• 한국의류학회지
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• 제29권12호
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• pp.1554-1561
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• 2005

본 연구는 과거의 것으로부터 영감을 얻어 재창조되어지는 경향이 짙은 현대 패션 경향 중 1960년대 미술의 중요 쟁점으로 떠오르는 미니멀리즘의 개념과 특성을 중심으로 1990년대 후반의 컬렉션에 나타난 현대 헤어스타일과 의상을 분석하고자 하며, 이를 통하여 오늘날 다양하고 개성화 된 현대 헤어스타일과 의상을 이해하는데 그 목적과 의의를 둔다. 본 연구의 방법은 질적 연구로서 먼저 미니멀리즘에 관한 국내외 저서, 논문 등의 문헌연구를 통하여 분석틀을 제시한 후, 세부적으로 인터넷 즉 시각적 이미지를 분석틀에 적용하여 분석하는 방법을 사용하였다. 그 결과 현대 헤어스타일과 의상에 표현된 미니멀리즘적 디자인의 특성은 다음과 같다. 첫째, 단순성의 특성이 나타났다. 의상에 있어서 장식의 배제와 계절에 상관없이 형태의 최소화로 나타났으며, 헤어스타일에 있어서 모발의 은폐로 물체성 즉 인체 본성으로의 환원을 강조하였다 둘째, 단일성의 특성이 나타났다. 조각영역에 회화의 특징을 도입하여 조각영역의 확장을 가져오듯이 의상에 있어서 모노크롬한 색상의 의상을 사용함으로써 세련미을 표현하였고, 헤어스타일에 있어서도 의상과 동일한 색상으로 머리염색을 사용하였다. 셋째, 반복성의 특성이 나타났다. 의상에 있어서 내부적 외부적 패턴의 반복으로 나타났으며, 헤어스타일에 있어서도 염색기법을 활용한 모발 내 패턴의 반복과 외부적 첨가를 통한 모발 외 패턴의 반복이 나타났다. 넷째, 공간성의 특성이 나타났다. 의상에 있어서 신소재 개발에 따른 다앙한 소재를 차용하였고, 헤어스타일에 있어서는 철망, 유리 등의 공업용 소재를 사용해 두상과 장식과의 사이의 공간을 형성해서 관람자로 하여금 더욱 디자인에 몰입하도록 하는 적극적이고 활동적 참여를 유도한다고 볼 수 있겠다. 이처림 미술양식의 하나인 미니멀리즘은 현대 헤어스타일과 의상 디자인에 새로움을 더해주는 중요한 요소로 독특한 아이디어 발상으로의 변화를 가능하게 하였다. 또한 과거의 미술양식의 재등장은 단순히 한 시기의 패션 트랜드의 제시에 만 그치는 것이 아닌 앞으로 다가올 우리의 미래에 대한 전망도 함께 내포한다고 볼 수 있겠다.

• 복식문화연구
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• 제16권2호
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• pp.293-304
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• 2008

The objectives of this study were to investigate the images in men's hairstyle by hair color, tone, texture, and perceiver's gender, and to examine the characteristics of hairstyle appropriate to seasons. A quasi-experimental method by questionnaire was used, and the experimental design was $4{\times}3{\times}2{\times}2$(hair color$\times$tone$\times$texture$\times$perceiver's$\times$gender) factorial design. The subjects were 372 men and women in their 20s through 50s. five factors of men's hairstyle image were derived by factor analysis: individuality, dignity, romanticism, refinement, and activity. Black hair was perceived to be high in dignity and activity. Bright tone was perceived to be high in individuality, but low in dignity. Men's wave hair was perceived to be higher in individuality than straight hair, but lower in dignity. Perceiver's gender did not give significant influence on evaluation of all image factors. In brown, neutral tone was perceived to be higher in dignity. romanticism, and activity than dark or bright tone. In black, wave hair was perceived to be more refined than straight hair. Black hair matches with winter the most, and yellow matches with spring the most. In terms of tone, dark tone matches with winter; neutral tone matches with autumn; bright tone matches with summer. The results of this study verified that hair color and texture affect men's image perception, and matching hair colors are associated with seasons.

• 복식문화연구
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• 제31권6호
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• pp.824-836
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• 2023

The purpose of this study is to analyze the formative characteristics of women's costumes among the Regency era's elite in the television drama Bridgerton (2020). Its methodology investigates the socio-cultural background and literature on clothing in the Regency era. It also analyzes the formative elements of Daphne's costumes (of the Bridgerton family) and Penelope's costumes (of the Featherington family) representing the upper class. The study reveals that women's costumes had a tubular silhouette consisting of a low neckline, high waistline, and short puffed sleeves. The series expressed well the Regency-era costumes, which were influenced by Neoclassicism and characterized by silk materials, shawls, gloves, belts, a reticule, and hairstyles. Among the formative elements, the Bridgerton and Featherington families' costumes showed distinct differences in color, materials, patterns, accessories, and hairstyles. Daphne's costumes were intelligent and elegant in pastel-toned blues and had small patterns. She carried small accessories and had a natural curled hairstyle. In contrast, Penelope wore decorative and splendid styles in intense colors and large patterns. Her accessories were large and colorful, and she had a strong curled hairstyle. These costumes express the Bridgerton family as aristocratic and the Petringer family as flashy, thereby distinguishing the two families. These research results will be presented as basic data for producing drama costumes in the 19th century to help complete the drama.

• 한국생활과학회지
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• 제15권4호
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• pp.573-583
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• 2006

Hair styles for human being develope according to the natural environment. Chinese hair styles have been changed from tousled hair to pigtailed hair, later additional style of shaved hair, became pigtailed. Each hair style for people, however, is based on each people's culture and history. Thus, the same changed had not been applied to each culture simultaneously. Hairstyle for Yao(遼) Jin(金) Yuan(元) that is a representation of ancient northern tribe, is summarized as follow; Tung Hu'(東胡)s inferior, Khitai(契丹)'s hair style is tousled hair and Sushen(肅愼),'s inferior, Jurchen(女眞) has partial shave and left 2 strand of pigtail. Hun'(匈奴)s inferior, Mongol(蒙古) has hair in top and shaved head except both sides and rear. One style is circular shape of braided hair at both sides. The other is one strand pigtail at the rear head, which is the original shape for Man'(滿) pigtail later.

• 한국의류학회지
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• 제20권4호
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• pp.620-630
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• 1996

This study identified overlap of male innovativeness and of opinion leadership across product class. Product class include clothing, hairstyle and cosmetics, small electronic appliances, large electronic appliances, interior supplies, sports and leisure supplies, and cars. 423 male adults working in Seoul area was surveyed using questionnaire. Results of statistical analysis supported that innovativeness and opinion leadership are not monomorphic but polymorphic across product class. Higher degree of overlap and higher degree of correlationship of innovativness and of opinion leadership exist across product class which share similar characteristics such as clothing-cosmetics, small electronic appliances-large electronic appliances. Innovative communicator ranged from 5.0% to 11.4% in which percentage of innovative communicator was highest in the case of clothing purchase.

• 한국의상디자인학회지
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• 제9권2호
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• pp.127-138
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• 2007

The purpose of this study was to investigate the male perceiver's image evaluation on women's hairstyle and hair color, and to disclose the preference of the hairstyle and hair color. The experimental design was $2{\times}3{\times}3$ (hair $wave{\times}hair\;length{\times}hair$ color) factorial design by 3 independent variables. The stimuli were 18 women's upper body photographs which were output by computer simulation. The hairstyles were straight hair and wavy hair, and the types of the hair length were long, medium, and short hair. The hair colors were black, dark brown, and bright brown. Subjects were 154 men living in Seoul. The data were analyzed by using factor analysis, Cronbach's ${\alpha}$ reliability coefficient, three-way ANOVA, one-way ANOVA, and Duncan's multiple range test. The results of this study were as follows. Four image dimensions were derived by factor analysis. These were individuality, elegance, potency, and attractiveness. Male perceivers evaluated the women's long hairstyles to be more elegant than the short and the medium length hairs. The women's short hairstyles were perceived more potent than the long and the medium length hairs. The straight hairs were evaluated more elegant than the permed hairs, and the permed hairs were evaluated higher in individuality and attractiveness. The black hairs were perceived lowest in attractiveness, and the bright colors were perceived low in elegance. Male preferred the long brown straight hair first. They liked women's long hairs better than the short and the medium length hairs. Teenaged males preferred various hair colors more than those in their 20's and 30's did.

• The International Journal of Costume Culture
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• 제3권3호
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• pp.223-234
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• 2000

The objectives of this study were to investigate hair style preferences, and use of cosmetics according to sexual orientation and demographic variables, to examine the relationship among hair style preferences, use of cosmetics, and anxiety and self-esteem. The subjects were 536 men (heterosexual : 353, gay : 183) of 20's and 30's living in metropolitan area of Seoul. Homosexuals preferred individualistic adornments and appearance, and the higher the ability anxieties and the miscellaneous anxieties they in both sexual orientation groups preferred unique individualistic hairstyles and used coloring cosmetics more. In the sales and service workers and students both sexual orientation groups preferred individualistic personal adornment while in the office workers they both preferred conservative appearance. In the same occupations, there were significant differences in the physical adornments according to sexual orientation in the sales and service workers and students groups. Homosexuals used individual adornments according to their sexual orientation. Both homosexuals and heterosexuals had low use of physical adornments.

• 패션비즈니스
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• 제19권1호
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• 한국의류학회지
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• 제28권2호
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• pp.364-375
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• 2004

The purpose of this study is to analyze how the men＇s fashion with the representation of Feminization which has appeared on our specialized fashion magazine from 1990 though 2003. Firstly, the factor which exposed the representation of Feminization in men＇s fashion were the change of conventional sex role, the change of ideal beauty, the variety of information, the pursuit of personality and the polycentrism of thought. Secondly, the formative characteristics of Feminization in men＇s fashion represented fitted silhouettes which distinctively show the body line, elastic fabric and see-through fabric of androgynous image, accessory and wave hair which expressed in gentle image. In colors, it represented vivid tone, pastel tone, red colors and yellow colors. Fitted silhouttes and elastic fabric has a effect of minimalism of the last 1990＇s fashion, and wave hair of gentle image has a effect of change of ideal beauty since 2000. Therefore, elements of representation of Feminization in men＇s fashion were silhoutte, fabric, color, accessory, hairstyle and the representation of feminity in men＇s fashion has referance to fashion.

• 복식문화연구
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• 제13권3호
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• pp.503-512
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• 2005

This study is to analyze the social symbolism of the dress described in the traditional Korean folktale focusing on the Chosen Dynasty. As references, An outline of the Korean oral literature: 82 volumes in total and written Korean narrative:7 volumes in total written by Kim Hyen Ryong were selected. As regards method of study, first, the social symbolism of the dress described in the traditional folktale has been extracted: afterwards, those were classified and summarized according to theme of a clothing, hairstyle, and belt, etc. And the social symbolism of the dress has been analyzed based on the theory of symbolism. As a result of the analysis, following conclusion has been obtained. First, political relationship and ideology represented through costumes. Second, old customary clothing behaviour represented. Third, sex and age symbolism were represented through protagonists. Fourth, married or unmarried symbolim represented.