• International Journal of Costume and Fashion
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• v.3
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• pp.51-87
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• 2003

This study aims primarily to discuss the question 'What does the red fashion boom in Korean society during the 2002 World Cup mean\ulcorner' For this question, it describes fashion phenomena and characteristics that appeared during the time. Specifically, in order to understand the concrete essence of the red fashion boom in terms of clothing and textiles, this study classifies and describes the red fashion boom as 'object, process and symbol' concepts. It investigates each case within the context of fashion. Outside that context, then, the implications of the red fashion boom are examined based on cultural studies and other sociocultural perspectives. This question is considered by focusing on social pressures as ideology, looking at the voluntary behaviour of Korean people in this context and examining several other factors. This is an investigation of the relationship between fashion, society and culture pursuing fashion theory by reviewing the relevant theoretical backgrounds afforded by the humanities and the social sciences. Based upon the above theoretical discussions, it synthesises what factors contributed to the Korean red fashion boom. Finally, this study briefly states their applicability to cultural marketing in its practical aspects. This study has attempted to throw some light on the question 'What does the red fashion boom in Korean society during the 2002 World Cup mean\ulcorner' The Korean Red Fashion Boom emerged from its interrelation with each context of the World Cup, as in the dualism of 'Janus'. That is, the World Cup functioned as the positive face of a festival that collected deep emotions and passion and contributed to the integration of society. Whereas its negative face, ideologically speaking, personified the invisible capitalistic product produced by the nation, enterprises and the mass media. And the implications of the red fashion boom can be interpreted with reference to the two faced World Cup.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.657-670
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• 2003

It is quite common today for bride to wear white-colored wedding-dress in wedding ceremony. When does the color date back to? What does the “white” mean? Which other colors had been used for wedding dress and why? This research paper aims to answer those historical questions through literature review. It is found here that the “white” began to be generally accepted for a wedding dress color in the 18th century, and that the color became an official one since the marriage of Queen Victoria's (i.e. 1840). Prior to that, other colors were taken rather than the “white”. In ancient Greece and Roma, “Red” and “Yellow” were used to remove devils or to bring fortune. In medieval society, luxurious wedding dresses were popular and various colors were adopted in order to show up family power among leading classes. The “White” has meant purity of bride since the 18th century. However, two world wars in the 20th century happened to lead some brides in economic difficulty wear “black” colored wedding dress for a practical reason. After the world wars, some light colors such as white, beige, ivory are to be used in wedding dress.