• Archives of design research
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• v.20 no.1 s.69
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• pp.229-242
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• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.133-147
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• 2006

This paper deals with utilization of traditional Indian textile design found in 21st century fashion. It examines the decoration of the traditional Indian textile design which inspires and widely adopted in the modern fashion design, and the immanent meaning of the traditional pattern. This paper also analyzes the trend of its utilization in the modern fashion design. In order to examine variety of Indian textile design and its modernization, the Indian ethnic dresses found in 21st century western designer collections were compared with the Indian traditional textile design adopted by Indian fashion designers. The result of the study shows followings : Firstly, the typical traditional decoration in Indian textile design contains plangi, chintz, ikat, roghan and embroidery (mirror-work), and the traditional Indian patterns are roughly divided into natural pattern, plant pattern, animal pattern and geometric pattern. Secondly, comparison of 203 fashion items of world top 4 collections with 422 fashion items of Indian designer's collections shows that the paisley pattern obtains the majority in western design collections, while the geometric pattern in Indian designer collections. Thirdly, the comparison and analysis of the 21st century western fashion design shows that the traditional Indian textile design is mostly used in the seasonal trend color or is mixed & matched with other patterns. You can also find the feeling of the traditional Indian patterns in some western collections. In Indian designer collections, on the other hand, the traditional Indian patterns are widely used in the manner that they maintain the traditional feeling, while they are reconstructed in modern style.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.23-27
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• 2019

Korea boasts outstanding cultural heritage accumulated over the 5 thousand-year-long history, but has neglected developing marketable commercial products out of its culture. As a result, despite the fact that Korea had successfully developed internationally well-acknowledged technologies, there isn't any exceptional cultural product that can be marketed globally. Therefore, it is necessary to re-design and commercialize a modern sense using unique materials in traditional culture. Fabrics made by natural dyeing have a low saturation, so they do not need special color harmony, they are natural and comfortable. Therefore, fabrics obtained by natural dyeing are considered to be a very suitable material for cultural product development. In addition, Hanji is a good material that can build a field of art by itself because it has a quality, a profound and elegant feeling. In this study, Hanji-fabric, which is made of excellent Hanji, is used for natural dyeing with. Using the dyed fabrics, the cultural products such as two parasols and a card holder was made and presented.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.