• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• 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.

• The Research Journal of the Costume Culture
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• v.14 no.4
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• pp.625-634
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• 2006

The purpose of this study is to preview artistic presentation, factors of designing and ornamentation, to provide useful information to the wedding dress industry in developing consumer-oriented design of wedding dress. Also, this study is to investigate relativity between individual characteristics, such as demographic character and body figures, and preference of consumers, in order to learn if there is any pattern of consumers decision making, and to help consumers by giving tips for their wedding dress shopping. According to this study, I can see that when modern South-Korean adult women choose their wedding dress, they consider many factors just like silhouette, detail, fabric material and so on, then they select their own best dress by grasping their body characteristics.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.117-124
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• 2008

People have used the manner of expression "clothing" to find out and to symbolize the styles that suits one's roles, behaviors or altitudes. Moreover, the symbolic meaning of clothing is important as it reflects the culture of a time period as well at the life style of each classes of society. In the aspect in which clothing is critical data to re-examine a time period as to trace history, clothing is significant for understanding the characteristics of each time periods, and by focusing on women's wedding dress, a costume worn for one of the most essential ceremonies in one's life, this article studies how trends of each period have been symbolized through clothing. Thus, this study aims to set a foundation to understand the cultural features of a time period through the wedding ceremony. The article inquires about the hwalot to also understand its meaning during the period of its existence, and develops designs for modern wedding dresses for women. I. The wedding dress of women expressed the following meanings by using shapes, colors and patterns of the hwalot. 1) The formative art of hwalot is the ultimate beauty. 2) The wedding dress of women emphasized aesthetics. 3) The symbols praying for harmony between red and indigo, or the union of yin and yang indicates that marriage had been considered as a precious ceremony-an important matter of life. 4) The meaning of good auspice such as health, longevity, immortality, good luck and stability had been frequently used since people sought for new and eternal life. 5) The symbols of wealth and fame have been frequently used by those pursuing a wealthy life. 6) Marriage was considered as a union of families, and not a union of two individuals. II. This article presents two types of modern wedding dresses.

• The Research Journal of the Costume Culture
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• v.20 no.3
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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.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.111-123
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• 2000

This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.860-870
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• 2014

This study considers style types and examines aesthetic values by analyzing images expressed through bridesmaid dresses in the movie '27 Dresses'. The research method used was a case study on fashion types from movie costumes. The conclusions of this study are as follows. There are three fashion style types in the movie '27 Dresses' presented by diverse dress type according the bride's dress code, dress style that reflects a country's culture and tradition of how bridesmaids wear traditional costumes particular to each country as well as a dress style that suits the overall wedding's atmosphere and theme. The aesthetic values of the movie '27 Dresses': First, it reflects a complementarity synergy between the bridesmaid and the bride at the wedding. It plays a complementary role in creating synergy through a harmonious presentation at the wedding. Secondly, it represents traditionality. Traditional costumes of different cultures were used as bridesmaid dresses. These costumes play an important role in denoting the bride's nationality and tradition. Third, it represents a sense of amusement using a wedding as concept. The bridesmaid dresses were unique in a way that elicited surprise and unexpected laughter as well as a feeling of pleasure and interest in the audience. The different styles of bridesmaid dresses in movie costumes can help expand more diverse wedding cultures in a modern society.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.29-39
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• 2011

The purpose of this study provides a high consumer-oriented wedding dress on the consumer and offering the consumer-oriented product and provide a basis data to develop a wedding shops so it can stable and manage of effective marketing. Wedding shop for a survey of consumer preference, and based on this wedding dress designed and made. The results are summarized as follows. First, when wearing wedding dresses and "graceful and feminine" image that seek to pursue an image that showed the highest response, "simple and stylish", "cute and vivid" image was in order. In the survey of wedding dress preference, lace is preferred, in tone of color white is preferred by and large. In silhouette, A-line is preferred most, in neckline, exposure of the shoulder, in sleeve length, sleeveless, in decoration, beads. Second, on the basis of these results, depending on the image to pursue the design, wedding was made of 3 creations. The work I is a target of the early 20s, the concept "simple and stylish", and A-line is adopted in silhouette focusing on modern simplicity, soft satin material used of high class. The work II is a target of the late 20s, the concept "cut and vivid", and fit-and-flare made of many folded tulle mesh material. The work ill is a target of the 30s overall, the concept "graceful and feminine", and high-waist- empire-line is adopted in silhouette, splendid lace material used, is of the gorgeous and mature beauty.

• Journal of Fashion Business
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• v.13 no.5
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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• pp.250-271
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• 2022

Traditional wedding dresses have had a high market demand in China in recent years. Traditional wedding dresses from the Tang dynasty occupy an important position among traditional Chinese dresses, and they are also favored by young women. This study was conducted to develop the rushan and qun patterns of traditional wedding dress styles from the Tang dynasty for women in their twenties in China. For this purpose, the rushan and qun patterns of Tang and Song dynasty dresses and modern traditional dresses were collected and analyzed. Additionally, the developed patterns were validated for suitability through appearance evaluations of virtual and real fittings. The following proportions of the developed patterns were proposed: H/3.3 for rushan length, H/33 for collar width, H/1.08 for total sleeve length, H/6 for sleeve width, H/8.5 for sleeve hem width, and H/1.55 for qun length. In addition, the developed patterns received high scores in the appearance evaluations of the virtual and real fittings. Therefore, the developed rushan and qun patterns are expected to have high utility in the current traditional wedding dress industry.