• Journal of Fashion Business
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• v.14 no.6
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• pp.84-99
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• 2010

The aim of this study is to understand the wedding planners' general perceptions on Hanbok as a ceremonial dress in wedding ceremonies. Moreover, the study explores the aesthetic understanding of wedding planners on Hanbok which both influences their choice of recommendation and purchasing decisions. In the process of organizing the structure of weddings for clients, planners have naturally acquired the position of being able to influence the sales of the Hanbok industry. Moreover, brides-to-be are heavily dependant on wedding planners in sketching the outlines of their whole wedding. Therefore, in order to analyze the opinions of both subjects, a research survey was launched which involved three hundred participants from two groups: first, wedding planners who were free lancers working in the Chungdam District, and second, wedding planners who were working for wedding consulting firms. The survey method was based on one precedent study, in which a preliminary survey was conducted by interviewing companies in the Hanbok industry and wedding consulting firms, and an additional survey in the form of questionnaires. The STATA 11.0 program was used for analyzing the recruited data for frequency analysis and cross-tabulations analysis on career. The conclusion of this research may be used as substantial preliminary data in prospering the Hanbok industry, enhance and newly shape its marketing strategies and the conclusion is as follows. 1. Wedding planners have a more profound understanding on Hanbok and prioritize the significance of formative constituents in the order of color, material, style, size, and decoration. 2. The prospects of promoting the image of Hanbok through wedding planners is promising. According to surveys, this goes to show that the persuasion of wedding planners have brought a positive effect on choice of Hanbok and as wedding planners become more specialized, their involvement in preparing Hanbok with brides is increasing. 3. Wedding planners believed that the main reasons why future brides do not select Hanbok as a ceremony dress are that the cost is too high relative to practicality and that there are not enough opportunities to wear them.

• Journal of Fashion Business
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• v.13 no.5
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• pp.23-36
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• 2009

The purpose of this research is to design and to produce actual high value added wedding dress comprised of the pear blossoms pattern(梨花紋), which is one of the traditional patterns which was not researched to this day, and of the Dang-$\breve{u}$i(唐衣) image which reflects our concept of beauty as if as a means of conducting empirical study for the application of traditional Korean patterns to the contemporary application. pear blossoms effectively signifie the image of beautiful bride thanks to the pure, graceful and clean image of white flower, both in the external and internal aspects. The Dang-$\breve{u}$i of the Chosun Dynasty, which is another motif is one of the representative clothing that expresses the beauty of the curve when it comes to the Korean culture as traditional wedding dress. Attempt was made to develop design for wedding dress that expresses the Korean style beauty that combined the tradition and the modern. Towards this end, the project was composed of the Korean-like Ewha, image of the Dang-$\breve{u}$i I, II and III to design three dresses. The Dress I presents the image of pure, elegant and beautiful bride, while Dress II represents the pure and city like trendiness of the Korean women today as bride. Dress III was made centered on the image of elegant, and chaste bride. As for the materials used, hand-woven silk and silk organza used for the traditional clothes. As for the ornaments, embroidery, quilted work, beads, corsage, burn-out and other techniques were used for expression.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.13-28
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• 2006

The object of this study lies on classifying the size, which is mostly favored in Korea where the wedding dress is usually regarded as an article for rent, and on suggesting the range of sleeve design and that of neck line of bodice. For that, I extracted the average size by analyzing and researching the standard size of actual bodice from real wedding dress manufacturing company. According to the result of the research I named the standard size of Korean wedding dress for rent as 'WM' which has the girth of 88cm and the waist measure of 69cm. Based on the size 'WM', I also named the size 'WS' which has the girth of 82cm with extra length of 6cm up and down and the waist measure of 64cm with extra length of 5cm, and the size 'WL' which has the girth of 94cm and the waist measure of 74cm with same extra length as the size 'WS'. The extra space for the inseam of the back is 3 inches for left and right for all sizes and the mark of body size is standardized as 'girth-waist measure'. After that, I suggested the design types of sleeves and neck line of bodice which defined as its size by classifying the bodice of wedding dress based on its size. Generally the neck line of the tank top style has the widest range of wearable size, and the high neck line and bateau neck line types have the narrowest range. And the sleeveless type has the widest range of wearable size while the raglan type has the narrowest one.

• Journal of Fashion Business
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• v.21 no.6
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• pp.47-65
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• 2017

This study is intended to compare an actual wedding dress being made completely through 3D software, and compare it with an actual dress of a real model by using collective tools for comparative analysis. The method of the study was conducted via a literature review along with the production of the dresses. In the production, two wedding dresses for the small wedding ceremony were designed. Each of the design was made into both 3D and an actual garment. The results are as follows. First, the 3D whole body scanner reflects the measure of the exact human body size, however there were some difficulties in matching what the customer wanted, because the difference of the skin color and the hair style. Second, the pattern of the dress is much more easily altered than it was in the real production. Third, the silhouette of the virtual and the actual person with the dress was nearly the same. Fourth, textile tool was much more convenient because of the use of real-time rendering on the virtual dresses. Lastly, the lace and biz decoration were flat, and the luster was duller than in reality. Prospectively, the consumer will decide their own design of variety through the use of the avatar without wearing the actual dresses, and they would demand what the another one desired, different from the presented ones by making the corrections by themselves. Through this process, the consumer would be actively participating in the design, a step which would finally lead to the two way designing rather than the one way design of present times.

• Journal of Fashion Business
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• v.22 no.5
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• pp.113-124
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• 2018

This study is to find ways to use fast-fashion wedding dresses continuously which usually have worn three or four times and just wasted, which is an current interesting issue over the society. Among clothing from the 19th Century, three styles of Empire, and Crinoline were analyzed from their underwear styles to outwear styles through library and museums and are made for rental service. Based on 8-year-old girls' physical dimensions, openings and closing methods of each size were applied to develop and make rental dress designs. It will be a good opportunity to study history and develop creativity if children can try different styles of dresses from different cultures and times and also experience difference wearing ways as they also have such desire. Underwears were designed to be worn by adjusting cloth rings, rubber bands, or hook and eye to fit different dimensions. The final products are as follows. First, empire dress doesn't need underwear to wear. Depending on the purpose of the rental dress, the back side of upper clothes have lace up by using cloth rings like empire style. Skirt was cut to use hem lace suitably from wasted dress. Second, Crinoline dress is usually configured of Crinoline, Petticoat, Two Piece on Drawers, Chemise, and Corset. It was designed by flat front, bigger sides and backs by Crinoline and Petticoat.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.7
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• pp.735-745
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• 2003

This paper looks at perceived images of female university students concerned with various wedding hair coordination including wedding hair styles, veil details and fitting positions and head dresses. Ta design an experimental test of a wedding dress and hair coordination variables, the content analysis of magazines was performed and hair experts were interviewed. 17 stimuli representing the variables of wedding hair coordination were manipulated and included with hair styles(2), veil details(2), veil fitting Positions(2), head dresses(2) and a wedding hat(1). The questionnaire of 445 was carried out and data were statistically processed. As a result, five images of wedding hair coordination were factors loaded, that is, favorable, decorative, smooth, personal and pretty one. Various main and interaction effects were found in images of it regarding to changing hair styles, different veil details and fitting positions and head dresses. favorable images, they affected by interactions between hair styles and veil details, hair styles and veil fitting positions, hair styles and head dresses and between veil details and the fitting positions. For personal images, interactions between veil details and the positions of veil fitting had effects on female students; for smooth images, That is, for hair style, female university students were influenced by favorable and smooth images; for veil details, by decorative and smooth images; for the positions of fitting veil, by decorative and favorable ones Then the researcher examined effects by dual interactions between factors of wedding hair coordination. For decorative images, they were found influenced by interactions between hair styles and veil details and between hair styles and head dresses. For personal ones, interactions between veil details and the fitting positions; for pretty images, interactions between the fitting positions and head dresses. These findings will provide sellers of the wedding dress with the idea of how females to perceive wedding hair coordination according to the variation of it.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.253-262
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• 2003

The purposes of the study were (1) to analysis Korean traditional wedding costumes through families's wedding photographs from 1940 to 2000, and (2) to categorize bride and groom's costumes according to the wedding time by means of a time series analysis. (3) to find out functional relationship among changes in garment types, garment details, embellishments and colors. The study was a documentary research and data were collected from 390 family wedding photographs by a convenient sampling. The data were analyzed by qualitative and quantitative method and the statistic used were frequency, content analysis, and cross-tab analysis. The results were as follows; First, the garments of wedding couples were categorized into 5 period according to garment's characteristics. 1. The period between 1940～1959 : Korean traditional wedding costumes and western style wedding costumes were existed together in Korean wedding culture. 2. The period between 1960～early 1970's western wedding costumes were dominated. 3. The period of late 1970's : wedding couple's costumes became more formal and decorative. 4. The period of 1980's : introducing see-through materials for brides and tuxedo suit for grooms. 5. The period of 1990's : extravagance in shapes and exposure. Second, there were significant relationships among brides's dress types and neckline, glove length, embellishments and transparency of materials and among groom's garment types and necktie types, types and color of shirts, vests. Third, the time series analysis of bride and groom's outfit produced 5 schematic expressions of wedding outfits according to the period.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.739-751
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• 2020

This study compares and analyzes bridal wedding styles in Korean and Chinese SNS. For this, 715 photos (362 in Korea and 353 in China) collected on social media (Instagram and Xiaohongshu) were used for analysis. The bridal wedding style was divided by item into wedding dress, makeup, and hairstyle, and detailed characteristics of images and designs were examined through content analysis and statistical analysis. First, in the case of Korea, many wedding dresses showed ball gowns and mermaid silhouettes, white colors, and no details and trimmings. As for the makeup, transparent and natural skin expression, straight eyebrows, and pink and peach lip colors were highlighted; and as for hairstyles, many long hair with half-covered ears appeared. Second, in China, a ball gown, mermaid silhouette, and white color are often seen in wedding dresses, and point colors and use of various details and trimmings are noted. The makeup showed a lot of bright skin expression, brown and black eyebrows, and red and brown lip colors. As for hairstyle, a lot of long hair with completely exposed ears appeared. Third, the comparison of bridal wedding styles between Korea and China indicated that China used relatively more details and trimmings in wedding dresses. As for makeup, Korea has a natural image, and China has a classic image. As for the hairstyle, there were many styles in which Koreans had half the ears covered, and Chinese had no bangs and completely exposed ears.

• Journal of Fashion Business
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• v.15 no.5
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• Journal of Fashion Business
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• v.7 no.6
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• pp.1-9
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• 2003

This study has as its primary aims the following: to create a fashion design based on the aesthetic value of Art Nouveau which flourished from the end of 19 century to the beginning of 20 century. In this thesis, two themes, Rose Aroma and Iris Memory are selected among the flower patterns and are used to create two works. First, the Rose Aroma theme is for an evening dress of S-curve style made with Silk Jacquard based on rose image of Art Nouveau. For decoration, artificial rose and its stem, and leaves are used to highlight hip line. By such design associated with a flower garden, cubic effects are expressed as a design point. Second, the Iris Memory theme is for a wedding dress made with tulle based on Iris image of Art Nouveau. This dress has a special point in its top bra, underwear used like an outer garment, involving spangle, beads, pearl, and cubic in order to enhance its visual effect. These works are significant in presenting the development possibilities of various fashion designs by introducing Art Nouveau style into diverse modern fashions.