• 복식문화연구
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• 제32권2호
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• pp.287-298
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• 2024

Clothing is intimately intertwined with daily lives as every individual relies on it. The pervasive issue of plagiarism in the fashion industry has led to an increased demand to protect intellectual property rights. Currently, studies on the protection of fashion design intellectual property rights in China remain in the exploratory stage and warrant further investigation. This paper addresses the issue in two parts. The first part contains an analysis of the theoretical foundation for the protection of fashion design copyrights. It is further divided into three subsections. The first subsection primarily examines the concept of copyrights and laws. The second subsection focuses on the concept of fashion design copyrights and laws. The third subsection analyzes copyright laws concerning fashion designs in China. The second section offers an analysis of infringement cases involving fashion designs published during the Baiyi Cup Intellectual Property Case Summary Writing Competition held in China in 2023. It outlines the shortcomings of the current Chinese copyright laws regarding the protection of fashion designs, and proposes measures for improvement. This study argues that the institutional framework for intellectual property rights in the Chinese fashion industry should align with practical considerations and explores suitable legal regulations and how they relate to specific circumstances in China. Besides refining the legal framework, fashion designers and enterprises must take measures to entablish the intellectual property rights of their clothing brands.

• 복식문화연구
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• 제32권3호
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• pp.345-363
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• 2024

This study aims to analyze fashion design cases using traditional elements based on the research and analysis of traditional folk cultural paper-cutting crafts in China, and to expand the area of fashion design using traditional elements by developing 3D digital fashion design. For herein, the techniques and characteristics of Chinese paper-cutting crafts were investigated. This survey facilitated an analysis of the formative characteristics of battery crafts in contemporary fashion design. As for the analysis case, the case of using battery crafts expressed in modern fashion for 10 years from 2010 to 2024 S/S was selected. The results are as follows. First, the typical characteristics of Chinese paper cutting technology-relief, micro-carved, combined with relief and micro-carved expressive techniques of engraving art effect-can be explored by analyzing contemporary fashion case collections through the perspective and trend of leading traditional culture. Second, in the traditional paper cutting process, most paper-cutting works are expressed in red, but white and black are mainly used in fashion, in addition to the active use of the five colors. Third, the characteristics of contemporary fashion patterns primarily utilize the paper-cutting process, incorporating elements such as plants, animals, and geometric patterns. Fourth, the utilization of paper cutting in 3D digital design offers time and economic benefits, allowing for quick adjustments to various design developments. In contemporary fashion, it is expected that the use of paper cutting can provide useful creativity and value for the inheritance and modernization of traditional culture.

• 한국의상디자인학회지
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• 제12권2호
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• pp.107-118
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• 2010

The purpose of this study is to be data and to help understanding of pattern of Korean, Chinese and Japanese traditional dress. The methods of this study are the study of academic literatures as well as practical study through the analysis of case studies about actual works. The summary of this study's results is like followings. First, standard of Pattern are nature, mam-made in motif object, Naturalistic, Geometric, Stylized, Abstract in motif express, Order, Disorder in pattern express. Second, a point of sameness of motif object in traditional dress of three nations were that nature and letter abstractive of mam-made is a lot. but motif of Japan was used in daily life motif of mam-made which was not in Korea and China Third, commonly, motif expression of three nations were developed Naturalistic, Stylized. but in Naturalistic, Korea was simple, plane, China was three-dimensional, Japan was expressed super realism. Fourth, as formative aesthetic of Pattern, Korea is natural, plane, simple and symbolic, China is gorgeous, three-dimensional, immaculacy, filling and symbolic, Japan is delicate, complicated, decoration and symbolic.

• 복식문화연구
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• 제7권3호
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• pp.108-120
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• 1999

This research analyzes characterization and classification of body types for the Chinese women with body measurement values. The measurement has gauged in 1999 in Beijing Institute of Clothing Technology in China. 100 women of the Chinese college women aged 17 and 24 in China were measured for this research. In the results of frequency analysis, the tall of Chinese women were 158.37㎝ and also has less than 150㎝ high, and has thick under bust circumference, and has a group of more than 18㎝ for width of nipple. In the results of factor analysis, Factor 1 represented the degree of abesity, while factor 2 indicated the stature and the arm length. The body types are classified into five types by cluster analysis. The stature and weight varied according to types, leading to a classification focusing on the body size determined by stature and weight factors.

• 복식
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• 제52권5호
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.

• 복식
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• 제60권7호
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• pp.131-142
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• 2010

The ethnic image in modern fashion can be interpreted as a trend of post-modernism, which appeared after modernism's established style. It has relativity, pluralism and variety, and it tries to revive style of the past. This makes style that borrows and combines image and style of different era and culture as distinctive feature, and in turn is expressed by a new image that is combined with the country's clothes. Also, thanks to the customers who are tired of artificiality and convenience, gift of modern science and technology, simple and natural sensitive marketing and being 'raw' are getting popular as new trend. Today's ethnic image is not merely borrowing visual, superficial image of culture and clothes of other ethnic group, but pursuing natural as purely created by human senses rather than being polished. In terms of ethnic image's formative beauty and aesthetic value, foreign and domestic collections are compared. But for domestic image, only Korean ones are researched, and for foreign designer's fashion image, there are ethnic styles of Japan, China and Korea. Although the documents of domestic designers that I investigated is not sufficient, canonic simple being of oriental image that is seen by the westerners is summarized.

• 복식
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• 제50권4호
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• pp.89-102
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• 2000

The purpose of this study was to research Korean Jowoo-Guan and Chinese Hal-Guan and study transition and symbolism of the birds feather in the cap. The culture of ancient Korea was influenced by North Asia prior to the influence of the Chinese culture, One of the remarkable thing, as the cultural factor of North Asia is the birds worship thought. Korean Jowoo-Guan was derived from the birds worship thought. So in dealing with the plume of Korean Jowoo-Guan, we must recognize Worship to the bird and the symbolical meaning of the bird. The results of study was as follow. 1. Korean Jowoo-Guan was influenced worship to the sun, so it's wearing symbolized the governing class. As the Social development and governing class, the feathering cap was developed to a gold crown, and also the gold crown of Samguk times had been influenced style of North Asia culture. But afterwards the symbolical meaning of the bird was waning, only decorative meaning was remained. 2. Chinese Hal-Guan was warn in Joo-dynasty, but the symbolism of the plume in the cap was not similar to Korean Jowoo-Guan. Chinese Hal-Guan was symbolized bravery of superfluous soldier than Worship to the bird. But afterwards the symbolical meaning of bravery of superfluous soldier was waning, only decorative moaning was remained. 3. Though neighbor countries have mutually influenced and have similar cultural style, they have symbolism of themselves

• 복식
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• 제59권1호
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• 복식
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• 제25권
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• pp.105-118
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• 1995

Chinese shroud through literature are as follows. 1. Taetae, SimeI, P'oo, Hansam, Ko, Mal, Nukpaek , Kwatu, Ch'ungi, Pokkn, Myokmok, Ri, Aksu, Mo and m were used the most in China. 2. The cloths of Chinese shroud were p'o, Paek , Kyon and Kum. The colors of the Chinese shroud were Hyon, Hun and white. 3. The size of the Chinese shroud is as follows . The size of the Ch'ungi was similar to the size of jujube kernel, the length of Myokmok was one Chk two Chn or one Chk two Chn or one Chk five Chn, the length of Aksu was one Chjk two Chn and it's width was five Chn. The chil of Mo reached the hands and the length of Swae was three Chk and the length of m was five Chn. 4. In Chinese shroud, , cotton was put in P'oo. Aksu was tide by the strings at two corners. Myokmok was tied by the strings of four corners. The tip of the m was divided and Mo warpped the whole body. 5. The clothes of Soryom was nineteen Ch'ing. The clothes of Taeryom in Kum were one hundred Ch'ing in the Chinese. The impliment of Soryon were Kum, kyo, SangeI, SaneI, Ch'im , Yok and Kyon in the Chinese shroud. In the case of the implement of TAeryom, the chinese shroud had Kum , Kyo, SangeI, Sane, Ch'im and Yok.

• 복식
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• 제25권
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• pp.117-118
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• 1995

Chinese shroud through literatures are as follows. 1. Taetae, Sime i, P'oo, Hansam, Ko, Mal, Nukpaek, Kwatu, Cu'ungi, Pokk n, Myokmok, Ri, Aksu, Mo and m were used the most in China. 2. The cloths of Chinese shroud were p'o, Paek, Kyon and Kum. The colors of the Chinese shroud were Hyon, Hun and white. 3. The size of the Chinese shroud is as follows. The size of the Ch'ungi was similar to the size of jujube kernel, the length of Myokmok was one Ch' k two Ch'on or one Ch' k five Ch'on, the length of Aksu was one Ch' k two Ch'on and it's width was five Ch'on. The chil of Mo reached the hands and the length of Swae was three Ch' k and the length of m was five Ch'on. 4. In Chinese shroud, cotton was put in P'oo, Aksu was tide by the strings at two corners. Myokmok was tied by the strings of four corners. The tip of the m was divided and Mo wrapped the whole body. 5. The clothes of Soryom was nineteen Ch'ing. The clothes of Taeryom in Kun were one hundred Ch'ing in the Chinese. The impliment of Soryom were Kum, Kyo, Sange i, Sane i, Ch'im, Yok and Kyon in the Chinese shroud. In the case of the implement of Taeryom, the chinese shroud had Kum, Kyo, Sange i, Sane i, Ch'im and Yok.