• 복식
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• 제51권7호
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• pp.5-20
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• 2001

The purpose of this study is to determine aesthetical characteristics of the Japanese traditional wedding dress for women by analyzing such dresses' aesthetical senses. For the purpose, the study showed four types of the dress, Zunihidoe, Iro-uchicake, Chiromuku, Hurisode and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows : Aesthetical senses shown in the Japanese traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, its main factor while the remaining four types, were found having dignity as their main factors. adjective words which largely accounted for aesthetical senses included uncomfortable, unique, bright, dignity, classical, ornamental and beautiful, suggesting that the Japanese traditional wedding dress for women is somewhat unfunctional, high in dignity and aesthetic beauty. Aesthetical senses were most different according to nationality (Korea and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization.

• 한국의류학회지
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• 제26권7호
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• pp.993-1004
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• 2002

This study was designed to examine the aesthetic characteristics of traditional wedding dress in Japan based on the internal$.$external aesthetics. They were extruded external and internal aesthetics based on pattern, color and fitting. The results of this study can be summarized as follows; Decorative characteristics in external aesthetics extracted into three factors; fantasticism, movement, amusement. The fantasticism was based on the omitted pattern, painting gold. The movement was presented through irregular composition, fitting method, and silhouette. The amusement was expressed through the composition focus on a near view and pattern reminded of bring up the image. Fitting characteristics in external aesthetics extracted into four factors; grace, cubic effect, optical illusion, and tradition. The pace was expressed through the weight, formativeness, and layered look The cubic effect was presented through spacing of belt and H-line silhouette. The optical illusion was based on the straight line of seam, V-pleats and straight silhouette of fitting, and high-waisted belt. The tradition expressed through the unchanged form since Heian-dynasty. Internal aesthetics were characterized by the naturalism and the moderation. The naturalism was presented through the natural pattern which based on subjective feeling, indignity and position of wearing man, and color based on taste. The necessaries, or pressed artificial moderation, were expressed through the clothing silhouette by simplicity.