• 복식문화학회:학술대회논문집
• /
• 복식문화학회 2004년도 정기총회 및 춘계학술대회
• /
• pp.118-120
• /
• 2004

복식은 인체를 바탕으로 하여 착용한 사람의 사상이나 감정을 대변하고 그 시대의 문화적인 현상을 잘 표현하고 있으며 헤어스타일(hairstyle) 과 헤드기어(headgear) 또한 복식의 외관적 특징을 나타내는데 중요한 역할을 한다. 지금까지 서양복식사에서 여자 헤어스타일이나 헤드드레스(headdress)에 관한 연구는 많이 보고되어 왔지만 여자 헤드드레스의 화려함과 다양함에 못지 않은 남자 헤드기어에 대한 연구는 많지 않았다. (중략)

• 한국의류학회지
• /
• 제27권3_4호
• /
• pp.333-342
• /
• 2003

The purpose of the study is to understand the newer and more direct design techniques, and to provide information to exert creativity in designing. The headdress, one of dress items, was selected so that the change might be investigated in designs and production methods. A headdress was manufactured on the basis of literature review and portrait analysis. The target period of the study was limited to Henry Ⅶ and Henry Ⅷl(1485∼l547) when gable headdress was put on. The details and the patterns of gable headdress were identified for the selected gable hood to be manufactured. It was not possible to get the same dress material, so a similar one was made as in the pictures. The same was done to the color. Putting the focus of the study on the reproduction of the figure in the portrait, some dimension were measured in bodily proportion and patterns were made by three-dimensional cutting. As results, some dimensions used in the manufacture had some limits.

• 복식문화연구
• /
• 제21권6호
• /
• pp.907-920
• /
• 2013

The purpose of this study was to examine interactive effect of wedding makeup, head dress, and perceiver's culture on bride's image perception. Image analysis was carried out by 10 photos which was designed for brides in their twenties with different makeup and head dress. Subjects were female university students in Seoul, Korea and 100 black female university students in Delaware, U.S. The result of study was as follows. Image perception by bride's makeup and head dress was classified as five dimensions: 'distinctive', 'tidy', 'elegant', 'soft', and 'beautiful'. There was a significant difference in image perception from culture and head dress. The result of interactive effect due to culture and makeup showed that Korean students perceived pink makeup as close to more elegant image, and American students felt orange makeup. We can know through above contents that there was significant difference in image perception by makeup and head dress between Korean and American students. Also, American students in general evaluated the photos (stimulus) presented positively compared to Korean students. This can be interpreted as a meaning that the degree to perceive each photos of American students was lower than Korean students.

• 한국의류학회지
• /
• 제36권5호
• /
• pp.489-500
• /
• 2012

This work surveys the trend and dissolution characteristics in headdress that appear in Jean Paul Gaultier's collection. Along with a related literature review, a total of 903 headdress pieces shown in collections 40 times (excluding the common caps and hats) were analyzed, covering from 2001S/S to 2010 F/W of Jean Paul Gaultier's Haute Couture and Pret-a-Porter. The headdress trend indicated in his collections was divided into such subgroup forms of folklore, usage of natural things, usage of artificial things, religion, retro, scarf, variations in headgear, mask and veil, atypical type and abstract. Such an expression tendency was so unique and mixed characteristic that it was hard to define its form and structure thanks to enlargement and exaggeration, extremity in ornaments, and use of foreign materials, which led to creative dynamics. Gaultier's headdress also reflected the following characteristics: first, expression of difference indicative of time deconstruction; second, uncertainty of meanings via deconstruction; third, text interactivity via deconstruction of gender and material adopted; fourth, decentralization through dissolution of the Orient and the Occident.

• 패션비즈니스
• /
• 제20권2호
• /
• pp.59-77
• /
• 2016

The purpose of this study is to use data from studies of headdresses which might be helpful for creating new fashion styles. Headdresses in 2010 S/S-2015 S/S Paris haute couture collections were analyzed in the following categories: years, season, brand, type, color, material, and image. The types of headdresses were categorized as hat, hood, decorative or complex types. The hat type was elegant with a modern style, and coexisted with an exaggerated avant garde style. The hood type wrapped around the head with many examples having a distinctive sculpture on top of the knot. The decorative type varied dramatically in form and materials. The complex type was a blend of all the other types with the designer's individuality being outstanding. The characteristics of headdresses were revealed first, as an enlargement of the materials category, second, as an expression of dramatic forms, and third, as complete coordination of the creative fashion image. The headdresses illustrate the designer's creativity in producing a variety of images. Henceforth they will be important as fashion items and independent designs in fashion styling.

• 복식문화연구
• /
• 제19권5호
• /
• pp.981-992
• /
• 2011

The objectives of this study were to analyze the design elements of hairstyles, wedding headdresses, and necklines in wedding magazine pictures by using content analysis method and to investigate the differences in image perception according to hairstyle, wedding headdress, and neckline. A quasi-experimental method by questionnaire was used. The experimental design was a $2{\times}5{\times}4$(hairstyles${\times}$wedding headdresses${\times}$necklines) factorial design by 3 independent variables. The subjects consisted of 378 female college students. The results are as follow. First, the most popular among hairstyles, headdresses, and neckline forms were the updo hairstyle, dark brown hair color, the crown headdress, white flowers, and the horizontal bared top. Second, the elements determined to be most elegant and attractive were the medium-up hairstyle and the crown with a veil. However the wedding hat was perceived to be high in individuality and tenderness, while the flower and the wedding hat were perceived to be very pretty. The halter neckline was perceived to be higher in individuality and attractiveness than the other neckline types. Third, the medium-up hairstyle when wearing a crown with veil was perceived to be the most elegant. Placing a flower in the long-wave hairstyle was evaluated as looking most pretty. Fourth, the medium-up hairstyle was higher in preference than the long-wave style. Among wedding headdresses, there was greatest preference for a crown.

• 패션비즈니스
• /
• 제8권2호
• /
• pp.116-125
• /
• 2004

In the history of western costume, women's hairstyle and headdress have been fluently studied but men's headgear has not. To study and manufacture headgear designs and details, which indicate varieties in forms and ornaments, can be utilized for the fashion currently in vogue. Purpose: the purpose of the study is to investigate one of the headgear, the hat in terms of shift in design and manufacturing method, and to study through manufacturing in order to do a literature review by era and to provide information as the source in new design. Study method and scope: Like previously manufactured and presented bonnet of women's headdress or headgear, the hat in the study was manufactured on the basis of literature review and portrait analysis. Target era is from the late 16th century to the early 17th century when the hat was used. The hat to be manufactured was selected by investigating the details such as hair style and hat features using literature. The pattern of the selected hat was analyzed, and velvet, silk, and wool were used as the materials as in the literature. Ornaments used similar things as in the photos.

• 복식문화연구
• /
• 제14권1호
• /
• pp.16-26
• /
• 2006

There have been in the history of western costume a few studies on men's headgear that cannot be the second to the women's headdress in terms of the gorgeousness and variety whereas the studies on women's hair styles and head dresses have frequently been carried out. Such varieties of the headgear in terms of forms and ornaments have still been found with various types. Thus, the study on the change in designs and details of headgear and the recreation of them may contribute to the utilization of the fashion in current vogue and the guidance of the creation for the new design. The aim of this study is to find such changes in the designs and the methods for the production of bonnets which have played important roles to emphasize external characteristics of costumes. As a result, this study may provide key materials for the development of new designs. As with the previous studies on the women's headdress and men's hat, the methodology of this study is to recreate bonnets based on the literature review and the portrait analysis. this study will cover the eras from the late fifteenth century to the mid sixteenth century when bonnets began to be produced. First, the characteristics of hair styles and bonnets are to be reviewed for the selection of bonnets to be recreated. Next step is to make a literature review on the form, materials, colors and ornaments used for bonnets. Finally, the patterns of bonnets is to be illustrated for the reproduction of selected bonnets. Materials to be used in this study for such a reproduction are velvets, silks and wools as presented in the literatures and ornaments to be used are similar to those captured in photos.

• 복식문화연구
• /
• 제11권2호
• /
• pp.243-252
• /
• 2003

The study was designed to review the changes in designs and the manufacturing methods of french hood, one of the headdresses which play an important role in showing the appearance of costume, to understand design expression techniques through manufacturing of the head dress of the western costumes, and to provide materials to exert creativity for new designs. Based on literature review and portrait study, 1 manufactured a frenchhood. I set the study cope as from the late 15 century when frenchhood was used for the first time, to the mid 16 century. For the frenchhood selected, 1 examined the hair style, the characteristics of the french hood, and the pattern first, and proceeded to manufacturing. 1 used velvet and silk for the textile as explained in the literature. And, 1 purchased such similar ornaments as shown in the pictures, making the color so similar to the original to the most. Dimensions in manufacturing were those In the literature, since the study is focusing on the reproduction of the features of the portraits. Dimensions of detailed decoration were measured using the ratio of the headdress in the portraits.

• 한국의류학회지
• /
• 제40권4호
• /
• pp.746-762
• /
• 2016

This study considers expression techniques and aesthetic values in the images of head dress reflected in a natural motif. The conclusions of the study are as follows. The first type is the realistic expression (52.4%) such as the reproduction of a natural object's essential form (27.0%), the partial derivation of the natural object (19.3%), and the planarization for the actual image of the natural object (6.1%). The second type is a metaphorical expression (39.0%) which emphasizes the morphological characteristics of nature (18.2%), the structuration of the natural object's silhouette into a three-dimensional or two-dimensional form (11.5%), and the abstract expression of the form in the natural object (9.3%). The third type is a hybrid expression (8.6%) that is a compromise between practical (or metaphorical expressions) so that expression techniques represent a compromise between the natural object's essential form and abstract expression (4.6%) or the combination of the natural object's silhouette into a three-dimensional or a two-dimensional visualization (4.0%). Aesthetic head dress values reflected in the natural motif first indicate a primitive value. This state of natural instinct recreates the natural object or combines part of the biological elements of the natural object to create an inducement to escape from the practical world. The second is amusement in the expression of animals in dynamic and humorous forms creates an illusion of animals being alive with a representative playful enjoyment. The third is abstraction that grant freedom in the observer's aesthetic rational through a reinterpretation of the fashion designer. The fourth is eclecticism where a compromise represents an act of mixing a variety of independent factors to create harmony with the imagery of nature created through the grafting of diverse expression techniques that break away from stereotypes of existing natural objects to create a type of nature that cultivates new values.