• 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.

• 한국콘텐츠학회논문지
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• 제21권5호
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• pp.905-917
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• 2021

치파오는 중국의 전통 복식이며, 중국을 대표하는 기호로서 독특한 문화적 의미를 지닌다. 본 연구는 우선 치파오의 개념과 역사적 발전를 개술하며 선행연구를 통해 치파오의 5가지 핵심 요소를 정리하였다. 그리고 문화 차원과 디자인 특징 이론에 기반하여 문화의 외부층, 중간층과 내부층 등 3차원에서 볼 수 있는 디자인 특징을 중심으로 치파오의 5개 핵심 요소가 지니는 의미를 분석하였다. 연구를 통해 치파오의 각 요소별 문화차원의 세 가지 층위 간 다양한 발전 관계가 있음을 발견하였다. 또한, 치파오가 중국의 전형적인 여성 복식으로서 디자인적으로 다양한 연구 가치를 지녔을 뿐 아니라, 인문적인 의미 및 사회, 경제, 기술, 패션 발전의 다차원적인 정보를 풍부하게 담고 있음을 알 수 있었다. 이를 통해 중국 치파오 디자인의 역사와 사회적 가치 및 현대적 의미에 대한 이해를 돕기 위한 기초 자료를 제공하고자 한다. 본 연구는 중국 전통복식의 현대화를 위한 기초 연구임을 밝혀둔다.

• 복식문화연구
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• 제28권5호
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• pp.573-590
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• 2020

The purpose of this study was to develop contemporary Qipao design that emphasized creative feminine beauty with a unique sense beyond the concept of traditional Qipao design. This would be achieved using the expressive technique of human liberation from the oppression of the unconscious world a supported by surrealism. Using existing literature and previous research, surrealist expression technique used in fashion were investigated and analyzed. The results are as follows. First, the possibility of new and original design beyond existing surrealistic Qipao design was demonstrated through various realistic surrealism expression techniques, such as dépaysement, objet, and trompe-l'œil techniques. This occurred by exploring various unconscious world out of fixed ideas and through expression techniques of surrealistic fashion such as imagery of body parts, metaphorical expression of objects, and position deformation and illusion. Second, Qipao design that combined objet and attempted ordinary escape by combining isolated body parts (such as hands, eyes, and lips) within the composition combine with surrealistic expression enabled various and fun surrealistic fashion designs to emerge. Third, the metaphor of surreal lips and eyes (mainly used in works of this study) presented a unique and extraordinary combination of images in accessories and partial design that used the dépaysement technique. Thus, it was possible to expand surrealistic expression by including LED wire.

• 한국의상디자인학회지
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• 제15권3호
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• 패션비즈니스
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• 제19권1호
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• 복식문화연구
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• 제19권2호
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• pp.296-308
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• 2011

The purpose of this study is to understand Qipao, that Chinese traditional women's cloth, and analysis the aesthetic characteristics of that. Joining WTO in 2002 and 2008 Beijing Olympic made China get the attention by the world and get the opportunity that advent of China style. Chinese fashion cultural contents have abundant meanings in internal or external, therefore characteristics aesthetic of Chinese traditional fashion had much influence in world fashion design. Qipao that has influence in contemporary fashion design could be used special fashion design data for China market. A variety of literature and prior researches for Qipao's history and transition process was studied. Internal and external documents, fashion magazines, internet information were investigated to study features of Qipao. Total 20 seasons fashion collections from 2000S/S to 2009F/W was examined, and selected 22 brands that showed Qipao style, after then extracted 418 photos among them. By the seasons, Eit showed 193 pieces in S/S and 225 pieces in F/W, and was put to practical use in F/W season than S/S. The results are as follows. The contemporary fashion collections shown in the Qipao style silhouette, detail, color, material, pattern and the results obtained by each, were in all respects diversity. In silhouette, including traditional tight silhouettes, 'H' silhouettes, boxy silhouette was such a variety. The five colors traditionally preferred color from the color was more of a tendency to be gorgeous. Modern reinterpretation of pattern designs by graphic pattern that has emerged. Also, shown in a contemporary fashion collection Qipao style leather material in application utilizing the glossy feel of a plastic material and has emerged feeling.

• 한국의상디자인학회지
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• 제11권1호
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• pp.99-109
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• 2009

한 후란 중국의 전통 복장을 말하는 것이다. 한 장 (漢裝) 이라고도 하며 고대 복장이라고도 한다. 영어로는 silk robe라고도 한다. 한 후는 한 나라 이후 명나라까지 만주가 정복하기 전인 1644년까지 입혀졌던 중국의 전통복장이다. 최근 중국에서도 전통복장에 대한 새로운 모색이 일어나고 있다. 중국 전통복식으로 대표되는 치파오는 만주족의 한족 말살 정책의 일환으로 간소화시킨 복식이다. 따라서 중국 전통의복은 만주족에 의해 사양길을 가기 전 고대 한 조의 복식이 중국전통을 대표한다고 할 수 있다. 전통적인 한 후 스타일은 벨트를 매며 여밈이 있고 좁은 소매 혹은 넓은 소매가 특징이다. 한 족이 한 나라, 상 왕조, 송나라, 당나라때 입었던 한 후가 중국의 복식을 대표하는 복식이며 주나라의 쉔의는 튜닉과 스타일의 결합으로서 아직도 상류그룹이 입고 있다. 당나라에서는 동방의 문화와 혼합되어 화려하거나 사치스럽게 수정되었고 만주가 침범하여 한 후는 더 이상 전통복으로 입히지 못하였다. 한 후의 현대적 의미를 볼 때 역사적으로는 베트남에서 기모노에 이르기까지 그 원형을 볼 수 있고 한 후를 통해 중국전통 복식의 원류를 찾을 수 있다. 연구방법으로 문헌과 시각자료를 활용하였다. 한 후의 현대적 의미는 전통의 새로운 자각과 세계화 현대화의 노력이라 할 수 있다. 치파오로 규정된 중국복식에 반해 전통 한 후에 대한 올바른 인식과 활용은 세계화와 오리엔탈이미지에 녹아 있는 한 후 디자인 디테일을 통해 현대적 모색을 활용하고 있다. 충분한 시각 자료가 부족하지만 현대적 노력이 앞으로의 중국이미지의 재고를 가져올 것이다.

• 복식
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• 제58권6호
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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.