근세 서양복식에 나타난 두식에 관한 연구

이순홍,이지숙,김정진 誠信女子大學校 生活文化硏究所 2003 生活文化硏究 Vol.17 No.-

The purpose of this study is to find the trend of European headdresses during the period of the 16^th to the 18^th century. The fashion of the headdress, which generally means hairstyle and hat, constitutes a part of the whole fashion style of a time. The fashion style itself represents an aspect of the society at the time. The headdress in the 16^th century, which was also called Renaissance period, had begun to show diversified hairstyles and hats, of men's and women's reflecting the liberal trend of the society of the period. Short hairs and beret represent men's headdress of the period; dyed hairs and various hoods represent women's headdress. The headdress in the 17^th century, Baroque period, showed somewhat exaggerated, complicated and sensitive tendency as a reflection of the trend of the period that tried to express things more artistic ways. Wigs and hats took important position in men's fashion; Fontages hairstyle and tricorn hat partly represent women's headdress. The headdress in the 18^th century, Rococo period, had partly showed the culmination of the fashion in its history in the diversity of style and pursue of beauty. The fashion in the period could almost be called the art itself. Men's wigs evolved more practical style while their hats more decorative; women's headdress became extremely beautiful decorated by corsages and plaits.

웨딩헤드드레스, 헤어스타일, 네크라인에 따른 이미지 지각 연구

김명기 ( Myung Gi Kim ),이명희 ( Myoung Hee Lee ) 복식문화학회 2011 服飾文化硏究 Vol.19 No.5

The objectives of this study were to analyze the design elements of hairstyles, wedding headdresses, and necklines in wedding magazine pictures by using content analysis method and to investigate the differences in image perception according to hairstyle, wedding headdress, and neckline. A quasi-experimental method by questionnaire was used. The experimental design was a 2×5×4(hairstyles×wedding headdresses×necklines) factorial design by 3 independent variables. The subjects consisted of 378 female college students. The results are as follow. First, the most popular among hairstyles, headdresses, and neckline forms were the updo hairstyle, dark brown hair color, the crown headdress, white flowers, and the horizontal bared top. Second, the elements determined to be most elegant and attractive were the medium-up hairstyle and the crown with a veil. However the wedding hat was perceived to be high in individuality and tenderness, while the flower and the wedding hat were perceived to be very pretty. The halter neckline was perceived to be higher in individuality and attractiveness than the other neckline types. Third, the medium-up hairstyle when wearing a crown with veil was perceived to be the most elegant. Placing a flower in the long-wave hairstyle was evaluated as looking most pretty. Fourth, the medium-up hairstyle was higher in preference than the long-wave style. Among wedding headdresses, there was greatest preference for a crown.

웨딩헤드드레스, 헤어스타일, 네크라인에 따른 이미지 지각 연구

김명기,이명희 복식문화학회 2011 服飾文化硏究 Vol.19 No.5

The objectives of this study were to analyze the design elements of hairstyles, wedding headdresses, and necklines in wedding magazine pictures by using content analysis method and to investigate the differences in image perception according to hairstyle, wedding headdress, and neckline. A quasi-experimental method by questionnaire was used. The experimental design was a 2×5×4(hairstyles×wedding headdresses×necklines) factorial design by 3 independent variables. The subjects consisted of 378 female college students. The results are as follow. First, the most popular among hairstyles, headdresses, and neckline forms were the updo hairstyle, dark brown hair color, the crown headdress, white flowers, and the horizontal bared top. Second, the elements determined to be most elegant and attractive were the medium-up hairstyle and the crown with a veil. However the wedding hat was perceived to be high in individuality and tenderness, while the flower and the wedding hat were perceived to be very pretty. The halter neckline was perceived to be higher in individuality and attractiveness than the other neckline types. Third, the medium-up hairstyle when wearing a crown with veil was perceived to be the most elegant. Placing a flower in the long-wave hairstyle was evaluated as looking most pretty. Fourth, the medium-up hairstyle was higher in preference than the long-wave style. Among wedding headdresses, there was greatest preference for a crown.

21C 헤드드레스에 나타난 맥시멀리즘의 특성

윤지성 ( Ji Sung Yoon ),송연숙 ( Yeon Sook Song ) 대한미용문화예술학회 2012 대한미용문화예술학회지 Vol.1 No.1

Since maximalism emerged as a major trend in the 2000s, studies have examined its manifestations in such areas as architecture, advertising, fashion, and literature. However, few have focused on maximalism in headdresses, and none have examined examples of headdresses from all areas of society over the years from past to present, suggesting a need for such research. For this study, a theoretical examination was conducted on the concepts and history of the headdress and the background and characteristics of maximalism.. This was followed by an examination of headdresses in terms of their design aspects. Historically, headdresses have served a variety of functions, which has afforded them a more idiosyncratic quality than other accessories. They have also shown a great deal of change over time. In different times and places, they have served practical purposes in human life, whether as adornments for weddings and other rites or as protection against cold, heat, or trauma. They have been used to display or symbolize status, protect the body against misfortune, or simply to satisfy the urge to decorate the body. Today`s maximalist headdresses include representations of the past as well as juxtapositions with modern design in an attempt to realize something both contemporary and of the future. They may adopt objects from nature, assuming a romantic and comforting quality, or they may present entirely new styles created through a mixture of cultural elements from different countries. The scope of aesthetic possibility is being broadened to include designs that express a sense of lightness and freedom from the weight of reality, or that generate amusement and humor with playful items that depart from the strictures of common sense. Artistically, maximalism is characterized by maximal expansiveness, ornamentation, and symbolic playfulness. The focus of the expansiveness is on richness, volume, and length, in which seemingly trivial items account for large proportions, thus conferring meaning on relatively valueless objects and drawing visual attention and focus. Ornamentation is characterized by human-centered design informed by abundant imagination and emphasizing freedom of feeling, with an of rich sentiment and subjective aesthetic values through the use of hand-crafted and expensive decorations. Examples of playfulness include distortions and transformations of objects that depart from established notions of the headdress, eliciting a sense of freedom and escapism that convey a shock to the viewer`s conventional understanding as well as a sense of enjoyment and pleasure. The study found that maximalism in headdresses was characterized by a departure from conventional thought and a combination of abundant imagination with technical ability, producing an exaggerated and extreme of internal feeling and thought.

조선시대 여성의 일상용 머리쓰개에 관한 연구

강서영(Seo Young Kang),김지연(Jiyeon Kim) 한국복식학회 2015 服飾 Vol.65 No.6

This article studied women’s headdresses that appeared in the paintings of Joseon Dynasty. This examined the shapes of women’s headdresses painted in genre paintings, record paintings and nectar ritual paintings from Joseon Dynasty and compared them to literatures and relics in order to analyze their types and characteristics. Headdress can be categorized into three types: ① square cloth worn on the top of the head; ② a kind of small cap; ③ Cloth that completely covers the head. The first type of headdress resembles the shape of Garima. In the early period of Joseon Dynasty, it was worn not only by Gisaeng, but also by both upper and lower class women. The second type of headdress includes a cap made by connecting several cloths, round cap, and cone-shaped cap. These two types are worn on top of the head. However, sometimes these were worn between the head and the chignon to fix the chignon. Also, these were used as hair accessories for decorative purposes. In particular, old women wore these headdresses and braided their white hair around them to fix the chignon. This way, the headdress not only kept the head warm, but also hid the old women’s scanty hair. Headdress was usually made of black fabric and it was a simple hair accessory that replaced the wig. The third type of headdress was widely worn among lower class women. The cloth completely covered the head so that the hair would not fall when working. It also provided protection from cold and hot weather. According to paintings, there were many ways of wearing the cloth around the head.

토니 앤 가이(Tony & Guy)의 디자인에 나타난 패션과 헤드드레스의 유기적 관련성에 관한 연구-디자인 요소인 선, 형, 형태적 측면에서-

김은실 ( Eun Sil Kim ),정주임 ( Ju Im Chung ) 한국미용학회 2014 한국미용학회지 Vol.20 No.2

The purpose of this study was to investigate close relations, by analyzing matched headdress with Costume designs with a focus on TONI&GUY`s works, promotional materials and magazines from 2007 to 2013. As studies and methods, photo data were that 3professionals with over ph.D who did major in fashion and beauty design course extracted 321 photos primarily around works, promotional materials and magazines, 236 photos of them could be classified as the geometric form using hair itself, the geometric form using hair and wig and the geometric form using hair and ornament. I examined the theoretical framework in terms of line, shape, form based on the theories of Lee`s, Kim`s, David`s and Anderson`s. The results were as follows ; First, the relations between headdress and fashion based on the geometric form using hair itself were similar harmony in shape, similar harmony by the sames hape in patch decoration, pin tuck, ribbon and so on. Second, the relations between headdress and fashion based on the geometric form using hair and wig were similar harmony in shape, similar shape in ribbon and collar silhouette. The texture of headdress were similar harmony in pleats fabric, fringe decoration and so on. Third, the relations between headdress and fashion based on the geometric form using hair and ornament showed shape and texture harmony relationships, it was shown to lead harmony relations in shape and texture through ruffle collar, frill decoration, puff sleeves and so on. This study is to lay the significance on utilizing as basic data to create considering harmonious relationships with costume when designing headdress and hairstyling in future fashion show.

오트 쿠튀르 컬렉션에 나타난 헤드드레스 디자인 -2010 S/S∼2015 S/S 컬렉션을 중심으로-

최진영 ( Jin Young Choi ),김지영 ( Ji Young Kim ) 한국패션비즈니스학회 2016 패션 비즈니스 Vol.20 No.2

The purpose of this study is to use data from studies of headdresses which might be helpful for creating new fashion styles. Headdresses in 2010 S/S-2015 S/S Paris haute couture collections were analyzed in the following categories: years, season, brand, type, color, material, and image. The types of headdresses were categorized as hat, hood, decorative or complex types. The hat type was elegant with a modern style, and coexisted with an exaggerated avant garde style. The hood type wrapped around the head with many examples having a distinctive sculpture on top of the knot. The decorative type varied dramatically in form and materials. The complex type was a blend of all the other types with the designer’s individuality being outstanding. The characteristics of headdresses were revealed first, as an enlargement of the materials category, second, as an expression of dramatic forms, and third, as complete coordination of the creative fashion image. The headdresses illustrate the designer``s creativity in producing a variety of images. Henceforth they will be important as fashion items and independent designs in fashion styling.

조선시대 풍속화에 나타난 머리모양과 수식(首飾)에 관한 연구: 단원 김홍도, 긍재 김득신, 혜원 신윤복의 풍속화를 중심으로

안현경 한국미용학회 2023 한국미용학회지 Vol.29 No.3

This study sought to provide basic data for developing the new korean hairstyle images by studying the hairstyles and headdress of Joseon dynasty in the late 18th and 19th centuries, focusing on the genre paintings of the three major Joseon genre painters, Danwon Kim Hong-do, Geungjae Kim Deug-shin, and Hyewon Shin Yoon-bok. The subjects of the study consisted of 25 pieces of the paintings of Kim Hong-do's "Danwon Genre Painting Book", 8 pieces of the paintings of Kim Deug-shin’s "Geungjae Genre Painting Book", and 30 pieces of the paintings of Shin Yoon-bok's "Hyewon Genre Painting Book". The following results were obtained: First, in terms of the sex ratio, the proportion of males was much higher than that of women’s, the age ratio, the proportion of middle-aged was much higher than elderly ones. By painter, Danwon interested in young children and boys, Geungjae in man adults, and Hyewon in female adult prostitute namely keesaeng. Second, looking at the hair style and headdress of men, there were far more types of headdress of men than women. The most common hair styles & headdress of men were Got, Sangtoo. Chidren before marred done Baird, bushy hair, and tied hair. In addition, Gun, Faereng-ee, Gumkijeon-lip, Bang-gun, Go-kal, Song-nak, Yu-gun, Bock-gun, Sat-got, Samo, Jeon-lip, Tang-gun, Cho-lip, Kalte-gee were appeared. Third, looking at the womens, the most common hair styles & headdress of women were Tre-meory and Eunjeun-meory. Children before married done Keemeet-meory. And Gun, Jeon-mo, Jang-ot, Tsuge chima, Garima, Ju-lip, Jeon-lip, Sat-got, Naul were appeared.

중국 소수민족 머리 장신구의 형태 특성

장연,김주,이연희 복식문화학회 2020 服飾文化硏究 Vol.28 No.3

The purpose of this study is to understand the characteristics and cultural values of the headdress among Chinese minorities with diverse ethnic cultures, and to provide various data on the design of clothing accessories. Theoretical considerations about ethnic minorities were addressed through literature and prior research, with data being collected using literature and websites. The results are as follows. First, the most common type of headdress is the horizontal type, which includes the head style, headband, and head scarf. The second most common is the cylinder type, which is a headdress with variations in the shape of a round hat, and has is evident among various minorities. Third, the pagoda type is decorated with ornaments mounted on top of a round shape. Fourth, the square crown type is a piece of wood as a material for a form of the material and for a variety of jewelry and the production of up to meet the women’s head of the jewelry. Fifth, head belt-type ornaments consist of a headband and fancy bead ornaments from the bottom of the head. Mongol women usually wear an exaggerated form of this type. Sixth, the head cover type is a head decoration influenced by the dress code of Muslim women. Seventh is the disc type of crown shape worn by the Dai. Next, the ogival type is a cone-shaped headdress hat most commonly seen as head ornament hat among the Dai. Lastly, the sailboat type is the most exaggerated form of hair ornaments found among ethnic minorities.

게이블 헤드드레스의 제작에 관한 연구

김경희 한국의류학회 2003 한국의류학회지 Vol.27 No.3,4

The purpose of the study is to understand the newer and more direct design techniques, and to provide information to exert creativity in designing. The headdress, one of dress items, was selected so that the change might be investigated in designs and production methods. A headdress was manufactured on the basis of literature review and portrait analysis. The target period of the study was limited to Henry Ⅶ and Henry Ⅷ(1485~1547) when gable headdress was put on. The details and the patterns of gable headdress were identified for the selected gable hood to be manufactured. It was not possible to get the same dress material, so a similar one was made as in the pictures. The same was done to the color. Putting the focus of the study on the reproduction of the figure in the portrait, some dimension were measured in bodily proportion and patterns were made by three-dimensional cutting. As results, some dimensions used in the manufacture had some limits.