• 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 Fashion Business
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• v.9 no.6
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• pp.56-70
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• 2005

This study investigates historically difference by age of wig banishments that symbolize social-economic status from West Egypt era baroque age as qualitative study that use secondary bibliographic data, there is purpose. Conclusion of this study is as following. Because wig putting on that symbolize among several usages of wig putting on, socio-economic status until 17th century baroque age from ancient Egypt is been in fashion through privilege class lower classes as well as upper class wig putting on attain. Ancient wig putting on became measure that divide class because differ material of wig or one dimension, shape (style) and length became linear measure that it can aim wealth's emblem that putting on of long wave wig and whole wig that differ lust has many wig though was in fashion though whole wig and were in fashion arriving to Renaissance. That it becomes France clean fingernails' necessaries as Louis the 14th that ready crux of absolute authority establishment of France Court put wig from depilation to count 17 was clear socio-economic status etc. symbol measure inclination. Go without question status or position, wealth and churchman puts wig so that can know special sex of weapon of where the soldiers are belonged as well as put wig and wig putting on was parted according to job and lower classes participated in fashion of wig putting on. Wig putting on that become measure that symbolize job or status in this baroque age, position, wealth etc. gave absolute influence in wig fashion in 18th century.

• Journal of the Korean Society of Costume
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• v.18
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• pp.211-223
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• 1992

The results of the researches in the wig and the Boyo are as follows. The wig is to be classified into Bu, Pyun, Chah, Cheh, and kwik, Bu is an ornamental hairpin used by the empress, and it is decorated with Boyo. Pyun is a wig made of braided hair. Chah is made of Bal which is put together by its lenath, and it was also called Picheh or Pisuck. It is made, one by one, of hair of the convicts and the low-class people. 초도 has a meaning of toupee, and it is used to look beautiful with its thick black hair. Kwik is a wig made of hair as if it is weaved out of thread, and it is rounded with a wire. In ancient times, it was also called chah, Pi, or Pi People wore different wigs according to their class and the use, in order of Bu, Pyun, and Chah. There are remains of the Han Dynasty. Boyo, just like the wig, was originally a custom of the northern nomadic tribes which had been introduced to the later Han Dynasty. It is also called Cho Song and has a different meaning from the Boyo attached to a crown before the Han Dynasty. It became much more beautiful in the Which in period. Boyo gained its popularity by the women in Tang Dynasty, which is due to the influence by the customs of the western Ho tribe. The name of hairstyling using wigs in each period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its properity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found. times, it was also called chah, Pr, or period, and things such as hair, black thread, lignum, and paper were used as materials. Since the wig had differed according to the disparity in social standing, it was prohibited to the general public, but it became in style later on. Wig also becomes popular in central Asia and gained its prosperity in the Tang Dynasty which is greatly influenced by the western countries. It is said in the records that the kobal Style had been exceedingly in fashion from the Ju to the Chung Dynasty, and the remains of the Han and Song Dynasty were found.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.3
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• pp.105-110
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• 2007

With the beginning of seventeenth century, the men in France royal palace began to wear wigs and by eighteenth century wig became sole possession of men. Then, it had been become a satire thing filling one side of the era with the pouf that had been for women. All these things were closely related with the unstable social situation. The bourgeoisie expressed the anger for the privilege that come from the disparity of class consciousness. The reaction against the discriminative treatment by the illuminists stimulated the outbreak of the French Revolution on 14th, July in 1789. This paved way of characterizing the wig styles of the time. The symbolism of cultural-historical meaning in the west is not confined only in Europe. The worship of hair that is different from one cultural area to another had started with their own unique taboo consciousness and had developed to the form speaking for the expression of masculine, the symbol of man power and the extravagance of the privileged class.

• Journal of the Korean Data and Information Science Society
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• v.19 no.4
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• pp.1233-1246
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• 2008

This study examines characteristics of people who are experiencing severe hair loss problems. We focus on how these characteristics are related to their psychological problems, hair loss treatments, wig-wearing practices, and life styles. We gathered survey data from people who visited wig shops for their hair loss problems. The study shows that men and women have different characteristics in every aspect we consider.

• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.25-33
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• 2003

Rococo, which is represented as immoderate pleasure and luxurious aristocratism, had required to be liberal and unconventional in art and life, and the hairstyles were also much more fantastic, huge, and splendid than ever. Women's hairstyles in the early 18th century were the relatively simple style of Pompadour style that didn't inflate hairs and combed them backward. Then, as changes in haristyles began to appear in around 1760, the styles became gradually higher and huger, and very queer styles also appeared. In the 1780s, they ornamented these hairdos by using various things. This can be considered as women's behaviors that showed off their status and wealth instead of their husbands. Although men's hairstyles were not as huge and decorative as women's, wigs were worn frequently. Wigs became smaller and simpler than those in 17C, and while wearing them, they made wigs whitened by spraying hair-powders enough not to recognize their ages. Several names such as Pig tail, Ramilleis, Bag wig, Brigadiere, and so on existed, according to the way to tie the wigs. Somewhat exaggerated men's hairstyles were shown by Macaronis in 1780s. However, this can be regarded to reflect the situation of the age.

• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.877-886
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• 2006

The Purpose of this study were to study Retro-hat design. To do these purposees, the focus of theoretical approach was literature research, and hat design was attempted on the basis of the research. The focus of theoretical background was on previous research and fashion-related literature. Photo materials to analyze retro-hat design is Haute-Couture collection in paris from the 1990's to 2004 and some designer's collections. Then Retro hat design is 85 in 1,381 hat photos. The results obtained through this process were as follows. In the hats of Retro, the past style such as an Egyptian wig, a snake-shaped hat in Crete, a Medieval knight hat, Liripipe, Tricorn hat, or Bicorn hat was reinterpreted and expressed. Since 2003, Retro characteristics has became strong and frequent. By designing a hat on the basis of the direction of hat design, this study intended to find out the development direction of hat design.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.51-70
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• 2010

The ritual to change the hairstyle holds the same meaning as the coming of age ceremony. The ceremony was performed throughout three times including choga, jaega, and samga. The garment and hairstyle attuned to the ceremony formalities. Women in the royal family had 'su-siK when they were fully grown up during choga, 'gwang-sik' during Jaega, and 'keun-meo-ri (big hairstyle)' during samga. 'su-sik' is the noblest hairstyle according to social status, which is allowed to be worn only by spouse of king and prince, regardless of adult or not. During jaega, 'gwang-sik' which was 'u-yeo-meo-ri', is made by winding 'darae (wig)' around a jjok-jin-muri (bun) [Jo-jim-meo-ri]? which distinguished the hairstyle of unmarried women, who did not go through a coming of age ceremony yet. Unmarried women maintained a hairstyle which is mostly twisted into one string, but they had 'saeang-meo-ri' when they were prepared for ceremonial costumes. Also, they had 'ga-raemeo-ri' when growing further. keun-meo-ri during samga is an addition of keun-meo-ri chaebal(wig) onto u-yeo-meo-ri. Women in the royal family made geo-du-mi by adding keun-meo-ri, which is formed by twisting wig, and oimyeongbu (noble ladies) and sanggung (court ladies) added a wooden wig called u-yeo-mi. Also, yeoryeong wore ga-ri-ma. In this way, the types of hairstyles were distinguished according to hierarchy. As the coming of age ceremonial dress. Wonsam was worn. During choga. wonsam was worn as a formal dress and during jaega and samga wonsam was worn as a full dress.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.3
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• pp.205-220
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• 2007

In the 17th century, men's hair style showed a dramatical change to thick hair style with femineity. During the 17th century, men wore their hair longer than at any other time in the history of western culture. Men's hairs in the early 17th century were defined as short hair style influenced by ruff collar of renaissance and thick beards and moustaches During the mid 17th century, shoulder-length hair style was predominant over all classes. As hair style became long, beards and moustaches gradually declined in favour: from 1625, small neat beards, and moustaches turned up at the ends, got progressively smaller, and by 1650 the beard was only small tuft on the chin, disappearing completely by 1680. In the late 17th century, very long, thick and shiny hair got a great popularity with the gorgeous and decorative baroque costume dominated over the entire Europe. The habit of adding false hair when natural hair was deficient led to the introduction of the periwig, which became an essential part of a fashionable man's attire. Wiggery were widely used to express curled and puffed hairs more exaggerated. As the long hair style with wiggery became popular, various style of beard and moustache got smallar so that they were ended up in entire disappearance in the end of the 17th century.

• Journal of the Korean Society of Costume
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• v.38
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• pp.261-277
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• 1998

This study is focused on two things, on the matter of judge's robe(JR) which is worn in the court. First, Korean JR were examined from late 19th century through today(1997)to reveal the entity of the JR : characteristics of each JR has been changed according to the political or international influences. Second, JR from 92 countries were collected and analyzed to figure out the plastic characteristics of the JR among international society. The results are as follows : First, Korean JR were have changed many times according to the social, political influences. The Korean modern judicial system were proclaim in 1895 and JR were adapted in 1906. In 1920, Japanese style JR were worn until 1945 when Korean government have had her Independence. Korean Government have changed JR through which Korean identities were expressed through patterns such as national flower Mukungwha(Hibiscus) and Yang & Yin. In 1966 Korean JR were changed again and adopted western style JR until today (1997) which have many things in common with academic robe of university or clerical robe. Second, the analysis of the 92 international JR were summarized as follows : (1) The JR were consisted of three styles such as Gown style, Cape style and Jacket style. And Gown style has been found as the most popular style(86%) for JR among them. (2) As the main color of JR, black is used among 60% of countries and red is used in 33% of countries. Gold were matched for black JR and gray for red JR as their sub-color. (3) The most popular material were wool and satin were favored as its sub-materials. (4) Natural and Geometric Patterns were used to express the symbol of the country and the court. (5) Decorative items and details such as hat, gloves, shoes, wig, necklace, neck-tie, stole, tassels, rope, ruffles were used to express wearers dignity and symbolism. These results are expected to be adapted for the future design for new JR which has its identity and characteristics.