• The Research Journal of the Costume Culture
• /
• v.15 no.5
• /
• pp.749-759
• /
• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.

• Journal of Fashion Business
• /
• v.5 no.5
• /
• pp.77-86
• /
• 2001

The traditional dress of a nation represents that nations organic culture. The traditional Hanbok dress has become our traditional wear through many centuries of history. This paper studies the real world use of daily Hanbok and provide comparative data and compares the traditional and daily Hanbok with focus on the basic Hanbok. It will also present my views on the future of daily Hanbok design with beauty as an emphasis.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2003.05a
• /
• pp.210-211
• /
• 2003

• Journal of Fashion Business
• /
• v.28 no.2
• /
• pp.50-63
• /
• 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
• /
• v.15 no.4
• /
• pp.713-725
• /
• 2007

This treatise is designed to discover the principle of timeless continuity of Korean design from the perspective of modem accomodation of formative beauty of tractional dress style with the focus on measurement analysis of dress from visual perspective. For this purpose in this research the following subjects are studied with concentration: the 1st phase debate on the dress style appearing in the Kokuryo murals and genre painting during the later period of Chosun Dynasty regarding the formative beauty of dress style. 2nd phase debate on the points of changes and transformations during given age and given principle of Korean designs being maintained across the span of time in the context of madern accomodation of such traditional dress. From historical perspective characteristics of each given age and principles of visual formative principles appear in various ways variety attributable to mutually interactive principles according to historical background and culture. For this reason it can be said that they are determined by different paradigm or forms from characteristics of Korean style design in the present and future and those for traditional forms of dress in the past.

• Journal of the Korean Society of Costume
• /
• v.51 no.7
• /
• pp.5-20
• /
• 2001

The purpose of this study is to determine aesthetical characteristics of the Japanese traditional wedding dress for women by analyzing such dresses' aesthetical senses. For the purpose, the study showed four types of the dress, Zunihidoe, Iro-uchicake, Chiromuku, Hurisode and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows : Aesthetical senses shown in the Japanese traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, its main factor while the remaining four types, were found having dignity as their main factors. adjective words which largely accounted for aesthetical senses included uncomfortable, unique, bright, dignity, classical, ornamental and beautiful, suggesting that the Japanese traditional wedding dress for women is somewhat unfunctional, high in dignity and aesthetic beauty. Aesthetical senses were most different according to nationality (Korea and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization.

• Journal of the Korean Society of Costume
• /
• v.56 no.5 s.104
• /
• pp.132-149
• /
• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• Journal of Fashion Business
• /
• v.13 no.5
• /
• pp.23-36
• /
• 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
• /
• v.22 no.8
• /
• pp.1052-1059
• /
• 1998

The purposes of the study were to analyse the colors and, color combinations effect on the image perception using gestalt theory. The research method was a quasi-experimental with a between subjects design. The experimental materials developed for the study were a set of stimuli and a response scale. The stimuli was consisted of 17 drawings of females wearing Korean traditional dress, by using CAD simulation. A response scale consisted of semantic differential scales. The subjects were 1138 undergraduate students of Taejon city, Chungnam province and Chungbuk province. Their responses to the semantic differential scales were analyzed using factor analysis, ANOVA, Duncans multiple range test. Results were as follows; 1) The colors effect of blouse was significantly greater than the effect of skirt, and no interaction effect was found between blouse colors and skirt colors. 2) In bi-color combination dress set, the combined image of the two colors were compared to the image of the two mono color sets: No single principle was found, however, salient color (such as yellow) and unattractive color (such as green) seemed to act as central trait colors on the image perception. On conclusion the visual image of Korean traditional dress wearer was affected by central trait colors in bi-color combination, and this results support the gestalt theory with central traits.

• 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".