• 복식문화연구
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• 제27권2호
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• pp.140-153
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• 2019

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.

• 대한가정학회지
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• 제11권3호
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• 패션비즈니스
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• 제22권4호
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• pp.76-92
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• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.

• 복식
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• 제56권9호
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.