• 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.

• 한국의류학회지
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• 제26권8호
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• pp.1216-1227
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• 2002

The objective in the part H of this study was to investigate the effects of materials, sleeves, trimming, and perceivers gender on impression formation. Stimuli consisted of 13 color photographs of a female model wearing a wedding dress which were manipulated according to clothing cues. A semantic differential sale of 4 dimensions was used. These were attractiveness, neatness, femininity, and prettiness. Samples were 312 males and females. For the effect of sleeves, there were significant main effects in attractiveness, femininity, neatness, and prettiness. Three-quarters lace ruffled sleeves increased the perception of positive attractiveness, femininity, and prettiness. Flounced sleeves had a positive effect on the perception of neatness. Long-tight sleeves had a negative effect on the perception of attractiveness, femininity, and prettiness. Sleeveless dresses increased the perception of negative neatness. There was an interaction effect between sleeves and the perceivers gender on neatness. For the onぉ of material, there were significant main effects in neatness, femininity, and prettiness. Solid cloth had a positive effect on the perception of neatness and negatively on prettiness. The combination of lace and solid cloth increased the perception of positive femininity and prettiness. lace had a negative effect on the perception of neatness. Satin increased the perception of negative femininity. There was an interaction effect between material and perceivers gender on prettiness. The main effect of trimmings was its effect on prettiness. Ribbons increased the perception of positive prettiness. Not having any trimmings had a negative effect on the perception of prettiness. There was an interaction effect between timings and the perceivers gender on neatness. The results of this study confirm that image perception of wedding dresses becomes different according to the materials, details, and perceiver's gender.

• 한국의류산업학회지
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• 제15권5호
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• pp.694-703
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• 2013

A variable dress design can be an alternative to satisfy a consumer need for diverse expression and self-realization at a lower cost factor. In the area of wedding dress, the change in the trend of wedding culture (which tends to demand more units of wedding dress) makes the cost factor more important in the purchase selection. A variable design has a clear advantage for wedding dresses and the wedding industry. This is the first research on a variable design that focuses on wedding dresses. This research develops a variable wedding design which respects consumer preferences independent of a variable wedding dress design that presents a new shape of silhouette or the development ofa new wedding dress materials. A survey on the supply side was conducted to examine market preferences by first browsing the Naver portal site and then checking the websites of major wedding dress suppliers. A questionnaire survey was conducted with a sample of 348 brides-to-be that inquired on wedding dress selection factors and purchase patterns. The survey shows that consumers prefer mermaid and A-line silhouettes, silk material, white-ivory color, and tube top necklines. The result conforms to the types commonly found in the designs of suppliers. We apply a detachable design to a basic mermaid silhouette and implemented change for 7 kinds of styles -based on the result of the survey. We suggest a variable wedding dress design as a new means to solve the cost concern and the customer need for diverse expression. The research represents a new life style for wedding culture and facilitates the development of the wedding industry.

• 복식문화연구
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• 제20권3호
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• pp.363-377
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• 2012

Most of the wedding shops in the domestic market are more focusing on simply copying the designs of foreign wedding dress designers than making their own designs. Beyond the purpose of how to improve the wedding dress designs which is what other previous studies were aiming, this study goes deeper than that, concentrating on separate designing of dress for a wedding celebration and a rehearsal with photo shoots. Add to this, the study also differentiates itself from others in the past, investigating how to make a gown that hides a bride's physical shortcomings. For this study, the researcher studied the literature in terms of theoretical review, and conducted the empirical research through the photo analysis of 2,725 wedding dresses which brides really wore according to domestic brides' body shapes, their images, and situations. The researcher designed 8 wedding dresses for wedding ceremony and rehearsal shooting for brides with thick arms or wide shoulder under the concept of 'Romantic Story in Your Heart'. The wedding dress's image types for photo analysis were limited to the romantic type, the elegance type, the modern type, and the classic type. The researcher applied the empire-silhouette, the one-shoulder neckline, the raglan sleeves, the cap sleeves, and the shoulder accessories to the wedding dress designs judged as effectively making up defects in body shape and making nice images as well as other design factors seen from the analysis result.

• 패션비즈니스
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• 제18권2호
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• pp.166-182
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• 2014

The purpose of this study is to develop a wedding dress design using digital clothing program to produce an actual dress. The level of actualization of the wedding dress design through digital clothing was evaluated by comparing the shape, ornament details, material, and tone. Also, the direction of improvement was sought by apprehending the limitations for the future of wedding dress design created by digital clothing. In order to evaluate the level of actualization on major design techniques of wedding dress, design planning of 4 dresses was performed based on the major images of wedding dresses. Virtual dress was created using DC Suite program and an actual wedding dress was produced using the pattern created in the process of virtual dress designing. The wedding dress designed by digital clothing was superior in silhouette or expression of pleats, but they rather lacked in expressing corsage, 3-dimensional objects, sheen material or double material. However, by supplementing a few functions, digital clothing can be effectively utilized in wedding dress design with the convenience and speed of digital operation. The digital clothing performs rapid production in the design development stage, modifies simply and confirms in real time and is highly effective, Therefore, if a program designed for wedding dress is developed, its effectiveness will be improved to maximize the customer satisfaction, and it will significantly reduce the time and cost which will make a great contribution to the wedding industry.

• 한국의류학회지
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• 제45권3호
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• pp.439-452
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• 2021

The purpose of this thesis is to compare the efficiency of 3D digital design technology with traditional hand-drawn designs of a transformable dress for a small wedding. After reviewing the literature, this empirical study analyzed the tendencies of small wedding dress design, concluding that a transformable dress for a small wedding consists of a bodice, skirt, and outer skirt or gown with train, each of which has five possible designs, resulting in 15 virtual items within the 3D program. The 3D program provides the benefit of easy design development as well as reduced costs and design time. Specifically, the random combination of 15 items with layers in the 3D program produced 150 different styles in 5 hours, while hand-drawing 150 dresses took 50 hours. Moreover, the 3D program does not need any material, but 150 physical drawings required a sketchbook, pencil, eraser, and marker, total cost 31,100 won. Additionally, the 3D whole-body scan helps the bride decide which design she prefers through virtual try-ons. Eventually, the 3D program could help a bride decide what she prefers and produce it with virtual simulation, resulting in reduced time and costs.

• 복식문화연구
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• 제25권6호
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• pp.913-927
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• 2017

This study is based on the results of the $7^{th}$ Korea Human Size Survey (Size Korea). The standard body shapes of Korean women between 25 and 34 years old were analyzed and used to develop a prototype princess line for wedding dresses. or this purpose I conducted a literature review and a survey of the actual situation of domestic ligaments. In order to select suitable ligaments for the standard body type of 25~34 year-old Korean women, I collected the most representative ligaments from around the world: Stock man from France, Superior from the USA, KIIYA from Japan, and Pig and Nonno from Korea. They were then compared and analyzed. In the form of a formal wedding dress, a prototype princess line was developed by a draping technique in order to finely implement the human body fitting. To develop the prototype of the princess line, I made test garments with muslin. 25 to 34 years old Korean female standard body type Three human subjects close to the average measurement value were selected as subjects. An exterior appearance evaluation questionnaire was created with 28 questions focusing on the main parts of the prototype princess line. The clothes were evaluated three times. In this study, aesthetic and functional elements were considered for the development of princess line prototypes for wedding dresses. In addition, the amount of spare area was given differently. This study is significant in the achievement of a dress line closest that closely matches the human body line of the standard Korean female body type.

• 복식문화연구
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• 제11권5호
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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.

• 한국의상디자인학회지
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• 제10권2호
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• pp.117-124
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• 2008

People have used the manner of expression "clothing" to find out and to symbolize the styles that suits one's roles, behaviors or altitudes. Moreover, the symbolic meaning of clothing is important as it reflects the culture of a time period as well at the life style of each classes of society. In the aspect in which clothing is critical data to re-examine a time period as to trace history, clothing is significant for understanding the characteristics of each time periods, and by focusing on women's wedding dress, a costume worn for one of the most essential ceremonies in one's life, this article studies how trends of each period have been symbolized through clothing. Thus, this study aims to set a foundation to understand the cultural features of a time period through the wedding ceremony. The article inquires about the hwalot to also understand its meaning during the period of its existence, and develops designs for modern wedding dresses for women. I. The wedding dress of women expressed the following meanings by using shapes, colors and patterns of the hwalot. 1) The formative art of hwalot is the ultimate beauty. 2) The wedding dress of women emphasized aesthetics. 3) The symbols praying for harmony between red and indigo, or the union of yin and yang indicates that marriage had been considered as a precious ceremony-an important matter of life. 4) The meaning of good auspice such as health, longevity, immortality, good luck and stability had been frequently used since people sought for new and eternal life. 5) The symbols of wealth and fame have been frequently used by those pursuing a wealthy life. 6) Marriage was considered as a union of families, and not a union of two individuals. II. This article presents two types of modern wedding dresses.

• 복식
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• 제51권7호
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• pp.5-20
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• 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.