• Title/Summary/Keyword: Chinese costume

Search Result 419, Processing Time 0.024 seconds

A Study on 'Ipsik' in the Late Joseon Dynasty (조선후기 입식(笠飾)에 대한 연구)

  • Chang, Sook-Whan
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.9 no.3
    • /
    • pp.1-17
    • /
    • 2007
  • This study is a review of Ipsik, the decorative ornaments found on traditional Korean horsehair hats, known as Ipja, which were worn by men in the late Joseon Dynasty. In a broad sense, Ipsik are regarded as men's accessories. Therefore, although this study is limited to Ipja, it is significant in the sense that it delves into one facet of men's accessories in detail. Because the appearance of the horsehair hats was rather mundane, Ipsik and Ibyeong were added as ornaments. During the Joseon period, various types of hat ornaments existed, named Maeksu, Hosu, Gongjagu, Sangmo, Jingdori, Ijeon, Guyeongja and Ibyeong. A person's social ranking and class could be discerned by the materials used in the Ipsik he wore. Jeongja, a decorative accessory used to attach to an official's hat, was institutionalized in the sixteenth year of King Gongmin's reign(1367), during the Goryeo Dynasty, prior to the founding of China's Ming Dynasty in 1368, which indicates that Jeongja were influenced by the Yuan Dynasty. A record in Lao Chi'ta (a textbook of spoken Chinese estimated circa 1346) confirms this fact. Based on a review of literature, we learn that just as with Ongno, Jeongja were imported for use on Jeonrip, a soldier's hat. During the Ching Dynasty, Jeongja were further subdivided and more exquisitely designed. On the other hand, in the Joseon Dynasty, a rule was handed down mandating that a royal prince use gold for his jeongja, officials at third rank or above use silver, and governors, commanders in chief, and officials with the Office of Inspector General and Office of Censor General use jade. Inspectors were permitted to use crystal. Jeongja made of jade were used until the late Joseon Dynasty.

  • PDF

Effects of Wanghong marketing in live commerce on chinese consumers' purchase intention toward fashion products - Focusing on the mediating effect of Wanghong's characteristics and consumers' co-experience - (라이브 커머스의 왕홍 마케팅이 중국 소비자의 패션상품 구매의도에 미치는 영향 - 왕홍의 특성과 소비자 공동경험의 매개효과를 중심으로 -)

  • La, Kyung Won;Oh, Kyung Wha
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.23 no.1
    • /
    • pp.19-36
    • /
    • 2021
  • Real-time two-way communication has become an important factor in the relationship between consumers and broadcasters in the Live Commerce environment. To clarify, the relationship of the factors, and the effect of Live Commerce's on consumer purchase intention were examined. In addition, the role of Wanghong, who broadcasts Live Commerce and Co-experience that occurs between consumer and broadcasters influences consumer purchase intention. An online survey method was conducted for 403 subjects in their 20s that were Live Commerce users in Shanghai, Beijing, and Guangzhou, China. The number of final the data used for the analysis was 274 and anlaysis was conducted using SPSS 26.0 program and a Sobel test was employed. Based on the analysis of the data, it was found that Live Commerce's characteristics consisted of interactivity, security, and Wanghong's characteristics consisted of honesty, originality, and expertise. Also, it revealed that Co-experience was consisted of responsiveness and vividness. Second, for Live Commerce's characteristics, the Wanghong's characteristics, and Co-experience had a positive effect on the consumers' purchase intention. Third, the Wanghong's characteristics and vividness, a factor of Co-experience, had significant mediating effects on the relationship between Live Commerce's characteristics and the consumers' purchase intention. Finally, responsiveness of Co-experience had a noteworthy mediating effect on the relationship between the interactivity of Live Commerce's characteristics and the consumers' purchase intention. This study confirmed the important role of Live Commerce's characteristics, the Wanghong's characteristics and Co-experience in relation to the consumers' purchase intention. In addition, the Wanghong's characteristics and Co-experience were proposed as a significant mediating factors.

The value and utilization of Pyojihwajomoonkeum (silk fabric with lingering flowers and bird patterns) - Focusing on Baekje cultural area storyteller clothing - (표지화조문금(縹地花鳥紋錦)의 가치와 활용 - 백제문화권 스토리텔러복을 중심으로 -)

  • Ra, Sun-Jung
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.23 no.2
    • /
    • pp.147-153
    • /
    • 2021
  • Baekje patterned Pyojihwajomoonkeum is a fabric that expresses Baekje's unique culture possessed by Shosoin(正倉院) in Japan. Reflecting the close exchange relationship with the Chinese Southern Dynasties, these patterns are suitable as good examples to grasp the forms and atmosphere that prevailed during that era. Through the analysis of many pieces, it has been identified that the patterns were unique to Baekje. With an aim to ascertain and restore the original form of Pyojihwajomoonkeum, designs were proposed utilizing Pyojihwajomoonkeum as a form of storyteller clothing that fits the modern sense. Fabric was designed by continuously repeating the colors and patterns of Pyojihwajomoonkeum upward, downward, leftward, and rightward and woven with a Jacquard loom. The fabric woven was dried, processed, and used to make a total of four pieces of storyteller clothing consisting of men's wear, comprising a jeogori and pants, and women's wear comprising a jeogori and skirt. The top jacket was long enough that the hip is covered. It has wide sleeves and linear decorations were attached to the collar, lower edge of sleeve, and bottom hem. The pants are wide legged, the top is wide, and the bottom hem had linear decorations attached. What is the most important when using the original form of a traditional culture is processing the raw materials following cultural traditions to create value. Costumes of an era are the combination of individual elements and represent the culture of that era. Therefore, a consideration of the origin and prevailing ideas of the era must be considered. It is anticipated that this paper will serve as a basis for leading such a process, followed by studies on the utilization of the original form of Baekje culture.

Art Mask Designs with Decorative Characteristics of the Rococo Age (로코코 시대의 장식적 특성을 응용한 아트마스크 디자인)

  • Oh, Su Min;Rhee, Young Ju
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.24 no.1
    • /
    • pp.15-33
    • /
    • 2022
  • The purpose of this study was to categorize the decorative characteristics of the Rococo Age, which displays the most glamorous and elegant decorative beauty, in architecture, interior decorations, paintings, and patterns, and to analyze these characteristics and graft them onto art masks in a modern way. Piece I is a mixed media piece that based its motif on the ceilings and pulpits of the German Vis Pilgrimage Church, which is representative architecture of the Rococo Age. It was glamorously produced using gold and cubic zirconia. Piece II is also a mixed media piece that borrowed its motif from the exterior and gazebo of the Sanssouci Palace in Germany, another representative piece of architecture from the Rococo Age, and it was produced to clearly display the image of the Sanssouci Palace, using emerald and ivory. Piece III applies the furniture trends of the Rococo Age. Curves in S and C shapes, which can often be found in Chinese furniture, along with dark backgrounds, common in portrait paintings, were applied to give a sense of weight and dignity. Piece IV is an application of the fabric patterns of the Rococo Age. Continuous patterns of flowers and greenery stems were drawn on the mask to recreate the fabric patterns of the age. Piece V used the painting 'Swing' of the Rococo Age as its inspiration. Lace and ribbon decorations were used to emphasize feminine beauty and express the loveliness of the woman that appears in the painting. Piece VI borrows from the painting 'Madame de Pompadour' of the Rococo Age and the clothing worn by Pompadour. This piece grafted colors and themes through the painting and expressed a fusion of the dresses of Pompadour and lace that is clearly displayed in the architecture, paintings, clothing, interior decorations, and patterns of the Rococo Age, along with the rocaille (asymmetrically shaped decorations that resemble clams), flowers, leaves, stems, and Chinoiserie styles. These motifs clearly display the decorative characteristics of the age and these were grafted them onto art masks, confirming that it is possible to create new designs.

3D digital fashion design utilizing the characteristics of the mask of Nuo, Jiangxi province, China (중국 장시성 누오(儺) 가면의 특성을 활용한 3D 디지털 패션디자인)

  • Liu, Huan;Lee, Younhee
    • The Research Journal of the Costume Culture
    • /
    • v.30 no.3
    • /
    • pp.455-476
    • /
    • 2022
  • The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi's Nuo masks can be divided into those based on their origin and history, the user's social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks' splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood's original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

Effects of TikTok fashion advertising characteristics and preferences on fashion product purchase intention- Focused on female consumers in their 20s and 30s in China - (틱톡 패션광고의 특성 및 선호도가 패션 상품의 구매 의도에 미치는 영향 - 중국 20~30대 여성 소비자 중심으로 -)

  • Kim, Chil Soon;Yu, Miao
    • The Research Journal of the Costume Culture
    • /
    • v.30 no.4
    • /
    • pp.548-562
    • /
    • 2022
  • We conducted this study to determine the TikTok usage status of Chinese consumers, and the effect of fashion advertisement type preference and TikTok characteristics on fashion product purchase intentions. For this study, we conducted a literature review and survey method. The following conclusions were drawn by collecting data online and performing statistical analysis. Firstly, the period of use was 2 - 4 years, and 95.1% of people used it for 2 - 3 hours a day, and 95.1% of the people had a purchasing experience on TikTok. Secondly, the most people were interested in self creating and editing videos in TikTok. With regards to TikTok content, groups aged 30 are significantly more interested in fashion coordination suggestions and influencer' recommendations than groups aged 20. Thirdly, this study found that the characteristics of TikTok fashion advertisements significantly influenced purchase intention. Among the characteristics of fashion advertisements, this study conclude that the "fashion entertainment" characteristic factor that fashion advertisements are fun and entertaining was the most influential variable on purchase intention, followed by useful information, reliability, and interactivity related to fashion. Fourthly, the types of preferred TikTok fashion advertising had a statistically significant effect on product purchase intention. The influential types of preferred advertising are top view, live advertisement, hashtag challenge, in-feed ads, and sticker ads.

Types and formative characteristics of the costumes worn by Northeastern Chinese minorities - Focusing on Daur, Ewenki, Oroqen and Hezhen - (중국 동북부 지역 소수민족 복식의 유형과 조형적 특성- 다우르족, 어원커족, 어르첸족, 허저족을 중심으로 -)

  • Seiyoung Park;Dong-Eun Kim;Jiyeon Kim
    • The Research Journal of the Costume Culture
    • /
    • v.31 no.6
    • /
    • pp.776-792
    • /
    • 2023
  • This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

Perception of the Neo-Confucian body in men's dress during the Joseon Dynasty (조선시대 남성복식에 발현된 성리학적 몸 인식)

  • Yoon Jung Ko ;Eunhyuk Yim
    • The Research Journal of the Costume Culture
    • /
    • v.31 no.5
    • /
    • pp.573-585
    • /
    • 2023
  • Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men's dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men's dress was deliberately designed to demarcate stylistic distinctions in women's dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon's Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men's dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men's dress during the Joseon Dynasty.

An Exploratory Study on the Relationship between Country Image and the Evaluation of Fashion Products Influenced by the Ethnic Dress of Asians

  • Medvedev, Katalin;Lee, Yu-Ri;Choi, Yun-Jung
    • Journal of the Korean Society of Clothing and Textiles
    • /
    • v.34 no.12
    • /
    • pp.2022-2038
    • /
    • 2010
  • Our study was designed to provide some insights on positive country image and the mechanisms of influence that Asian fashion industries can draw upon for future benefit. We focused on a country image and fashion products with Asian ethnic influence. Asian traditional costume elements reflected in contemporary fashion products may be important representative tools for national cultural identity. This study qualitatively investigated how and to what extent country image and additional information influence the evaluation of fashion products influenced by Chinese, Japanese, and Korean traditional dress. We conducted four focus-group interviews (FGI) with 30 students from a fashion program at a university in the United States. We analyzed the evaluation of fashion products influenced by Chinese, Japanese, and Korean traditional dress, and their associations with country image. Our qualitative analysis offered more developed empirical evidence for the various paths through which country image affects the evaluation of fashion products influenced by the ethnic dress of Asians. The results of our study showed that the more direct the source of prior knowledge, the larger the influence on product evaluation. This study showed that certain cues in the evaluation of fashion products with Asian ethnic influence induce changes in the affective state (that stem from the psychological and social nature of fashion products) and illustrate the necessity of considering the affective processes involved in the appropriate use of the country image. In the fashion industry, extrinsic properties such as the country image significantly influence the attitude and purchasing decisions of consumers. The significance of this study lies in its verification of the relationship between the country image and additional information. Modular and situational-contextual influences are also revealed as important factors that deserve more attention, as well as considerations regarding the dimensions of the country image described in attitude theory.

A Study on Ethnic look Expressed in Modern Fashion (현대 패션에 나타난 민속풍(Ethnic look)에 관한 연구)

  • 정연자
    • Journal of the Korean Home Economics Association
    • /
    • v.31 no.4
    • /
    • pp.215-229
    • /
    • 1993
  • As a result of making an inquiry into the ethnic look of each region appearing in present-day fashion by Asia. America and Oceania. Africa and Europe as mentioned above, its characteristics could be summarized as follows: Firstly the Asian ethnic look consists of Indian, Chinese and Japanese looks as mainstream. In terms of form, the draped form constituted its mainstream, and both the draped form and the tunic form are appearing Simultaneously in the Chinese look. And in respect to color the Indian look is using luxurious primary colors red, blue, yellow and green and other regions are making overall use of natural colors. With respect to ornament various kinds of ornaments is utilized in Indian's Sari and turban. Chines's Coolie hat, straw hat and embroidery, knotted button, and bead ornament, and Japan's Obi and Obijime, etc. Secondly in America and Oceania, costurme representing the Indian look in North America and the picture of Western pioneer, and the Peruvian, Mexican and chilean ethnic looks in South America were expressing much. Here, the form consistied a draped form as its main strem, such colors as yellow, purple, grey, etc were much utilized, and the material of costume comprised knits, cotton and the like. And the ornament consisted of hats, tassel ornaments, bead ornaments, metal chain belt, long braided hair, etc. Thirdly, the African ethnic look had an exposing form and a draped form, and such colors as black, white, yellow, brown, etc were used as the fashion color. Ornaments such as precious stone, bead ornaments, animal bones, straw metal ornament, etc were used as fashion decorations. Fourthly, Russia's Cossack look, Bulgaria's Bavshika look, spain's ethnic look cane to the fore as the European look Both the draped form and the tunic form were used simultaneously as fashion form. And grey, brown, purple, etc were much used as fashion color in the European look. Such ornaments as Cossack. Bavshka, boots, tassel ornaments were much used and paisley pattern also was used.

  • PDF