• Journal of the Korea Fashion and Costume Design Association
• /
• v.6 no.1
• /
• pp.55-63
• /
• 2004

The dress culture of Korea and Turkey should be necessary to study in view of a similar culture of Korea and Turkey due to similarity of oriental culture. Thus, as two nation's dress is investigated, cultural characteristics and dress form of two nations are analyzed with cultural background in detail. Also, comprehension is determinated for the dress color and texture as well as dress culture. In this paper, It is investigated theoretically for the function, type, and class of dress. Also, The form of Korean Po are compared to background of Turkish dress and Sulltans' dress form. To unify a cultural propagation and dress form, technical, inductive contents analytical method as well as literature review are used in positivism. Subject is limited to the Korean Po and Sultans' dress of Turkey. As a results, as the nation's dress reflect to culture and society of the nation, Korean dress have some similarity and differences comparing Turkish dress as followings. In dress form of two nation, rectangular Gil's shape was very similar. Mu's shape was similar too. However, Sultans' dress had outside shape of caftan type and Po had full or partial wrinkles by transforming Mu. Also, Sultans' dress did not have Sup. Korean Po have side slits or back side slits and Jun-Sam but Sultans' dress had only some side slits.

• Journal of the Korean Society of Costume
• /
• v.50 no.2
• /
• pp.141-149
• /
• 2000

The origin and developing process of Highland Dress as a Scottish national dress has been discussed in this study. Parameters affecting transformation process of Highland Dress from regional to national dress over the modernization period during 19 C was analyzed and compared by sociological aspect. Anthony Giddenss social change was applied and divided into three main factors such as political , economic and cultural analysis. The basic requirement of the theory of social change is visual recognization of any cultural changes. Highland Dress as a Scottish national dress has established during modernization in Europe within short period(18C -early 20C) and the Highland tartan as a military dress was transformed to be a civilian dress during 19-20 C. It shows social changes affecting on costume pattern and eventually costume in particular time could be an indicator of social changed. Throughout the study of the functional role of costume in Scotland is able to clarify the understanding of acculturation phenomenon through cultural, political and economic changes.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.23 no.4
• /
• pp.593-600
• /
• 1999

The wedding business in getting specialized and subdivided lately. Due to this current the importance and the necessity of the software for wedding business emerged. So far people who were preparing for their wedding have usually picked up their wedding dress from the pictures on the brochure at the wedding dress shop. But it costs the customers time and money and most of all they can not satisfy their customers with the completed wedding dress sometimes. Moreover customers pay a lot of money for the wedding dress just because they wear the wedding dress once in their whole life. This is unreasonable actually. To solve these problems to help the customers choose their wedding dress that they really like and to provide the wedding dress with good price we developed this software. The purpose of this research is to help people who will marry soon save their time and money in this busy world by showing the shape of the wedding dress before the dress is completed. They can see if the dress goes well with them before it is sewed by seeing the imaginary wedding dress on the computer screen. We are trying to maximize the customer's satisfaction with this research. It is the idea of this research to differentiate this new concept of wedding dress from other existing concepts by grafting this software on companies' accumulated experience in marketing and diffusing this software through the country.

• Human Ecology Research
• /
• v.58 no.2
• /
• pp.215-228
• /
• 2020

Underlying dress forms for high coverage patterns are very important in the dress industry. Size 9 from brand D was chosen according to the analysis that it was the best option because a dress should have a large allowable range in one size. The criteria for selection were the dress form with a waist circumference of 63.50 centimeters, which is close to the standard size of women in Korea. Brassieres for dresses were included to enhance the aesthetic value of the correction process in producing a basic dress pattern. An experimental torso pattern was applied to evaluate the fit and suitability of the dress form that was also later verified in the process of the dress works. Three dresses were produced and presented on the chosen study dress form. The research procedures are as follows. First, the sell-through rates and feedbacks were collected from the dress form vendor. Second, a literature survey on dresses and a dress company investigation were conducted. Third, the amount of body dimension changes due to the use of a bra in the dresses were examined. Fourth, after the correction of the dress form, the torso pattern was made by draping. Fifth, the torso experimental clothing made of muslin material was evaluated. Sixth, the dress works of the top design were presented using the size 9 basic pattern developed by brand D.

• Journal of the Korean Society of Costume
• /
• v.49
• /
• pp.137-154
• /
• 1999

This study was designed to unify two types -traditional and western- of wedding dress in one and to develop new wedding dress which can be used to wedding ceremony as well as Pae-Bae(Greeting) as an alternative for the modernistic utilization of traditional wedding dress. The wedding dress for a bride and bridegroom was developed to be used not only for wedding ceremony but also for engagement. The children's dress which can be worn for carrying flowers in front of a bride and a bridegroom was also developed. All six dresses two of each for a bride and a bridegroom one of each for a body and a girl were developed from the review of literature and photos to be introduced traditional wedding dress. The results were as follows: 1. The Korean characteristics in the developed dress were expressed well in the curves straight lines oblique lines and cracks. 2. The traditional symbolic meanings were expressed by using the pattern which was on traditional wedding dress. Changes from five original colors -red, blue, yellow, white, black- to pastel colors also could modernize the dress. 3. The Korean characteristics could be effectively expressed in dying techniques and piling -up by using hand-made silk and No-Bang, 4. The children's dress for a ceremony was re-established to modernized design with traditional beauty. 5. The expenses could be saved practically because the dress was developed for wedding ceremony as well as for engagement.

• Fashion & Textile Research Journal
• /
• v.3 no.3
• /
• pp.211-218
• /
• 2001

In this paper, various shapes of collar of the casual Korean dress at present are analyzed and are also surveyed the origins from which such designs are derived. Collars of the casual Korean dress are to be classified into Round-collar, Mokpan-collar, Dangco-collar, Knife-collar, Baja-collar, Danryoung-transfer-collar, Double-collar, Transfer-collar, and so on. Round-collar, Mokpan-collar, Dangco-collar, Knife-collar, Baja-collar, Danryoung-transfer-collar, Double-collar, Transfer-collar are motivated from the classical types of collar during the dynasty of the Choxian and adopted without any modifications. However, modifications to meet modern sense with the basic motif on the classical types of collar are applied to Transfer-collar where all kinds of collar shapes since ancient times are referred for modifications. In addition, collars such as Double-collar, Hi-neck-collar, which are not found in the classical Korean dress, could be said to be created only for the casual Korean dress From the above, it could be seen that most collars of the casual Korean dress are based on the shapes of the classical Korean dress. Therefore, it could be also confirmed that the casual Korean dress design has its identity originated from the classical Korean dress since the ancient times.

• Journal of the Korean Home Economics Association
• /
• v.29 no.1
• /
• pp.1-12
• /
• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• The Research Journal of the Costume Culture
• /
• v.4 no.3
• /
• pp.395-406
• /
• 1996

This article aims, by analyzing structurally the codification of dress sign in Korean society, the signifying system of the codes and their message communicated, to make clear a signifying structure that would be codified through the relationship between abstract concepts and real condition of dress. I used the semiotic theory of Ferdinand de Saussure′s conception on structuralismly the codification, cultural semiology of Roland Barthes and Myung-Sook Han′s formula of dress structure as tools analyse may objective of wedding dress of folks in Choson Dynasty, which has been successive our traditional Korean wedding dress. My results of the study are : The procedure of wedding ceremony in Choson Dynasty was presented in texts like Juga-garye, Sarye-peonram and Kukjo-orye, its dress system has been more emphasized on language, and aspect of social system, than parole, one of individual realization. In addition, the meanings of marrage such as "Oneness of bride and bridegroom", "Mixture of two sexes", "Blessing of good luck", were included in the signified like the style, pattern and color of the wedding dress, and specially, pattern and color, the articulated morphemes, was emphasized, When we combinated terms of dress in Choson Dynasty with syntagmatic, regarding their list as paradigmatic, it will signify a wedding dress, and according to combinating ways, it amy be divided as sign of dresses of bride and bridgeroom by sex or king, gentry and common people by class. Wedding Dress in Choson Dynasty = [{ODx(U/Dxu/d)}+AC·H·FW].

• The Research Journal of the Costume Culture
• /
• v.19 no.3
• /
• pp.501-517
• /
• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• Journal of the Korean Society of Costume
• /
• v.41
• /
• pp.5-21
• /
• 1998

This study aims to show how tradition and modernity has interacted to produce the aesthetic consciousness of body and dress in contemporary Korea. For this purpose, documentary studies were proceeded. And photos of the modern Korean dress from 1980 to 1997 were analyzed. The results are as follows: First, the body form was studied in terms of exposure and concealment of the physical body parts and the perception of body was classified into two categories, the abstract and the realistic. And the dress form was studied in silhouette and the perception of dress was assorted as body priority and clothes priority. Second, the aesthetic values of body were categorized to divinity, humanity and sexuality. And the aesthetic values of dress were defined in relation to the aesthetic values of body as ascetic beauty, pure beauty, natural beauty and erotic beauty. Third, while the traditional Korean costume (Hanbok) pursues the aesthetic values of divinity and humanity of human body and ascetic beauty, pure beauty and natural beauty on the aesthetic values of humanity of human body and the pure beauty and natural beauty of dress. The contemporary Korean fashion expresses the aesthetic values of divinity, humanity and sexuality of human body and the aesthetic values of ascetic beauty, pure beauty, natural beauty and erotic beauty of dress. In conclusion, the emphasis of sexuality of body and erotic beauty of dress in the modern Korean dress can be interpreted as the change of the aesthetic consciousness of body and dress in contemporary Korean by the influence of the western modernity.