• Journal of the Korean Society of Clothing and Textiles
• /
• v.17 no.1
• /
• pp.137-149
• /
• 1993

The concept of style including the external form and internal meaning provides a useful structure to clarify the historical phenomenon on dress. The purpose of this study was to explore surrealism related to the external form and internal meaning and the stylistic change of surrealism through 1930 and 1988 according the linked solution proposed by Brodsky. The results were as follows; 1. In terms of double roots including the external form and the internal meaning on the surrealism of dress, first, the external form was founded to be that each objects having symbolic meaning was dislocated from its original place to dress. Second, the aspects of internal meaning intended to represent not rational and external world but irrational as well as to reveal other nature of object or dress itself. 2. The change of surrealistic style on dress was characterised as "linked solution" change theory than cyclical change theory through the historical data from 1930 to 1988 of documentary sources.

• Journal of Korea Technical Association of The Pulp and Paper Industry
• /
• v.35 no.4
• /
• pp.75-80
• /
• 2003

The purpose of this study was to design wedding dress by using Korean paper(Hanji). The Korean paper showed the good(excellent) properties of durability, softness, and tensile strength was 3.7Kg, tear index was 6 mN$.$$m_2$/g and folding numbers was 466. The appreance of Hanji was widely varied by blending(mixing) with other materials and various effects, pleating, crumpling, twisting and so on were achieved. The dress silhouette and form transformation of Hanji was very easy. Detailed points those are frill, pleats, gather, bow, paper casting, pin tuck for wedding dress were able to express easily. Hanji wedding dress has the natural texture because of natural properties of Hanji and that is echo friendly products.

• Journal of the Korean Society of Costume
• /
• v.52 no.1
• /
• pp.1-19
• /
• 2002

Kyung(景, 景衣), Which is Wedding ceremonial head dress, Veil. Ancient China. When dynasty is changing. wedding head dress form is different. Old china, Kyung(景) was sleeves attached dress form. But. after Dang(唐) and Song(宋) Dynasty changed square formed clothes, which is put on from head to the shoulder, and another is sleeves attached dress form. In Japan. after Edo Dynasty, Wedding veil, which was sleeves attached dress formed, head dress cloth. Mouei(帽衣). and Piuei(被衣). Ancient Korea have been face covered clothes. Myunuei(面衣). from Buyo(夫餘) to the south Silla(남국신라) Dynasty. Koryo(高麗) dynasty. likeness of the Song Dynasty square formed head wear, Mongsu(蒙首), and Kedu(蓋頭). When Chosen(朝鮮) Dynasty, Kyunguei(景衣), which was square formed 12 chuk size head wear of the blue colored veil. When King and Queen finished wedding ceremony in the another palace, Queen following the King, go to the palace. who put on the wedding veil, Kyungui(景衣), in the papanquin.

• Journal of the Korean Society of Costume
• /
• v.15
• /
• pp.47-54
• /
• 1990

Kyu-Soo Park wrote the book "Gur Ga Jap Bok Ko" (Proposition for Household Casuals) around A.D. 1865. He was a widely-learned man and a proponent of Korean self-consciou-seness like his fellow Pragmafist against then prevailing Chinese influence, which had already penetrated deeply into ordinary life style. According to this fact we can see not only the general dress-cystoms but the new customs of some high-birth People with evident self-consciouseness like him at that time. For example, they wore "Sim Eui" and "Bok Gun" as the dress of their ordinary life in spite of the general dress custom wearing the "Do Po" (Traditional Korean full-dress attire) and "Gat" (Traditional cylindrical Korean hat) as an ordinary or a ceremonial dress irrespective of rank at that time. Women wore an overcoat with "Chima" and "Jur. Go Ri" instead of the shortened "Jur, Go Ri" and buttock exagerating "Chima" largely popular at that time too. And also wore "So Eui" instead of "won Sam" or "Dang Eui" prevailing for the psychological resemblance of higher ranking group. Male yougnsters wore "Sa Gyu Sam" as an ordinary life dress and Girls wore "Chima and Jur Go Ri".

• Journal of the Korean Society of Costume
• /
• v.47
• /
• pp.5-18
• /
• 1999

This study focus on the history of Scottish kilt and the application of kilt designed by Vivienne Westwood 1993 F/W. Up to late the 16 Century saffron shirt was worn among Highland men and belted plaid become common dress after the 17 Century. The early the 18 Century belted plaid have developed as a kilt separated to a upper and a lower skirt style. However Government banned wearing tartan and kilt after Culloden battle (1745) as highland Dress(tartan, kilt, belted plaid etc) was the symbol of rebellion. This legislation by Hanoverian authority continued for 35 years. Although most of tartan was disappeared during those period it has become popular among European upper class after george IV's visiting Scotlan in 1822. Highland Dress become Scottish national dress after Industrial revolution. Currently Vivienne Westwood's 93 F/W using tartan and kilt and its accessaries those items were successfully transformed modern ladies dress.

• Journal of the Korean Home Economics Association
• /
• v.47 no.10
• /
• pp.1-11
• /
• 2009

The purpose of this study was to explore differences in style preference, information source, and store selection behaviors of Korean and Chinese wedding dress shoppers. Data obtained from 141 Chinese and 143 Korean females were analyzed through descriptive analysis, t-test, cross-tabulation and factor analysis. Results for Chinese and Korean consumers depended on the marketer-driven information source as well as on the consumer-driven information source. Both groups considered the aesthetics of the wedding dress as the most important criterion for store selection. There were some differences between Chinese and Korean consumers in style preferences and store selection criteria. Chinese consumers liked a wider range of wedding dress styles compared to Korean consumers. Also, Chinese consumers regarded fashionability as more significant whereas Koreans considered economic benefits more importantly when selecting stores for a wedding dress.

• The Research Journal of the Costume Culture
• /
• v.2 no.1
• /
• pp.145-165
• /
• 1994

This paper analyzes how Cultural identity described by dress in Pearl S. Buck's novel. The result shows that dress described Ethnic identity, Other cultural identity, Dual cultural identity.

• Journal of the Korean Society of Costume
• /
• v.27
• /
• pp.163-171
• /
• 1996

As the current stage of the fashion begins to follow the styles of the past the study on he past costume is getting more importance and as the methodology of the study the accurately ap-proached study through the rehabilitation of the past costume is more needed than the simple re-arrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The S-line silhouette remains be-cause of the straight silhouette or the blossom style bodice. This dress has various types of sil-houette but generally it forms one silhouette and is one-piece. 2) color and Material: The material varies hile the color is divided as the main color of ivory and the stress color of brown. This shows not only that the material has been varied but also that they tried to reduce the monotony. 3) Pattern and Sewing: The simple external figure and the previous stage typically shows the movement to the simplicity of the contemporary and the num-ber of patterens is plenty and the sewing method is also complex. 4) Detail. To overcome the simplicity of the style and to show the characteristics of the afternoon dress the skunk fur the net the sash, and the bow are used. 5) Structural Characteristics: The front open-ing the back opening and the side opening coexists in one-pieced dress and this forms unique structure and complex fastening device. The ribbon tape and casing not only finish the seam but also fix the shape of the dress. Synthetically the 1913-14 afternoon dress has the characteristics of transitional stage in which the characteristics of the costume of 1910s and the remnants of the characteristics of the pre-vious costume style and shows the character-istics of afternoon dress well in terms of the ma-terial the structure and the detail.

• The Research Journal of the Costume Culture
• /
• v.18 no.1
• /
• pp.80-92
• /
• 2010

This research aims at developing the dress form for the aged women based on their body shapes using the three-dimensional body scan data with the body shape categorization(according to the previous research). To accomplish this goal, the sample group of representative body shape of the 50% of median was selected by using the high frequency proportion range of each type of body shape of the aged women, and the sample group of representative body shape of each type was averaged in a three-dimensional way by using the morphing method of a three-dimension reverse-engineered software. RP in the form of torso was produced based on the shape data of the final model and the data was formed into an actual object, by which an aged women's dress form model was drawn out. The differences of the girth of the bust, hip and waist between the developed dress form model and the existing dress form model were examined. The result showed that the developed dress form had a bigger size of waist girth than that of bust and hip girth, compared to the existing dress form, which shows that it reflects the aged women's tendency of abdomen obesity, so it's expected to be more proper for the human bodies of the targeted age group than the existing dress form. These research results may help design the clothing suitable for the body shape of the aged women so that their demand for the clothing of good fit will be satisfied in the future.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.16 no.4 s.44
• /
• pp.357-369
• /
• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.