• Journal of the Korean Society of Costume
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• v.58 no.3
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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.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.1
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• pp.75-95
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• 2000

The purpose of this study were: 1) to understand the meaning of color according to the culture 2) to develop color and color arrangements in the thoughts of the East and the West.. The meaning of color on the dyed clothing was investigated through the book written classified with yin, yang, five color elements and Christian color system. The results were as follows; 1. Red wedding dress used the meaning of prevent badness and American used to resist for England in the War of Independence. 2. White wedding dress meaned innocent, gladness to the ancient Greece, Rome and Gothic Christian in the West, and it meaned a dead daughter in Japan, East, 3. Blue clothes meaned lucky in the East and meaned sacredness and love in the West. 4. Yellow was the color of the Emperor in the East, and it meaned death, betray in the West. 5. Black meaned badness in the East, and it meaned sadness in the West.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.117-129
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• 2009

This study is to examine unmarried women's preferences about wedding dresses. This is researched with a survey of 300 unmarried women in Ulsan and Seoul. The survey inquires their preferences of silhouettes, necklines, materials, and details in wedding dress. 290 valid questionnaires are analyzed statistically. Statistical analysis is used average, frequency, and crosstabs with SPSS10.0. The results of this study are as below; As for an income level, the high-income brackets in Ulsan preferred X silhouette, whereas in Seoul H silhouette. The low-income brackets in both areas preferred X silhouette. In necklines, boat neckline was preferred in both areas regardless of incomes. In materials, in Ulsan, the high-income brackets preferred silk, but the low-income brackets in Ulsan preferred satin. In Seoul, silk was preferred regardless of incomes. In details, the high-income brackets in both areas preferred beads and ribbon. In the low-income brackets, embroidery decorations were preferred in Ulsan, whereas beads, jewels and ribbons in Seoul. As for personalities, X silhouette was preferred in most personalities, A silhouette in some personalities in Seoul. In necklines, boat neckline is preferred in most personalities. In materials, silk was preferred in most personalities. In details, beads and jewels were preferred in most personalities. As for ages, in most ages, X silhouette was preferred in Ulsan, and X and A silhouettes in Seoul. In necklines, in most ages, boat neckline was preferred in both areas. In materials, silk was preferred in most ages. In details, beads and jewels were preferred in most ages.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.62-75
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• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• 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.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.1-17
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• 2014

This study explores women's Wonsam in the 18th century. Wonsam was women's wedding dress, one of the representative ceremonial garments of Korea. Wonsam began to appear in the excavated clothes around the 18th century, and we can find drawings and records of the period in Yongjae Collections by Kim-kunhaeng. The form of Wonsam after the 17th and 18th centuries showed the changes in which Seop and Mu disappeared in Baeja form of Danryoung(團領) and the right and left symmetry and side slits were highlighted. The change also included wide and long sleeves and Sakdong(색동) colorful strips on the sleeves), Hansam ornaments, and the use of the belt, which means the change of Baeja composition into our traditional costume of the age. Through the Colletions, we notice that women wore Wonsam in different colors and with varying hair accessories according to the nature of ceremony, the social status, and marital status. Concerning Wonsam, the color of clothing for the dead woman was green(喪禮), while that for marriage ceremony was red(婚禮). Wonsam with the light color was for ceremonial clothing(祭禮). The women who served in the palace wore green Wonsam and Geodumi, while a bride at the marriage ceremony wore red Wonsam or a red long-sleeved robe with Jokduri. At the ceremony of Hyeongunorye, women wore Wonsam with a wig. the dead woman wore Yemou.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.19-32
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• 2001

The purpose of this study is to determine aesthetical characteristics of the Korean traditional wedding dress for women by analyzing such dresses'aesthetical senses. For the purpose, the study showed four types of the dress, jukyee, whalot, weonsam and private weonsam 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 Korean 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, whalot adpated revelation as its main factor while the remaining three types, or jukyee, weonsam and private weonsam were found having dignity as their main factors. Adjective words which largely accounted for aesthetical senses included uncomfortable, warn, chaste, intellectual, bright, unique, regular, luxurious, classical, ornamental and beautiful suggesting that the Korean traditional wedding dress for women is somewhat unfunctional, but high in attractiveness and aesthetic beauty and has a better classical harmonization of dignity and revelation. Aesthetical senses were most different according to nationality(Korean and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization. Japanese people had unique and interesting senses while Korean people, chaste, calm and delicate aesthetical senses. According to gender, men revealed free senses and women, classical ones. According whether of specialization or non-specialization those who specialized in a related field had more unique, straight, regular, luxurious and interesting aesthetical senses that those who did not specialize.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.169-180
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• 1997

The purpose of this study is to extract 'the Rite of Passage'from a Korean novel, 'HON-BUL', and to analysis intrinsic meanings and function of the symbols, their personal meanings and social meanings from it. A pragmatical method was used for the analysis of this research. The results were as followings : The meaning of the Rite of Passage and the Costumes had mainly incantatory characters ; son-wish, wealth, amicable relations between a husband and a wife, long life, and perpetual thought. But the amount of grasping of meaning was thought to be depended on the reading ability of readers. Since the Wedding Ceremony and the Funeral Ceremony were described a lot of times in the novel, it was known that they were regarded as very important Rite of Passage in the whole life. The TEXT which were cited from the novel showed that the Rite of Passage was traditionally described as the Birth Ceremony, the Wedding Ceremony (includes the Puberty Ceremony), and the Funeral Ceremony. The analysis of meaning in a novel had an important roll to understand CULTURE, SOCIAL LIFE, and TIMES in a written novel. Therefore a novel is very valuable to analyze them as the DISCOURSE and the TEXT.

• The Research Journal of the Costume Culture
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• v.30 no.2
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• pp.208-225
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• 2022

The purpose of this study is to identify trends in modern Korean clothing design through investigation and analysis of the types and respective characteristics of silhouettes, colors, materials, patterns, and decorations present. To this end, research methods such as literature research and content analysis through case study research were used. The results of the wedding magazine data analysis were largely classified by design element and based on such, the conclusions are as follows. First, in the analysis of silhouettes, the appearance rate of traditional items decreased over the selected period and that of modified items increased. Second, among the same colors, adjacent colors, proximity complementary colors, contrast, and other harmonies, adjacent color harmonies showed the highest rate of appearance. Third, the cases where the same materials were used for the top and bottom elements showed a similar appearance rate as those where different materials were used. It was also concluded that traditional materials are being replaced by modern materials. Fourth, regarding the arrangement of patterns, the appearance rate of the absence of patterns gradually increases. Fifth, there were more case of decorations than those of none. This study made it possible to grasp the changes in trends of modern Korean clothing from 2011 to 2020 and provide basic data for the development of the Korean clothing market industry.

• Journal of the Korean Society of Costume
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• v.19
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• pp.195-207
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• 1992

palestein had been a part of Islamic culture before Israel was established after World War II and their daily lives had been totally affected by the Korean, Consequently, the idea of clothing, types of women clothes and it's characteristics reflected in the Koran have been studied and the results are as follows: First, the idea of clothing reflected in the Koran emphasizes the equality of the sexed and treats women as men's equal partner. Second, in the Koran there is almost no reference on men's clothes, but it only recommends women to wear veil to cover their faces and bodies when they go out. The Koran argues that it is not to restrict women but to protect them. Third, due to it's geographical location, Palestinian clothes had been affected by it's neighboring areas, and the gumbaz-a kind of coat - is one of the examples of Turkish origin. In the beginning the gumbaz had been worn by upper class Palestinian women and subsquently by urban Nazareth women. They used to slip on gumbaz on their heads and shoulders. Fourth, In Palestein they wore jacket over coat or dress. The emboridered jacket from Bethlehem was mostly worn their wedding dress. Fifth, the headdress and face-veil in Palestein are the most unique ones and married women decorated headdress and face-veil with gold or silver coins which they received as wedding presents, and wrapped all their coin decorations in black cloth when husbands are dead. Bedouins decorated not only with coins but also with shells, buttons, stones and beads to articulate their chastity, social status, aestheticism, religion and magic.