is aggressive, agile, dynamic, simple and comfortable, hygienic, gay, luminous, volatile, asymmetric and variable. In Futurist Manifesto on Woman's Clothing, woman is now a principal agent of revolt, a walking synthesis of the audacious, performance-oriented aesthetic of the futurist universe. For Futurist woman's clothing they claimed ingenuity, daring, and economy. The Futurist Manifesto of Italian Hat was continued with their provocative style and radical ambition. Their innovation will rescue a lagging Italian expert and restore the Italian male to his former Iatin Vigor. Speed, dynamic, utility, and funtionality are the main characters. In Futurist Manifesto of Italian Cravat, Futurist cravat is called Anti-cravatta, which is anti-traditional style and made of unconventional materials. In general, the Futurist argued for clothes that promoted simple and functionality. These Futurist fashion project were invention of the new style, avant-garde style, in daily wear and were realized for the renewal of taste in clothing design as a modernizing factors.

  • PDF

Change and Application of Lace in Europe (유럽에서의 레이스의 변천과 활용)

  • Lee, Kyung-Hee
    • Fashion & Textile Research Journal
    • /
    • v.4 no.1
    • /
    • pp.19-30
    • /
    • 2002
  • The word 'lace' comes from the Latin, lacium, meaning a knot. There are two broad categories of lace: needlepoint lace and bobbin lace. Lace has enjoyed a multitude of uses, embellishing both liturgical and domestic objects. It has also played a major role in the history of western fashion, adorning the apparel of men as well as women. Lace lappets and cap crowns, cravat ends and veils were made for those who could afford them. Before the end of the sixteen century, more complex techniques were employed. The baroque period, needlepoint lace evolved from the early simple geometric patterns of punto in aria Which enhanced ruffs, to deeply scalloped designs, often referred to as collar lace, and thence to the bold and magnificent relief effects of Venetian gros point. Through the seventeenth century is noted for the infinite variety of its cravat, collar and kerchief, most of them lace trimmed and all artfully contrived for the wearer. The type of sleeve in women's dress reaching just below the elbow, ending in ruffles of lace which was called engageantes. Sometimes the ends of a fichu or headdress decorated of lace. In the nineteenth century, empress Eugenie's love of lace resulted in a marked increase in the use of that lovely, delicate fabrication. It was lavished upon sleeves, hats, capes, and handkerchieves. Entire flounces, parasols, jackets, and shawls of lace were created by skilled lace makers of Europe. By the time this magnificent piece was created, most lace was being produced by machine. Today, the tradition of handmade lace continues, but glorious examples are no longer made. However, the techniques have been taken up and revitalized within the fiber art movement.

A Study on Symbolism of Man's Neckwear (남성용 네트웨어에 나타난 상징성)

  • 유태순
    • Journal of the Korean Society of Costume
    • /
    • v.31
    • /
    • pp.203-214
    • /
    • 1997
  • The neck is the human body is closely con-nected with the life and properties of keeping warm as one of the opening part in clothes. In ancient times it was put on necklace for the protection of neck and in Rome it was worn muffler called focale for the protection of neck throat. in addition cravat directly originated in necktie today was primarily worn for the protection of soldier's neck and has been turned into decorative purpose until today. As the ornament is developed to vari-ous kinds of form the neck decoration is changed and grown again and again. Therefore this thesis studies history of the neckwear and various the symbolic factor. The first factor is the social. The neckwear shows the social position class and status and does social mutual interaction as conversation starters. The second factor is the mental It express individuality fondness attitude and is felt to be indignity by being forced to be worn. The third factor is the political. it shows political tendency by indicating the royal sign or part's sign in necktie like the French royal-ist's green muffler The forth factor is the man's sexual. I expresses wearing stock being brave symbol-izing independence. The sixth factor is the traditional. It is worn with appearing traditionand custom and one of cultural movements. The seventh factor is the ideological. It symbolizes the freedom of suffragettes and emancipation of woman. The social factor is the most extensive among them. The neckwear is various in the way of expression like its kinds and is generalized, It functions as a independent part of clothes.

  • PDF

A study on the introduction of men's items in women's equestrian clothing (여성 승마복의 남성복 아이템 도입에 관한 연구)

  • Kim, A-Ra;Lee, Young-Jae
    • The Research Journal of the Costume Culture
    • /
    • v.21 no.1
    • /
    • pp.31-41
    • /
    • 2013
  • By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

A Study on the Aesthetic Characteristics in Dandy's Costume (댄디 복식(服飾)에 나타난 미적(美的) 특성(特性)에 관(關)한 연구(硏究))

  • Lee, Mi-Sook;Cho, Kyu-Hwa
    • Journal of Fashion Business
    • /
    • v.3 no.3
    • /
    • pp.39-48
    • /
    • 1999
  • The purpose of this study is to examine closely the aesthetic characteristics featured in dandy's costume. Dandy was term used on for a man excessively fond of and overly concerned with clothes, exemplified by Beau Brummell, Lord Byron, and count d'Orsay, who greatly in gluenced men's fashions in England and France. In the late eighteenth and early nineteenth century George Brummell, the prototype of the dandy, made upper-class English country clothes, especially riding clothes, into the height of men's fashion in the city. In the early 1800s the alterations he made, particularly with regard to fit and cut, established these as the critical signifiers in men's dress. Brummell's style, particularly for day, was essentially restrained and disciplined, and set a standard for sober discretion, appropriateness and taste which governed men's clothing until well into the twentieth century. The aesthetic characteristics expressed in dandy's dress are the aristocratic superiority of mind, the restrained beauty in absolute simplicity, and the pursuit of the individual beauty. Brummell's kind of dandyism instigated the idea of establishing a new kind of aritocracy, an aritocracy based on talent. Over the years this kind of cultural and social coup has been played out in different ways but has remained, like the twentieth-century concept of the avant-garde, a fundamentally male preserve. He advocated unobtrusive darkblue fitted coats, cream-colored trousers, elaborately tied cravats, absence of showy fabrics or excessive decoration, and impeccable grooming. The status of the perfectly tied cravat as the hallmark of genteel elegance, as the last keystone of Fashion's arch, had been established by Beau Brummell.

  • PDF