• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.2
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• pp.239-250
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• 2002

The purpose of the study was to explore the information activities of wedding dress shops and how companies' characteristics (the number of business year and the location of shops) and information users'characteristics (the year of career) influenced on utilization of information (fashion information, market information and internal information). In addition, the study was to investigate ratings of the importance of the competitive means. The questionnaire was revised by the researchers on the base of preceding research studies after interviewing wedding dress industry workers and performing a pilot survey. The total l10 copies were distributed to the workers of the wedding shops located in the city of seoul. Fifty six copies from the shops in Kangnam area were returned, and 38 copies at Kangbuk area. For statistical analysis, one-way ANOVA and Duncan's tests were used. The results from the study are follow. 1. The heavily utilized fashion information was collected from international and domestic wedding magazine by the respondents for their merchandise and design planning. 2. According to the companies'characteristics (the number of business year and the location of shop), the 50∼10 year-old companies collected fashion information from international fashion shows, domestic wedding/fashion magazine reporters, and utilized sales data as internal information sources than any other companies. The shops in Kangnam area used international fashion information and market information on popular/unpopular goods more than other shops. 3. According to information users'characteristics (the year of career), the 3-5 year-experienced workers utilized domestic fabric converters as an information source, lists of popular/unpopular goods as well as future forecasting information as internal information more any other workers. 4. Dress design, fabrics and customer service before wedding were considered as very important competitive power by wedding shop workers.

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.86-99
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• 2007

In this study, the concept of play as an entertainment is redefined and applicable method of fashion design as a play are suggested by analyzing the feature of doll's costume design based on the play pattern. In literary study, the role of playing doll Is described and has been examined by the analysis of scholars' opinions. In positive study, the pattern and costume design of sample costume dolls are analyzed using 624 samples of the representative images collected from the literatures and real figures, and they are classified as collection dolls or fashion dolls in order to analyze the feature of fashion design in playing dolls. As a result of the analysis of doll's costumes based on its use, the costumers are divided into a real world costume which is similar to what human wear in daily life and a virtual costume which is used in the movie or play and the costumes only worn by the dolls. The examination of the type of costume worn by dolls, dress is principally dominant costume in collection doll, whereas in fashion doll, dress is still mainly worn but shirt blouse & pants, shirt blouse k skirt, jacket, coat, bathing suit. etc. are shown dispersedly as well. In the costume silhouette of dolls, collection doll uses mostly A line silhouette meanwhile fit and flare is mostly used in the fashion doll but other silhouettes are also relatively shown a lot. In the means of the color of the costume worn by dolls, collection doll is more similar to those in actual fashion design. On the contrary, the color of the costume that fashion doll is put on is more free and more various because the trendy rotors such as green, yellow, purple, etc are used.

• Journal of Fashion Business
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• v.28 no.2
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• pp.50-63
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• 2024

Chinese traditional wedding dress is a unique cultural symbol. It had a deep historical background as it went through different productions in each dynasty. However, with the introduction of Western ideas, an increasing number of people are wearing Western-style wedding dresses when they are getting married. Recently, traditional Chinese culture has been increasingly valued. Demand for traditional Chinese wedding dresses among modern Chinese people is increasing. Following this trend, Chinese designer Guo Pei(1967~) is actively innovating elements of traditional Chinese wedding dresses. This study aimed to analyze changes in traditional wedding dress styles by dynasty in China from 1046 B.C. to 1911 A.D. based on museum data and previous research. Changes in traditional wedding dress styles by Chinese dynasty were analyzed and organized. The meaning of wedding dress patterns was analyzed by type using traditional Chinese patterns. This study focused on Guo Pei's 2012 "Chinese bride" series and "Legend of the dragon" series. Starting from the development and characteristics of traditional Chinese wedding dresses, this study analyzed fashion characteristics of Guo Pei's wedding dress series. Goals of this study were to preserve the essence of traditional Chinese wedding dresses; and to determine how to apply the fusion of traditional Chinese design elements into fashion and modern design to wedding dresses.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.149-161
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• 2008

The purpose of this study is to consider the origin and kinds of tango and to analyze formative characteristics of tango dance costume. On the basis of the review of literature about tango, photos of tango dance and modern fashion collections designed by tango themes are analysed to examine design elements which are essentially considered in dance costume design. The result of this study are as follows: This study shows the different characteristics of tango dance costume depend on the kind of tango. In case of Argentina tango, sheath silhouette dress and black color are preferred, for Continental tango, fit and flare silhouette which gives convenient movement in dress and white color emphasize the elegant movement are preferred. America tango accentuates the body movement by fitted silhouette, metallic materials, and bead trimmings in dress. The result of the analysis of recent fashion collection shows that characteristics especially strong and sensual tango are mainly an inspiring motive and reinterpreted by designers in modern fashion.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.56-68
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• 2013

A purpose of this study is to do fundamental research of construction of coat patterns in the Daehan Empire in order to make replicas of the costumes. This study is composed of literature research, investigation of artifacts, and experiment of pattern making. The results of this study are as follows. First, even if the 15th Court Dress Rules regulated color, fabric, number of flower, width of braid, and size of button, there was no regulation regarding the shape of the coat. The analysis of the photos in those periods shows that the style of the tailcoat was different from that of today in the length of the front, the shape of breast and collar. Second, six artifacts in the collection showed that the shoulder line and the sideline were located on the further rear side than the current tailcoat. This can be confirmed in the western and Japanese pattern book, and especially the pattern drafting method in the books published in Japan in 1900s is different from current one in setting base lines of front bodice and back bodice. As a result, based on several experiments, this study proposes how to make coat patterns. The shoulder line, the sideline, and the princess line should be located in the back of the dress similar to the shape of swallowtail coats of 1900s. The front bodice should be constructed without the composition line in order to add embroidery on it. The collar, which shape looks like long half moon, should form V-shape neckline in the front breast when adjusting dress. The sleeves should be constructed top and down, and it should curve more than the modern design.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.29-37
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• 2005

Beauty Art is an act which makes a face beautiful using various methods such as permanent, manicure and make-up. Recently, Beauty Art is recognized as the personal culture expressing the value of beauty and spirit. Therefore, there are growing interests in the comprehensive study of Beauty Art nor only from the beauty industries but also from academia, because Beauty Art is the high value-added field and Is recognized as a style of the dress. The purpose of this study is to open a new view to understand the Nail Art as a fold of experimental plastic art. The arctic expression is added to Beauty Art to develop it from the routine technique of the make-up and hairstyling to creative art. Assemblage is adopted to provide Beauty Art with fine harmonious expression which develop Nail Art into interesting and unique art area. Assemblage meaning compounding or collection is a technique through which three-dimension is added to two-dimension paintings, and which is an expression of an art work by recollection of miscellaneous articles or waste materials. Assemblage is a term which Jean Dubuffet coioned first in order to differentiate collage used by Picaso or Braque. Here, I present Nail Art Designs which applied Jean Dubuffet's works focusing on Automaticity and Happenstantial phenomena of materials, Materialization, and Directness. These features are characteristics of Assemblage which basic frameworks are fantastic collection, accumulation, constructive collection, and object collection.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.73-85
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• 2002

Decadence is a phenomenon that people express fear from their inside, so unsound aspects appear in the social culture when the existing society is about to be collapsed. This study covered the cultural and aesthetic meaning and the role of decadence by examining the concept and phenomenon of it and analyzing the real case of expression appeared in the modern fashion. Characteristics of decadent phenomenon were divided into sexual corruption, ideality, cynicism and extreme technique, and decadent expression appeared in the fashion images was examined based on the divided phenomenon. Main results are as fellows. People bring the incidents that animals go through into relief, sticking to animal instinct when the society is on the decline. At that time, sexual decadence becomes remarkable, so voyeurism by exposure in their dress is deepen, revealing abnormal sexual propensity with bisexual tendency and sexual perversion. The real facts and appearance of people are revealed by transforming and distorting bodies for the fear of humans inside suppressed in the fin-de-siecle mood. The sense of alienation and helplessness of people anxious about the future is developed to cynicism expressing the uncertain emotion in their dress, and the formative methods of dismantlement. destruction and abrasion appear to form sickly images in the gloomy and cold mood. The intention of affirmative decadence is realized by mixing heterogeneous styles and producing new things. Extreme decorative technique and gorgeousness are even mysterious and show the highest refinement.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.3
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• pp.451-466
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• 2024

This study investigated the current statuses of and challenges faced by 19 textile and fashion museums in Seoul and Daegu. Through interviews conducted via email, phone, and face-to-face meetings with museum officials, this research analyzed the prevalent difficulties encountered by the museums based on the concept of the new museum. The results indicate that domestic museums experience different difficulties depending on operating organization rather than collection or exhibition content. This is related to the distribution of museums by operating institutions, as most textile craft museums are private establishments, and, the majority of dress and fashion museums are university-affiliated institutions. Accordingly, this study explored the major problems confronting textile craft, dress and fashion, and accessory museums with a consideration for operating institutions. It proposes improvements in domestic textile and fashion museums through a comparative analysis with overseas museums as new museums.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.167-179
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• 2005

Skirts hold an important position in dress culture among various dress forms, being worn by more than half of mu. In this study, Chima is defined as garment for lower part of the body without crotch sewing, contrasting with trousers. The authors classify and compare the formation of the skirts of minority races in Yunnan area, based on Korean Chima, understanding the forms of skirts and examining the composition, color, pattern and material. For the study, the authors investigated 57 pieces of skirts among 341 pieces of minority races dresses from Yunn Nationality Museum collection exhibited at Korea Folk Village in May 2003, and referred to customs materials and photos in various literatures. Skirts in Yunnan area are divided into 6 areas, that is, seamless one-piece skirt area, wrapskirt area and mixed type skirt area. Skirt formation factors from the effect of environment such as climate, lifestyle and means of production were studied, and characteristics, differences and similarities were reviewed. Figure of skirts are studied by compostion, color, material, and technique. By composition, they can be classified based on the similarity to Hanbok (traditional Korean dress). By color, worshipped color and preferred color vary by races and by area. Materials vary in kinds and thickness by area with various climate. By technique, national characteristic patterns are inherited through national traditional dyeing and embroidery. It is not easy to conclude based on single item of skirt, but we suggest that national dresses have been settled through the mutual supplements between the effect of social and cultural exchange such as historical inheritance, geological environment, religion and production activity and the various forms of skirts from changes in shape, color, material and wearing form of dresses.