This study aimed to conduct the empirical research on the patterns of costumes and its reconstitution through portraits that reflects well the actual appearance of the era. Accordingly, the United Kingdom, the herlands and France, which had a great... This study aimed to conduct the empirical research on the patterns of costumes and its reconstitution through portraits that reflects well the actual appearance of the era. Accordingly, the United Kingdom, the herlands and France, which had a greater influence on the sociocultural changes in the 17th century Europe are subject to the comparison analysis on both silhouette, one of the external properties of female costume and construction pattern, which is a production method. The followings are the result of this study on the development of female costumes according to different characteristics and cultural differences in silhouettes, materials and construction patterns by country. First, when the sociocultural background of the 17th Europe is looked into, the Protestant Reformation led by Luther causing the division of Catholics and Protestants triggered by religious strife. As for politics, social system was divided in the absolute monarchy and constitutional government. In addition, European countries that embraced mercantilism were overflowed with physical richness and liberal ideologies after colonization brought about strong political position and commercial prosperity. Against this backdrop, the herlands rose with economic prosperity as a Protestant nation with thrift and saving, in which liberal bourgeoisie and a rich middle class were widely formed thanks to a rapid urbanization. In the UK, with maritime power, a dazzling growth of the textile industry as well as citizen liberty, Puritanism was realized and lay the foundation for liberalism and democracy. On the other side of Europe, France put an end to the religious war and achieved the absolute monarchy, taking control of Europe and successfully settling down to a mercantilism and palace culture. In addition, humanism with emphasis on rationalism of human beings gave rise to enormous cognitive changes that allowed practical knowledge to grow further based on science. In particular, in France printing technology played a greater role as a medium to express the phases of the times. Paintings that contains the contemporary and fashion doll called “Pandora” contributed to fashion distribution. Copper plate print and costume magazines helped citizens have access to latest fashion trends. In Europe during this time, not just the noblesse but also the middle classes were able to buy artworks and order artists to paint their portraits. As a result, portraits that reflected the phases of the times remained as precious data for the study on costumes today. Second, the early 17th century female costumes were featured with a ruff, whisk collar, plunging décolletage neckline, metal corset or decorative basque put on under the stomacher and stomachers were wide and long with pointed or rounded end. In addition, the waist was tightened to look slim and supported with a wheel farthingale to create an hourglass silhouette, increasing the volume of the skirt. Furthermore, an artificial hump made by the addition of a shoulder pad emphasized the beauty of volume which is shown in British portraits A, B and C which this researcher selected as prime examples. Later, due to the influence of the Dutch style that valued rationality and practicality, with a reduced hump in the shoulder, the top was changed for comfortable activity and stomachers were shorter with rounded ends and several pieces of peplum, creating a smooth silhouette and mostly darker colors were used, which is shown in the Danish portrait A and B. From the 1650s, thanks to the influence of France with absolute monarchy, the fashion changed to a glamorous and luxurious mode. Again, excessive decoration such as a plunged neckline, frill or lace, a bunch of loop was used and costumes included bold exposure including nipple exposing. Adding whale bone and pad into the bodice of a robe created slight stiffness and as a slim waist became the focus of the mode, wearing a petticoat increased volume and length. Which is shown in the Dutch portrait C, French portrait B and C. Third, after producing and analyzing the female costume featured in the 17th European portraits, analysis of the results are as follows. I cut out costumes featured in nine portraits – three portraits per country of the UK, the herlands and France – made of muslin, reconstituted and finally presented the confirmed pattern. What the female costumes in the nine portraits have in common are two-pieced suits with décolletage neckline, reduced or increased volume of sleeve and skirt through pleats and gathers, the front and back of a bodice with adjusted adherence to a body, using a waistline and back adjustment. The differences are as follows. The neckline of the Dutch costumes A, B and French A have partlet or flat collar covering the chest with neckline deeply-exposed, while the British costumes A, B and C have a stiff ruff collar around neckline. The Dutch costume C and French B and C, they have off shoulder neckline that likely exposes even the nipples and the partlet is just a decoration to show the glamor that does not cover the chest through deep off-shoulder. In the bodice, the Dutch costumes A and B have a shorter waistline, comfortable form, stomacher with soft silhouette and not too long, while the British A, B, C have a longer waistline, tight adherence to the body with the corset, flat stomacher which is long and pointed as the entire silhouette ignores the body line including the volume of the chest. The Dutch costume C and French B, C are similar to the British costume in form, unlike the British costume, which tightened like a corset by putting a hard basque in the bodice itself. And the stomacher is separated from the bodice, so it is simply inserted to the bodice as a decoration plate. In the sleeves, the Dutch costumes A, B and French A have 3/4 sleeve which are puffed out or pleated while the British ones reach the wrists. However, in the case of British A, it is a leg of mutton sleeve, incredibly voluminous at top needed to fill inside with pads while British B, C have sleeves which are detachable because of the bodice and sleeves are separated. The Dutch costume C, French B and C have shoulder-included necklines, in which the sleeve lines are quite far from the shoulder end and elbow length which are softly inflated with laces, loops, frills and ribbons. In the skirts, with reduction of buttress the Dutch costume A, B and French A are soft bell type silhouette which needs a roll padding, while the British A, B C have a cylinder silhouette with a right angle falling from the waist, which needs a wheel farthingale as buttress. Dutch costume C, French B and C are A-shaped silhouette with the skirt flared out to both sides with several petticoats and quite a longer back as train silhouette. As a result of this study, the characteristics and representative types of female costumes in three countries – the UK, the herlands and France are classified and the production method and pattern construction per each type are confirmed. Though it is impossible to make a perfect reproduction of the costumes due to the limitations since the study was conducted through reconstitution of visual data – the portraits, the possibility to combine it with the modern pattern was able to be explored during the pattern production process. There is a certain expectation that continuous follow-up studies will contribute to the fashion industry through various attempts and technical complementation. ，韩语毕业论文，韩语论文网站 |
