• 복식
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• 제64권6호
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• pp.161-175
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• 2014

This paper investigates the differences between characteristics of street fashions due to regional and cultural differences in southern and northern region of China. Beijing and Shenzhen were chosen as representative cities for the two areas. Empirical research and literature study were performed for this study. Empirical studies were performed by using a total of 708 images of dresses, which were collected through direct imaging. Through discussion with experts, the collected data were classified into five categories; Modern trendy, Romantic, Easy casual, Ethnic, and Classical/Traditional. The data was analyzed by using cross tabulation and frequency analysis. Content analysis for each category was also conducted. As a consequence of this study, a significant difference between Beijing and Shenzhen were observed. As a city, which puts emphasis on practicality and modernity, Beijing showed a higher frequency of modern and trendy style than the other city. On the other hand, Shenzhen showed a higher frequency of romantic style and was distinguished as a city of femininity and decorative preference of fashion style. This study intends to contribute to the academic community of Chinese fashion and to help Korean clothing companies to be launched in Chinese market in the future.

• 복식
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• 제56권3호
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• pp.57-72
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• 2006

Culture speaks for the characters of the period, so it is presented by the mutual actions of many factors affecting culture. Foreign culture, introduced by cultural exchange, was modified and accepted into a new form and value system. In the beginning, only foreigners danced these dances, but Chinese started to dance them gradually. Thus, the dancing costume showed the complete fusion of Chinese and exotic styles. Especially, in the Tang dynasty, Chinese accepted foreign culture very actively and with open hearts. They accepted foreign culture based on their traditional culture, and fused them completely. In these costumes, not one culture was prominent, but many cultures from Gandhara to East and West Turkistan and even to Persian and Hellenism were synthesized together. Chinese, in the Tang dynasty, retained on their traditional culture and modified new foreign culture into Chinese style.

• 복식
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• 제60권1호
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• pp.101-116
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• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

• 복식문화학회:학술대회논문집
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• 복식문화학회 2004년도 정기총회 및 춘계학술대회
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• pp.53-55
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• 2004

우리나라 니트 산업은 노동력, 자본, 범용 적인 차용기술, 원자재 등의 생산요소에서 원가절감을 통한 경쟁력의 이점을 추구하던 시기는 이미 지나 최근에는 중국의 중저가품 위주의 니트 제품들이 대량 유입되는 추세를 보이고 있다. 생산현장의 인력부족과 인건비 상승, 고유 기술 개발 미흡, 국제 원자재 의존성 등의 이유로 이미 대 선진국 수출에서 비가격 부문의 경쟁력을 상실한 국내 니트 업계는 선진국들의 니트 제품과의 가격 경쟁력까지 상실해 가고 있는 것이 현실이다. (중략)

• 복식문화학회:학술대회논문집
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• 복식문화학회 1999년도 정기총회 및 제13회 학술발표회
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• pp.70-73
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• 1999

• 복식문화학회:학술대회논문집
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• 복식문화학회 2003년도 정기총회 및 춘계학술발표대회
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• pp.40-41
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• 2003

우리나라의 니트 산업은 값싼 노동력을 바탕으로 빠르게 성장하는 중국과 같은 개발도상국들의 니트 산업으로 인하여 국내 및 해외 시장에서 어려움을 겪고 있다. 이러한 어려운 시장환경을 극복하기 위해 우리나라 니트 산업은 고품격의 디자인으로써 고부가가치를 생산하는 니트 선진국의 모델로 발전해 나가야 한다는 과제에 당면해 있다. 현재 우리나라 니트제품 생산업체의 디자인과정을 보면 아웃소싱 전략에 따라 기업마다 디자인 개발과정이 다르게 나타나고 있는 것을 볼 수 있다. 즉, 어떤 경우에는 한 기업 내에서 수행되고, 또 어떤 경우에는 하도급 형태로 jobber에게서 이루어지기도 한다. (중략)

• 복식문화연구
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• 제23권6호
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• 한국의류학회지
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• 제24권1호
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• pp.24-33
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• 2000

The purpose of this study was to investigate the characteristic and image of oriental costume design on represented among three countries, Korea, China and Japan. The specific objectives were; 1) to identify the design characteristics of oriental costume. 2) to investigate the hierarchic structure of oriental costume image and the meaning structure of oriental costume image. The stimulus were 75 costume design of contemporary costume which represented the traditional image of orient. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyze by Cluster analysis. Factor analysis, ANOVA, Scheffe test. The major findings were as follows; 1) As a result of design analysis, costume design of Korea, China, Japan had differences on form, color, texture, pattern, ornament, etc. 2) The hierarchic structure of oriental costume image consisted of elegance, sexy, feminine. Through factor analysis about oriental costume image 7 factors were identified; Attention, Attractiveness, Sexiness, Activeness, Weightness, Classics, Classics, Maturity. It was found out strongly that Korean costume image was simple and comfort image, Chinese costume image was sexy and feminine image, Japanese costume image was luxurious and mature image.

• 한국의류학회지
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• 제24권3호
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• pp.313-322
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• 2000

The purpose of this study was to investigate the characteristic and image of oriental costume designs which represented among three countries, Korea, China and Japan. The specific objectives were: 1) to find out the positioning of oriental costume design. 2) to find out relation to oriental costume image and preference. The stimulus were 75 costume designs of contemporary costume which represented the traditional images of three countries Korea, China and Japan. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textile. The data were analyzed by Multidimensional Scaling Method and Regression Analysis. The specific objective were as follows: 1. According to image positioning. The oriental costume design was classified by simple-decorative, soft-hard. 2. As result of regression analysis. The preference of oriental costume image was related to attractive factor.

• 복식
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• 제65권2호
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• pp.48-61
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• 2015

Chi-pao is a kind of traditional clothes; it is regarded as a national costume, playing an irreplaceable role in the Chinese history. As China developed, the strict requirements on dresses did as well. History is a double-sided mirror,; we can know the past and we can find the direction ifor future development. when it comes to reform and openness, China imports foreign culture and exports domestic culture as well. This essay uses the history of Chi-pao as the background, consults the reference to analyse the brand of Chinese domestic Chi-pao characteristics, summarize the fashionable trend. Recently, Chi-pao is worn in many kinds of important occasions such as foreign affairs, public performances and so on. The purpose of this essay is to analyze the current situation of Chi-pao, make Chi-pao more international, and show the Chinese history to the world.