• Fashion & Textile Research Journal
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• v.3 no.2
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• pp.115-123
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• 2001

The dress and ornaments in the Taijiang were fashionable, which were densely populated with Miao nationality. Women's traditional festive dress in Taijiang included an embroidered blouse and a pleated skirt. The garments are decorated with plenty of ornamental designs. The colours of festive dress were as rich and gorgeous as those of fashinable desses. Embroidery was very popular in Taijiang and its principal feature is embroidery with loose, coloured floss silk. The image of patterns changed ingeniously and colourfully but do harmony. In the using of colour, one kind of the festive dress was in the main red, which means a bright dress. The colour of another kind of festive dress was blue, which means a dark dress. There were many kinds of silver ornaments for women. Taijiang was most outstanding in this respect. The great variety of silver ornaments was a unique feature of women's dress in Taijiang.

• Journal of Fashion Business
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• v.22 no.5
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• pp.113-124
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• 2018

This study is to find ways to use fast-fashion wedding dresses continuously which usually have worn three or four times and just wasted, which is an current interesting issue over the society. Among clothing from the 19th Century, three styles of Empire, and Crinoline were analyzed from their underwear styles to outwear styles through library and museums and are made for rental service. Based on 8-year-old girls' physical dimensions, openings and closing methods of each size were applied to develop and make rental dress designs. It will be a good opportunity to study history and develop creativity if children can try different styles of dresses from different cultures and times and also experience difference wearing ways as they also have such desire. Underwears were designed to be worn by adjusting cloth rings, rubber bands, or hook and eye to fit different dimensions. The final products are as follows. First, empire dress doesn't need underwear to wear. Depending on the purpose of the rental dress, the back side of upper clothes have lace up by using cloth rings like empire style. Skirt was cut to use hem lace suitably from wasted dress. Second, Crinoline dress is usually configured of Crinoline, Petticoat, Two Piece on Drawers, Chemise, and Corset. It was designed by flat front, bigger sides and backs by Crinoline and Petticoat.

• Journal of Fashion Business
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• v.14 no.2
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• 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'.

• The Research Journal of the Costume Culture
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• v.27 no.2
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• pp.140-153
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• 2019

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.31-45
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• 2002

In this paper. the focus is laid on identifying preferred wedding dress image and its co-relationship with self image of female university students. the biggest potential customer group in the industry. As for the research method. it conducted both review of literature and empirical research method. Through the former approach, four main research questions were derived : 1) What is the preferred wedding dress image of female university students\ulcorner 2) What is the relationship between real self-image and preferred wedding dress image\ulcorner and 3) that between ideal self-image and preferred wedding dress image\ulcorner 4)What is the relationship between the consistency level of the two self-images and preferred wedding dress image\ulcorner In the empirical mode of research, 404 surveys were counted in the final analysis among 450 questionnaires completed by female undergraduate students in Seoul and Chun-an city. Collected data analyzed using factor analysis. frequency analysis. descriptive analysis. scheffe test. multiple-regression analysis and t-test. Results are as follows: first, the sophisticated image was most preferred among female students, followed by elegant splendor. lovable and chaste, feminine and decorative, and characteristic and sexy image. This result indicates how wedding dress trend has a keen sensibility to general fashion trend just like the trend of outfits for everyday life. Secondly, the research results indicated consistent level of co-relationship among the real and ideal self-image and the preference of wedding dress image. And the last the level of consistence between the ideal self-image and the real self-image directly related to the preference level of wedding dress image, showing almost no significance.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.96-108
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• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.113-126
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• 2007

Since the ancient times, black has been the most valuable color. Also, it has played a more important role in a history of fashion than other colors. In general, black was regarded as a color of negative images. However, as people have recognized the aesthetic value of black color, they have expressed unique and various images of black through the medium of clothes. This studies on images of black dress for woman was based on reference to literatures and valid investigations. The images toward black clothing are categorized by study participants' perceptions according to age, marital status and education. The result was as followed. Dignity and modernity were the most frequently cited image of black dress among women followed by feminine, sorrow, sensuality, and abstinence. Age significantly affected the recognition of black dress images. Woman showed significant difference in recognizing dignity, modernity, sensuality, and sorrow in black dress according to their age. Woman more strongly recognize dignity and modernity in black dress when they are younger, while increasingly recognizing abstinence and sensuality in black dress as they become older. Marital status significantly affected woman's recognition of black dress. They showed meaningful difference in recognizing dignity, modernity, and abstinence in black color. In sum, single women recognized more easily dignity and modernity in black dress and less easily abstinence than married women. Women also showed the trend with relation to education level. In general, as women got higher education, they also increasingly recognized dignity and modernity in black dress.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.34-43
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• 2001

This study is to analyze the dress symbolism described in the traditional Korean narrative focusing on the psychological side. As a result of the analysis, human nature and personality were characterized as following : integrity and feminine modesty among others. These characteristics prove that human nature and personality are symbolized by dress. Through protagonists'dress in the traditional Korean narrative, the quality and price of texture, attire, clothing selection according to the situation, appearance in dress, grade of interest towards costume, and behavior that accompany the costume, it was symbolically expressed the personality of the person who wear the dress. Feeling and psychological state were represented by joy, anger, affection, and hatred. Also, it was observed that the feeling and the psychological state are symbolized through the costume ; however, these two characteristics are symbolized not only with costume itself but also with the behavior that accompanies the situation and costume. The latter were considered more important factor than the former.

• Journal of the Korean Society of Costume
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• v.20
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• pp.63-72
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• 1993

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.