• 복식문화연구
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• 제18권6호
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• pp.1254-1260
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• 2010

In such special or precious occasions as a wedding ceremony, brides, handicapped or not, wish to wear a beautiful wedding dress. However, an ordinary wedding dress is not suitable nor convenient to a bride who has a bodily impediment. A one-piece type wedding dress, which even a normal bride needs assistants to help her wear, will create more inconvenience to crippled females. In this connection, this study is purposed to convert a normal ready-made wedding dress design into one suitable to the bodily handicapped females. For handicapped people on a wheelchair who generally put on and off a wedding dress while sitting on the chair, a one-piece type wedding dress is divided into the top and the skirt to make it a two-piece type wedding dress which is easy to get into and take off. The top should be separated from the skirt in such a manner that the wearer may not be aware of the division of the two pieces but easily put on and off since the sides or back of the top is opened. An opening is also given to the sides of the skirt so that handicapped people may sit on the skirt on the chair and then close the opening by themselves. Converting ready-made wedding dress design into functional clothes for handicapped people is really significant in that ready-made clothes can be recycled, their production cost reduced, and the economic burden of handicapped people relieved.

• 복식
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• 제53권7호
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• pp.69-81
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• 2003

This study firstly identify the characteristics of the clothes for traditional wedding ceremony from the late Chosun Dynasty (19th Century) and today through comparison. It also tries to discover what today's people are incorrectly aware of regarding the traditional wedding clothes particularly by survey. It ultimately aims to present constructive ways of solution against the illadvised and simplified deformation of the traditional wedding clothes. When comparing the traditional wedding clothes from the late Chosun and its modern counterparts, Dan-ryung and Samo-kwandae is still used for bridegroom's dress. In case of bride's dress, several items such as Yeom-eui, So-eui and Hwal-ot have been disappeared while Won-sam can be seen today. There were found many additional differences not only in type of the wedding clothes, but also in its form and constitution. Therefore, it is advisory to take the wedding clothes worn by commoners and upper class as the basic form for today's traditional wedding clothes. In addition, diversified research should be carried on to make them broadly accepted by today's life.

• 한국의류학회지
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• 제25권2호
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• pp.275-286
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• 2001

The purpose of this study is to investigate the characteristics of costume and its ornaments which are appeared in the traditional wedding ceremonial customs and the wedding costumes of Eastern Slav, that is consisted of Russian, Belarusian and Ukrainian from the 19 to the early of 20C. In this study, many different procedures of wedding ceremony with a various kind of wedding costumes are shown. A wedding custom of Eastern Slav had been developed by a intermixed style of the Christianism and a paganism. The wedding custom is organized by the 3 sequential procedures; before a wedding, a wedding, after a wedding Their wedding means the union of the bride into the bridegrooms family in order to establish a new family. Therefore, the wedding costumes have been developed according to this, and the head gears have developed as a symbol which presents the meaning. A brides costume is composed of a head gear, \"Lubaha\", and \"Sarafan\" or a skirt. A bridegrooms one is made up of \"Lubaha\", and trousers. These costumes are kept through their whole life, and are worn in every important ceremonial period. Even though, the wedding customs and the wedding costumes of Russia, Belarus, and Ukrain have been developed by their general commonness, there are regionally certain differences. It is one of the important research object of the Eurasian era in the view point of culture and ethnographic, that to know the symbolism appeared in the traditional weeding ceremonial customs and the wedding costumes of Eastern Slav.ding costumes of Eastern Slav.

• 복식
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• 제57권9호
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• 복식문화연구
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• 제4권3호
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• pp.395-406
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• 1996

This article aims, by analyzing structurally the codification of dress sign in Korean society, the signifying system of the codes and their message communicated, to make clear a signifying structure that would be codified through the relationship between abstract concepts and real condition of dress. I used the semiotic theory of Ferdinand de Saussure′s conception on structuralismly the codification, cultural semiology of Roland Barthes and Myung-Sook Han′s formula of dress structure as tools analyse may objective of wedding dress of folks in Choson Dynasty, which has been successive our traditional Korean wedding dress. My results of the study are : The procedure of wedding ceremony in Choson Dynasty was presented in texts like Juga-garye, Sarye-peonram and Kukjo-orye, its dress system has been more emphasized on language, and aspect of social system, than parole, one of individual realization. In addition, the meanings of marrage such as "Oneness of bride and bridegroom", "Mixture of two sexes", "Blessing of good luck", were included in the signified like the style, pattern and color of the wedding dress, and specially, pattern and color, the articulated morphemes, was emphasized, When we combinated terms of dress in Choson Dynasty with syntagmatic, regarding their list as paradigmatic, it will signify a wedding dress, and according to combinating ways, it amy be divided as sign of dresses of bride and bridgeroom by sex or king, gentry and common people by class. Wedding Dress in Choson Dynasty = [{ODx(U/Dxu/d)}+AC·H·FW].

• 복식문화연구
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• 제25권2호
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• pp.159-174
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• 2017

The study uses lists of wedding gifts used from old Korean documents written in Hangeul in the western Gyungnam province during the 20th century. The study analyzed four lists of wedding gifts from the Muncheongak archive and two lists from the archive of ancient document. This analysis found that clothing accounts for the majority of the items in the lists, and items such as furniture, jewelry, household goods, and medical materials were also recorded. That the furnishings were commonly prepared by the groom's side, and the fact that the number of jeogori was higher than the number of skirt, speaks to the unique wedding custom of Gyeongsang province. While the groom's list of wedding gifts included a record of the bride's ornaments, jewelry, and furnishings in the bride's list, the groom's nickel top-knot pin was only included as an ornament. In the list of wedding gifts between brothers, the gifts for the eldest son differed from those for the third son in terms of number and price. The list of wedding gifts between father and son illustrates how economic development and changing times wedding custom. The lists of wedding gifts in the old Korean documents shed light on the oral research into 20th century wedding custom, which will be used as basic data in researching and reproducting the wedding culture and life conditions of the time.

• 복식문화연구
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• 제20권3호
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• pp.363-377
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• 2012

Most of the wedding shops in the domestic market are more focusing on simply copying the designs of foreign wedding dress designers than making their own designs. Beyond the purpose of how to improve the wedding dress designs which is what other previous studies were aiming, this study goes deeper than that, concentrating on separate designing of dress for a wedding celebration and a rehearsal with photo shoots. Add to this, the study also differentiates itself from others in the past, investigating how to make a gown that hides a bride's physical shortcomings. For this study, the researcher studied the literature in terms of theoretical review, and conducted the empirical research through the photo analysis of 2,725 wedding dresses which brides really wore according to domestic brides' body shapes, their images, and situations. The researcher designed 8 wedding dresses for wedding ceremony and rehearsal shooting for brides with thick arms or wide shoulder under the concept of 'Romantic Story in Your Heart'. The wedding dress's image types for photo analysis were limited to the romantic type, the elegance type, the modern type, and the classic type. The researcher applied the empire-silhouette, the one-shoulder neckline, the raglan sleeves, the cap sleeves, and the shoulder accessories to the wedding dress designs judged as effectively making up defects in body shape and making nice images as well as other design factors seen from the analysis result.

• 복식
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• 제60권10호
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• pp.28-46
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• 2010

Variety and individuality are characteristic of consumer in modern society. For the necessity of new designed men's formal suit is on the rise with advance of party culture and change of wedding style. In addition to growing numbers of Korean grooms are getting more interested in make themselves well-groomed on the wedding ceremony. The purpose of this study is to develop the men's formal suit pattern for right fit and better style for Korean grooms. In order to find out how to modify their fit, comparison among the existing patterns was necessary. In this study we proposed new patterns of men's formal suit, a morning coat, a tail coat, tuxedoes, director's suit, three-peaces suit, navy blazer. Considering the results of this study, developed patterns were altered to fit better and to smarter. They were well graded in waistline position, shoulder shape, back princess line shape. Also they were best to move around sleeve and bodice. And the developed patterns were altered to make armhole narrower to make bodice length shorter, to make bodice slimmer. The researcher's pattern's were made up into garments using wool 100%, silk 100%. According to verify the improvements and grade better in both appearance and comport, it will be to take the lead men's formal dress culture and expand the base of popular consume for men's formal wear.

• 복식문화연구
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• 제9권5호
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• pp.734-746
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• 2001

The purpose of this study is to investigate the influence of women's self-image on image evaluation of clothing self-image, and on their selection of clothing styles by situations. The subject of investigation was 500 women above 20 living in Daegu. 6 types of clothing styles including classic, casual, elegant, dramatic, romantic, and mannish and 7 social situations including shopping near house, shopping in a busy street, cultural center, wedding ceremony, dinning out, alumni meeting or fraternity meeting, and couples meeting were used for this study. Data analysis was performed using SPSS package, which included factor analysis, reliability test, cluster analysis, ANOVA, and X²-test. The results are summarized as follows. 1. Adult women could be classified into 4 groups such as the passive mannish, the passive feminine, the active mannish, and the active feminine by their self-images. 2. There were different opinions on each clothing style by self-image. In the image of each clothing style by self-image groups, the passive feminine group considered classic style having effect to make people look tall, mature and elegant style to make people look active and charming. Also, they rated the boldness of dramatic style and the activeness of mannish style high. The active feminine group estimated the boldness of mannish style high. 3. Selection of clothing style differed according to various situations. More formal the situation was, more classic style tended to be selected and for less formal situation, mannish style was selected.

• The International Journal of Costume Culture
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• 제4권1호
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.