• Journal of the Korean Society of Costume
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• v.58 no.6
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• pp.145-157
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• 2008

Vivienne Tam was born in mainland China and educated in Hong Kong and has worked mainly in New York. Within multi-cultural background, she has shown unique fashion designs where western styles and China esprit were harmonized.. This study analyzed the ethnic look featured on Vivienne Tam's design to identify how she has expressed her ethnic identity into fashion. Photos featuring ethnic appeal among her New York collection from 1996 S/S to 2005 F/W were analyzed in terms of shape/silhouette, color, fabric, motifs, detail and accessaries. She utilized frequently chinese motifs and patterns such as bamboo, panda, budha, flowers, letters, and masks. Secondly she modified the shapes of Chinese traditional costume like Quipao to render ethnic appeal. Color, fabric and detail like frog and embroidery also contributed to enhance China mood. Comparatively, she used western clothing items including shirts, blouses, skirts, pants, dresses, and coats and maintained the silhouette tight and fit so that most her designs look wearable and westernized.

• Journal of Fashion Business
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• v.3 no.3
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• pp.49-57
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.

• Journal of the Korean Society of Costume
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• v.56 no.6 s.105
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• pp.153-167
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• 2006

This study was purposed to analyse the registration of Korean Fashion brands in China and to point out problems by the registration of analogous trademarks to Korean brand names. List of total 137 Korean national brands were used to collect trademarks in Chinese Trademark Office and each trademark was analysed by the nationally and the date of registration. Analogy of registered trademarks were classified by the common traits. In Result, only 61 Korean national brands were registered by Korean fashion firms in China and 37 Korean national brands were registered by Chinese firms or individuals in the same product classification or in the similar fashion product classification. And 22 Korean national brands out of 61 registered by Korean firms were also registered by Chinese firms, which may lead confusion and misidentification to Chinese consumers. Pre-registration by the Chinese firms f9r analogous or identical trademarks of the Korean fashion brand names in analogous product classification should be a serious entry barrier to Chinese market.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.41-57
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• 2010

Yunnan, where twenty-six minor ethnics live, is located in Southwest part of China. They have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural and cultural surroundings. So, Yunnan is known as a living folk museum. It's worth examining how climate and circumstances change has affected certain differences of dress shape in same ethnic. Research into costumes of minor ethnics can contribute to the study of origin of the trousers, as this group of people have well succeeded the basic form of trousers through their cultural history and everyday life. This study, at first, investigates geographical surroundings of each minor ethnic group, and figures out the style of all trousers by measuring the each size, then compares design color pattern and fabric. The origin of trousers examined by formative characteristics has been classified and comparatively studied. The study materials are twenty-three trousers selected from in Yunnan Folk Museum as well as other relevant literature records. This study suggests that one can examine the type of human culture through the forms of costume which reflects folk custom geography economy etc. This, in turn, can be used as a basic information for other studies, and in particular, for the study of origin and structure of the trousers.

• The Research Journal of the Costume Culture
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• v.12 no.1
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• pp.168-181
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• 2004

This research on the present state of production and circulation of boseong-sambae, based on the materials, has been collected and arranged through the survey for one you, 2003. Boseong-sambae, the hemp fabric produced at Boseong, hold 35% of nationwide production volume and 50% of circulation volume. The products of hemp include hemp fabrics, shroud, contemporary Korean dresses and other household articles. Dried hemp skin, hemp thread and hemp fabrics are traded at the fair held in every five days, mostly by direct transactions which is trusted between the producers and consumers. A bolt of boseong-sambae includes 20 ja(a Korean foot, 60cm in length) of hemp fabrics in breadth of 35cm. The price of a bolt is approximately 2∼3 hundred thousand won. They are endeavoring to revive hemp fabric that the image was lost due to the cheap and coarse fabrics woven with Chinese thread since the latter half of 1990's. The advanced countries have invested positively in this business because hemp is an environment friendly material. Thus, a strong national support is demanded in this field facing a crisis due to the inundating of coarse hemp products from China, and the aging problem of the initiate, the reason of the discontinuation of the inherited technique. Through this research understanding tire present station and the problem of hemp production, the future research will be followed expecting the Renaissance of the Korean traditional hemp fabrics.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.692-704
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• 2023

This study analyzed 214 sports knee braces found on Chinese websites between October 2022 and November 2022 to assess product type (impact protection material, fastening method, and protection method), material composition, size, weight, and main characteristics. The product type was further categorized according to (1) use of hard guard and soft guard protection method; (2) cover type, strap type, and slip-on type fastening method; and (3) pressure type and support type protection method. It also noted the physical shock protection materials used, including foam (EVA or polyurethane) attached to joints as a buffer material and plastic (TPU or PP) that protects the user's knee from external impacts. The study found that the materials that primarily comprise sports knee braces are a combination of nylon, polyester, and neoprene. Additionally, it found that most sports knee braces available on the market are available in three sizes based on knee circumference: M (35-38cm), L (38-41cm), and XL (41-44cm), while some products are available in one size only. Furthermore, the majority of the 214 products studied weighed 200g, followed by 1,000g. Finally, in terms of product characteristics, many sports knee braces utilize ring-shaped silicone pads to distribute the load pressure on the knees or incorporate sturdy adhesive velcro to improve knee stability.

• Journal of Fashion Business
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• v.11 no.2
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• pp.42-57
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• 2007

The purpose of study is to investigate costumes of the heroin in the opera which has performed by 4 different directors ; Metropolitan opera by Franco Zeffirelli, San francisco opera by David Hockney, Salzburg Festival by David Pountney and Korea Arena opera by Zhang Yi-mou. In these performances, Her costumes normally expressed the change of her characteristic from a haughty and cruel lady to a lady who realized a true love. The former is wearing exaggerative and splendid styles while the latter is wearing simple and ladylike styles. Costume styles of each performance are like this. In the Metropolitan's opera, costumes are very splendid using brilliant fabrics and accessories of Chinese peking opera. Their costume styles are influenced by Chinese 'Pao' which is similar to Ming Style. In the San Francisco's opera, costumes are very simple, specially pattern of dragons. This silhouette mixed Chinese style and western dress. In the Salzburg Festival's opera, costumes are based on simple western style but they expressed her mind effectively like a extremely long skirt which means her haughtiness. In the Seoul arena opera, costumes are based on Ming styles using silk which embroidered dragons, phoenixes and flowers.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.57-70
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• 2016

Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.

• Journal of the Korean Society of Costume
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• v.26
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• pp.163-173
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• 1995

The purpose of this study is to investigate the Ku which was worn by nomadic tribes which was Khitai, Mongols and Manchus. The results of this study can be summarized as follows. 1. The fur clothes were very important clothes that nomadic tribes put on in order to protect them against the cold. The Ku was an outfit for protection against the cold. It was made of ani-mal fur and its style was tight sleeve and long dress. 2. The Ku was worn in all social classes including emperor, nobles and the masses in ancient China and Asia dynasty. After the nomadic tribes estabilished dynasty in China the style of Ku was changed. All kinds of animal fur was used to make the Ku but the volume of fur, kinds and colors were classified severely by their social position. In Khitai dynasty the Ku was worn in same style. But the emperor wore the Ku of silver marten. The noble class wore the Ku of purple, black and blue marten and silver squirrel skin. The masses wore the Ku of the other colors marten, sheep, squirrel and dessert fox skin. In Mongol dynasty, the emperor wore the Ku of purple marten, silver squirrel, silver fox and black fox skin. The nobles wore the Ku of the other colors marten and squirrel. The masses wore the Ku of degraded animal fur. Before the Manchus estabilished the varient races dynasty in China, the rich man preferred the Ku of marten, squirrel, fox, goat furs. But the poorman preferred the Ku of cow, horses, pig, sheep, cat, dog, snake and deer skin. After the manchus conquered the China, the manners of dress were changed. Generally the fur did not appear in right side of garment, but high quality or noble fur appeared outside. Sometimes the inside or outside of Ku was made of silk fabrics and sleeves, neck-band was made of the high quality fur.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc