• 한국의류학회지
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• 제27권7호
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• pp.735-745
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• 2003

This paper looks at perceived images of female university students concerned with various wedding hair coordination including wedding hair styles, veil details and fitting positions and head dresses. Ta design an experimental test of a wedding dress and hair coordination variables, the content analysis of magazines was performed and hair experts were interviewed. 17 stimuli representing the variables of wedding hair coordination were manipulated and included with hair styles(2), veil details(2), veil fitting Positions(2), head dresses(2) and a wedding hat(1). The questionnaire of 445 was carried out and data were statistically processed. As a result, five images of wedding hair coordination were factors loaded, that is, favorable, decorative, smooth, personal and pretty one. Various main and interaction effects were found in images of it regarding to changing hair styles, different veil details and fitting positions and head dresses. favorable images, they affected by interactions between hair styles and veil details, hair styles and veil fitting positions, hair styles and head dresses and between veil details and the fitting positions. For personal images, interactions between veil details and the positions of veil fitting had effects on female students; for smooth images, That is, for hair style, female university students were influenced by favorable and smooth images; for veil details, by decorative and smooth images; for the positions of fitting veil, by decorative and favorable ones Then the researcher examined effects by dual interactions between factors of wedding hair coordination. For decorative images, they were found influenced by interactions between hair styles and veil details and between hair styles and head dresses. For personal ones, interactions between veil details and the fitting positions; for pretty images, interactions between the fitting positions and head dresses. These findings will provide sellers of the wedding dress with the idea of how females to perceive wedding hair coordination according to the variation of it.

• 한국의류학회지
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• 제32권10호
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• pp.1619-1628
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• 2008

The aim of this study was to compare and contrast the changes in wedding coordination between the end of 20th and the beginning 21st centuries. one wedding magazine was selected and used to supply data. four hundred and thirty one wedding photos were examined from a popular wedding magazine called "My Wedding", issued between 1993 and 2007. the results are described below. First, changes in make-up and hair style: from the end of 20th to the beginning of 21 st centuries, the style of make-up changed from being exaggerated with strong colors which made the typical brides make-up to utilizing the minimal color selection which made natural-looking. the hair style has also changed from up style to natural hair style. Second, changes in wedding gowns: the style of wedding gowns changed from the shapes of X line which was to cover the body figure of bride to simple shapes such as an strapless and fish-tail style of gowns. Third, changes in wedding jewelry and accessories: hair pieces consisted of large flower crowns and hair bands with flowers in the end of 20th century. the various sizes and colors of tiaras and crowns were popular in the beginning of 21 st century. for wedding accessories, large shapes of earrings and necklaces were popular at the end of 20th century, whereas various size and styles were more fashionable later on. in conclusion, brides in the beginning of 21 st century prefer to wear sexy or alluring dresses with natural hair styles and make-up, in contrast to the classic or traditional wedding outfits that were more popular at the end of 20th century.

• 한국의류산업학회지
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• 제10권4호
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• pp.489-498
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• 2008

This study is on the image evaluation of the hair up-style and the wedding dress styles of prospective brides. Based on some prior theoretical studies, and information obtained from wedding magazines and interviews conducted at the beauty business places, four kinds of the hair up-style were selected, namely, top-point, golden-point, back-point, and nape point. Three styles of necklines were selected: boat necklines, V-necklines, and off-shoulder necklines. The surveyor herself did the hair styling for models, and dressed up the models, to produce the stimuli. And the stimuli were presented to percipients along with questionnaires for measuring the image evaluations. Prepared were total 12 different kinds of stimuli, in which four hair up-styles and three dress styles were combined into 12 combinations ($3^*4$), and, with respect to these 12 stimuli, 26 itemized questions were included in the questionnaire. From the factor analysis on the image evaluation of the hair up- style and wedding dresses, five factors were derived as fallowing: attractiveness, boldness, purity, cuteness, feminity. This study revealed that wedding dress styles are more sensitive to the contemporary trend, compared to the hair styles; and the selection in the wedding style is quite influenced by the dress style, but not by the hair up-style. Also, prospective brides evaluated the hair up-styles and the wedding dress styles separately without recognizing their mutual relationship, and thus did not recognize the two as the mutually coordinated relationship, but rather recognize the two as two separate elements.

• 한국의류산업학회지
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• 제11권5호
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• pp.799-807
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• 2009

The purpose of this study was to examined which the pursuing image, make-up and hair style desire on their wedding day and how the future brides managed their appearance for the wedding. This qualitative research was based on the data collected by in-depth interviews with 15 brides in their 20s, 30s and 40s who reside in Daegu and Gyeongbuk. The results of the study are shown follow: The images that the brides most pursued for the wedding day were elegant images and refine images. The favorite wedding-dress styles of brides were elegant, refine, lovely, classical, and natural style in order of preference. The design of the dress was top priority when selecting the wedding-dress and it was followed by the function that complements anyones' shape. The brides liked natural style wedding make-up most and refine and young one followed. They considered eye make-up most important after skin expression, that is, covering defects of their skin. Concerning wedding hair styles, an up-style which is typical for wedding is desired most and a natural flowing hair style second. Regarding fitness, they mainly took physical exercise and went on a diet which is not unreasonably harsh.

• 복식
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• 제58권3호
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• pp.19-33
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• 2008

Hair style of royal ladies in the 19th century according to the wedding record of King Heon-jong and Lady Sunhwagung is studied in this paper and summarized as follows: First, Saengmeori was a bridal hair style for the wedding night in Gyeonmagi(jacket) and Daeranchima(Skirt with gold trimming). It was a typical girls' hair style before the coming-of-age ceremony. It was composed of Saengmeoridari(wig), Seockunghwang, Jogduri(Coronet decorated with Jewellery), Saengdaeng-gi(hair ribbon) trimmed pearls, and jade disk trimmed pearls. Second, Garaemeori(double bun hair style) was the hair style with Wonsam when the chosen bride went to Byeol-Gung, a special palace for the bridal. It was composed of Gareachi(wig) and Cheopji(small wig) with the frontal hair ornament, jogduri, and Saidang-gi(hair ribbon). Third, Jojimmeori(single bun hair style) is a basic hair style for the madame. It was composed of jojimmeorichilbo, jogduri, jojimmeoridari(wig), and Cheopji with a frontal hair ornament. Fourth, Keunmeori is the second most important hair style for the court ceremony. It was composed of Eoyeomjogduri, Eoyeomdari(wig), Cheopji with a frontal hair ornament, Keunmeoridari(wig), and Keunmeorichilbo. Fifth, Susik, the most important hair style for the court ceremony, is the hair style for ceremonies including the day of becoming the formal queen, the first greeting day to the King's family. It was composed of 4 kinds of wigs and Susik-chilbo.

• 산업융합연구
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• 제18권3호
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• pp.63-72
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• 2020

본 연구는 웨딩드레스 이미지에 따른 업스타일 표현 기법에 대한 연구로 웨딩드레스 이미지와 어울리는 업스타일을 찾고자 하여 미용업에 종사하는 미용사를 중심으로 설문을 했고 그 설문에 따른 결과로 작품을 제작하여 제시하였다. 로맨틱한 웨딩드레스에 어울리는 업스타일은 가르마가 없는 올백형으로 빗질을 시원하게 위로 향하게 하여 탑포인트에 연출하는 땋기 기법을 활용하여 작품을 제작하는 것이 귀여운 이미지 연출 방법으로 조사되었다. 엘레강스한 이미지의 웨딩드레스에 어울리는 업스타일은 3 : 7 비율의 가르마를 형성하여 귀를 덮는 정도의 빗질로 네츄럴 포인트를 기준으로 롤 기법을 활용하여 작품을 제작하여 스타일을 표현하는 것이 엘레강스한 이미지를 연출할 수 있는 방법으로 나타났다. 클래식한 이미지의 웨딩드레스에 어울리는 업스타일은 2 : 8 비율의 가르마를 형성하여 귀를 절반 정도 덮는 정도의 빗질로 백 포인트를 기준으로 꼬기 기법을 활용하는 것이 클래식한 이미지에 적합한 것으로 조사되었다. 미용 전문가들이 꼽은 웨딩드레스 이미지에 대해 업스타일을 연출하였는데 이 자료는 업스타일 기초자료를 제공함과 동시에 업스타일을 이해하는 디자인 영역에 기여할 것이다.

• 한국의류학회지
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• 제48권2호
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• pp.382-396
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• 2024

"Keunmeori", the grand headdress with various decorations attached to thickly braided and raised hair has been used as a bride's formal attire since the Joseon Dynasty, and in the modern period, new styles known as goegye and hyuche appeared as formal attire for civil weddings. Goegye was formed from a round wooden pillar wrapped with hair and decorated richly with ornaments; getting married with goegye meant that the wife was officially married. Hyuche was made by braiding the hair into two long plaits and decorating it with colorful fluttering hairpins and gold leaf hair ribbons. Hyuche was originally formal attire for a princess at her wedding, and it is thought to have been less frequently used in the private sector due to its higher cost than goegye. The style of goegye appears to have been influenced by the susik, the highest formal attire for a queen, and in particular, the decorations on the circular top part of the susik were presumed to have been similarly reproduced in folk weddings. Goegye changed in various aspects according to the social environment and atmosphere of the times, and was also used as formal attire for a prince's wife.

• 한국의류산업학회지
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• 제22권6호
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• pp.739-751
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• 2020

This study compares and analyzes bridal wedding styles in Korean and Chinese SNS. For this, 715 photos (362 in Korea and 353 in China) collected on social media (Instagram and Xiaohongshu) were used for analysis. The bridal wedding style was divided by item into wedding dress, makeup, and hairstyle, and detailed characteristics of images and designs were examined through content analysis and statistical analysis. First, in the case of Korea, many wedding dresses showed ball gowns and mermaid silhouettes, white colors, and no details and trimmings. As for the makeup, transparent and natural skin expression, straight eyebrows, and pink and peach lip colors were highlighted; and as for hairstyles, many long hair with half-covered ears appeared. Second, in China, a ball gown, mermaid silhouette, and white color are often seen in wedding dresses, and point colors and use of various details and trimmings are noted. The makeup showed a lot of bright skin expression, brown and black eyebrows, and red and brown lip colors. As for hairstyle, a lot of long hair with completely exposed ears appeared. Third, the comparison of bridal wedding styles between Korea and China indicated that China used relatively more details and trimmings in wedding dresses. As for makeup, Korea has a natural image, and China has a classic image. As for the hairstyle, there were many styles in which Koreans had half the ears covered, and Chinese had no bangs and completely exposed ears.

• 복식
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• 제50권3호
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• pp.105-116
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• 2000

In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.

• 문화기술의 융합
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• 제10권2호
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• pp.99-106
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• 2024

본 연구는 웨딩 헤어장신구 변화에 따른 이미지를 분류하고, 진주의 은은하고 부드러운 광택을 그대로 살리기 위해 진주와 크리스탈을 이용하여 창의적인 디자인으로 접근하여 제시하고자 한다. 또한 현대에 와서 헤어스타일에 보완과 개성을 연출하는데 있어 여러 소재와 형태로 표현됨으로써 특별한 분의기를 갖게 하는 하나의 장식수단, 독특한 디자인들로 여성들에게 선택의 폭을 넓힘으로써 헤어아트 디자인 예술적인 새로운 표현의 한 부분으로 도움을 주고자 한다. 진주가 가지고 있는 은은하고 부드러운 광택과 크리스탈의 화려함을 조화시켜 디자인을 만들 수 있는 웨딩 헤어장신구 변화에 따른 이미지를 형상화한 총 3작품을 제작 분석하여 창의적이고 독창적인 헤어아트 예술적으로 실생활의 상품성을 위한 새로운 모티브로써 제공 될 수 있도록 하였다. 디자인의도 및 방법, 디자인 전개, 제작의도, 제작과정, 작품완성으로 작품제작을 이루었다. 실용성과 장식성을 동시에 갖추면서 자신의 개성을 드러내 주는 유니크(unique)한 업스타일 장식을 고안하는데 도출 할 수 가 있었다. 헤어아트 작품 개발, 실생활의 상품성을 위한 모티브로 색깔 있는 헤어아트 디자인의 연구가 계속되기를 기대한다.