• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.135-152
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• 2022

Recent weddings have been performed in more unique and characterful styles going beyond the existing same old method of past weddings, and they are changed into small weddings with simplified style without unnecessary procedures by choosing a wedding venue different from others. It is necessary to develop a new wedding dress design suitable for such changing wedding culture, and especially, dresses are required to have some practical designs, so that they can be worn not only for the wedding ceremony or party but also for everyday life. Therefore, the purpose of this study is to develop a new normal wedding dress for small weddings that reflect design according to the emerging small wedding culture. To this end, a theoretical review of small weddings was conducted, and based on this, a new normal wedding dress design was developed for small weddings. Based on practicality and economic feasibility, the New Normal Wedding Dress exhibited 'variable by wearing method' that changes according to the wearer's purpose and 'variable by attaching and detaching method' that changes according to the detachment of details. The small wedding dress developed through this study is expected to become a new standard for wedding dresses that is suitable for the changing wedding culture.

• Fashion & Textile Research Journal
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• v.15 no.5
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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.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.113-121
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• 2016

The purpose of this study is to analyze the types and characteristics of wedding ceremony robes in the Jeju area from the 1950's to the 1980's. The analysis used 413 wedding pictures. The results of the study are as follows: 1. The following are the propotion of robe types used wedding ceremonies. 1.0% of Danryeong & Jangot, 6.5% of Danryeong & Wonsam, 1.5% of Danryeong & Chima+Jegori, 2.7% of Durumaki & Chima+Jegori, 24.7% of suit & Chima+Jegori and 63.7% of suit & wedding dress from the 1950's to the 1980's. 2. The Korean-style robes gradually decreased from the 1950's, and disappeared in the 1970's. The Chima+Jegori was introduced in the 1950's, reached its peak in the 1960's and its popularity continued to the 1970's. In the 1980's, after the Korean-style robes disappeared, the western ceremony robes were used in all the ceremonies. 3. After the Western-style robes, in which a bride wears a wedding dress, was introduced in the 1960's, its usage rapidly increased in the 1970's and is still popular today.

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

• Journal of Fashion Business
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• v.23 no.4
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• pp.86-99
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• 2019

This research is a study on up cycling design to protect nature in order to postpone global warming to the maximum extent possible as it has been a serious global issue to the fashion industry and even to individual consumers. This research focuses on the ways to use wedding dress, one of the clothes made of synthetic fiber, which is a major cause of global warming. Among clothing from the 19th century, two styles of clothes, Bustle style and Art Nouveau style were analyzed ranging from their underwear styles to outwear styles through collections in books and museums. Two styles of dress using drawers, chemise, and corset as basic underwears were manufactured. All the fabric and subsidiary materials except for parts of underwears were made with discarded wedding dresses. It was developed for rental clothing which women could try on Western costume, from underwears to outwears. First, for bustle dress, woman put on basic underwears, then bustle, and bustle-type petticoat. Dress is a two-piece type, and it was made to put on detachable train on the back of skirt. Second, based on the Art Nouveau style clothes, our-glass style dress consists of petticoat, one-piece over drawers, chemise, and corset. After putting on drawers, both chemise, and corset were the same as Bustle Style. This research is a practical way of realizing sustainable design. The aim of the current work is to provide educational effect on the development of rental clothes which upcycle wedding dress and let women experience other cultures.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• Journal of Fashion Business
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• v.28 no.2
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• pp.50-63
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• 2024

Chinese traditional wedding dress is a unique cultural symbol. It had a deep historical background as it went through different productions in each dynasty. However, with the introduction of Western ideas, an increasing number of people are wearing Western-style wedding dresses when they are getting married. Recently, traditional Chinese culture has been increasingly valued. Demand for traditional Chinese wedding dresses among modern Chinese people is increasing. Following this trend, Chinese designer Guo Pei(1967~) is actively innovating elements of traditional Chinese wedding dresses. This study aimed to analyze changes in traditional wedding dress styles by dynasty in China from 1046 B.C. to 1911 A.D. based on museum data and previous research. Changes in traditional wedding dress styles by Chinese dynasty were analyzed and organized. The meaning of wedding dress patterns was analyzed by type using traditional Chinese patterns. This study focused on Guo Pei's 2012 "Chinese bride" series and "Legend of the dragon" series. Starting from the development and characteristics of traditional Chinese wedding dresses, this study analyzed fashion characteristics of Guo Pei's wedding dress series. Goals of this study were to preserve the essence of traditional Chinese wedding dresses; and to determine how to apply the fusion of traditional Chinese design elements into fashion and modern design to wedding dresses.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1619-1628
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• 2008

The aim of this study was to compare and contrast the changes in wedding coordination between the end of 20th and the beginning 21st centuries. one wedding magazine was selected and used to supply data. four hundred and thirty one wedding photos were examined from a popular wedding magazine called "My Wedding", issued between 1993 and 2007. the results are described below. First, changes in make-up and hair style: from the end of 20th to the beginning of 21 st centuries, the style of make-up changed from being exaggerated with strong colors which made the typical brides make-up to utilizing the minimal color selection which made natural-looking. the hair style has also changed from up style to natural hair style. Second, changes in wedding gowns: the style of wedding gowns changed from the shapes of X line which was to cover the body figure of bride to simple shapes such as an strapless and fish-tail style of gowns. Third, changes in wedding jewelry and accessories: hair pieces consisted of large flower crowns and hair bands with flowers in the end of 20th century. the various sizes and colors of tiaras and crowns were popular in the beginning of 21 st century. for wedding accessories, large shapes of earrings and necklaces were popular at the end of 20th century, whereas various size and styles were more fashionable later on. in conclusion, brides in the beginning of 21 st century prefer to wear sexy or alluring dresses with natural hair styles and make-up, in contrast to the classic or traditional wedding outfits that were more popular at the end of 20th century.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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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.