• 복식
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• 제56권2호
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• pp.125-133
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• 2006

The term Moja(毛子) is the name of Jilson(質孫), the traditional costume of Mongolian own meaning one colour. Mo generally means woolen or worsted fabric, so most scholars also regarded Moja as the same. This paper studied the kind of fabric of Moja by using the way of studying the cultural exchange between ancient Korea and China. This study showed that Moja is ramie instead of woolen or worsted fabric. It also showed that its name was born the long history of the cultural exchanging process between China and Korea. Moja was written as Musi(木絲) or Mosi(沒絲) at China in early period, and changed to Mosi(毛施) in ancient Korean. It was changed to Chinese Maozi in later period.

• The International Journal of Costume Culture
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• 제3권1호
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• pp.1-11
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• 2000

The purpose of this study is to compare the constitutions comparatively among Korean, Chinese and Chosunjok college women and thereby, provide for some basic data helpful to the development of export apparels befitting the Chinese consumers, For this purpose, Korean, Chinese and Chosunjok college women aged between 17 and 24 were sampled to be subject to body measurements. The measurement data obtained were indexed for each part of the body to set a total 29 constitutional indices, which were analyzed by factor dictating the major shapes of body, Thus, based on the constructed, the differences of constitution among three groups were comparatively analyzed. The results of this study of this study can be summarized as follows; It was found through this study that Korean college women had thickest neck compared with body size and had longer lower limbs compared with stature, Moreover, their lower body was absolutely longer than the other two groups, and thus, Korean college women were found slimmest. On the other hand, Chinese college women had most voluminous chest turned over with shorter and thicker body. they were obesest. Chosunjok college women had longest upper body but shortest breast length. Their lower body was obesest, and their body was longer compared with stature. Moreover, Chosunjok college women's lower limbs were shortest, while their arm scyes were small nearest body type.

• International Journal of Costume and Fashion
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• 제9권2호
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• pp.35-48
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• 2009

Therapeutic garments are an undeveloped area and yet they have the potential to generate considerable profit for the fashion industry. In traditional Chinese medicine, there are spots and pathways on the body through which energy flows and practitioners consider that disease results when this energy flow is hindered. Clothes which stimulate the spots can therefore potentially help to cure disease. In addition, clothes are worn every day and can therefore offer prolonged treatment certainly in comparison with other treatments. Obesity is a big problem nowadays and one which is caused by poor energy circulation (according to TCM). A garment which stimulates the spots can assist energy flow and therefore cause the wearer to lose weight. In the process, it can also alleviate side effects of obesity such as diabetes and high blood pressure. The was to stimulate spots include acupuncture, acupressure, moxibustion etc. There are lots of products to press spots which improve energy flow both in the Western and Chinese markets. The basic principle of circulation is in fact the same in both Western and Chinese medicine. However, most of these are products are footwear ones because they can easily provide the necessary stimulation to reduce tiredness and improve circulation. For garments, to press the spots effectively it is best to use tight clothes such as corsets and leggings. The important point is to tighten the body and to make energy flow and yet feel comfortable at the same time. Choice of fabric is therefore an important issue. Although the idea has been introduced, it will be necessary to develop a technique which will allow the necessary amount of pressure to be applied. It could be concluded that this area has a lot of possibility for the future but further research will need to be done before the idea becomes workable.

• 한국의상디자인학회지
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• 제13권2호
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• pp.89-101
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• 2011

The economy blocking and price competitiveness caused by globalization has generated an on-going controversy of global sourcing among high-priced luxury brands. The consumers in the global market purchase luxury goods based on both craftsmanship and the reputation of luxury brands. Factors such as the origin, brand and pricing can affect the intention of consumers to buy luxury goods. This study analyzed the optimum brand combination using conjoint analysis. The analysis was based on the selection of origin, brand name and price as extrinsic factors among attributes of customer choice. These factors were subdivided into Italian and Chinese origins, Gucci, Prada, and Miu Miu in terms of brand names, and 450,000, 750,000, and 1,500,000 Won in terms of price levels. The result showed that origin was considered the most important factor followed by brand name and pricing. This tendency tells us that customers consider origin, brand name and price in that order when purchasing luxury brands. In regards to each factor, respondents preferred Italian to Chinese origins, the Gucci to Miu Miu brand name, and 750,000 to 450,000 won for price level. Generally, women in their 20s and 30s preferred products from advanced nations at a medium-level price.

• 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.

• 한국의상디자인학회지
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• 제7권1호
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• pp.15-31
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• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• 복식문화연구
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• 제26권4호
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• pp.531-546
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• 2018

The purpose of this study is to comparatively examine techniques and expressive characteristics of batik by focusing on the work of DanZhai and that of ZhenNing Buyi. We collected 50 pieces of batik each from Miao and Buyi in Chinese GuiZhouSheng and then analyzed their colors and patterns. The findings show that most of Miao's batik had deep and soft tones, while that of Buyi most often had blackish tone since the number of dyes in the latter is higher than that in the former. Miao often used patterns expressing animals or animals and plants, while Buyi frequently used geometric ones. An examination of specific motifs demonstrated that butterflies, fish, and flowers were most often used by Miao, while dots, vortexes, lines, and lozenges were frequently utilized by Buyi. For expressive techniques, both Miao and Buyi commonly used simple stylized expression or complex expression combining stylized and geometric techniques. Maio's motifs were often decoratively expressed with delicate curves, while Buyi's motifs had simple structures, so pictures were neatly expressed with thick lines and wide and simple planes. For the composition of the motifs, incomplete symmetry between top and bottom and between left and right often appeared in Maio, while in Buyi complete symmetry was frequently shown.

• 한국의상디자인학회지
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• 제23권2호
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• pp.93-104
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• 2021

The worldwide coronavirus pandemic has brought to light the importance of having a reliable supply of masks for each person. This study aims to understand the effect of personal awareness (including community, others', and safety awareness) on consumption conformity and the repurchase intention of masks. The research method used the SPSS 22.0 and AMOS 22.0 statistical systems to analyze descriptive statistics in terms of reliability, validity, structural equation modeling, and moderated regression analysis. A total of 272 Chinese participants were recruited via an online survey website (www.sojump.com) from May 1 to May 14, 2020. Findings indicated that mask users' awareness can be categorized into three distinct types: community, others', and safety awareness. The more community and safety awareness is perceived, the higher the level of consumption conformity. In contrast, others' has no statistical effect on consumption conformity or repurchase intention. The positive influence of consumption conformity on the repurchase intention of masks is also weaker than price perception. However, another moderating variable, mask quality, has no moderating effect. The results of this study can help mask manufacturers and distributors retain their customers, resulting in reasonable protective measures while maintaining market order. Theoretical and managerial implications for mask suppliers are also provided.

• 복식
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• 제64권8호
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• pp.111-123
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• 2014

The purpose of this research is to prepare basic data necessary to develop uniform design by examining the uniforms of Korean and Chinese airline crew. Advanced research, various literature materials related to uniform, as well as a survey on the images portrayed by the different uniforms of the airlines were used as research method, and this was used to investigate its functions and components. The survey was conducted in Incheon International Airport and Gwangju airport from September 1st to 30th of 2013, - targeting 350 people consisting of Koreans, Chinese, and other nationalities who have the experience of using Korean and Chinese aircraft. The research findings are summarized as follows. First, the images of the uniforms were classified into 5 elements: attractiveness, activity, noticeability, femininity, and traditionality. The analysis showed that Korean uniforms, except for Jin Air, received high marks overall, while the Chinese uniforms received lower marks compared to their Korean counterparts. Second, the results were analyzed based on the nationality of the respondents. In regards to Korean airline crews, attractiveness, activity, noticeability, femininity, and traditionality showed statistical significance with Korean respondents, while the significance was seen in attractiveness, activity, femininity, and traditionality for the Chinese respondents. Femininity was the only feature with any significance for the third nation respondents. On the other hand, with regard to Chinese airline crew's uniform, Korean respondents showed statistical significance in the following features: attractiveness and traditionality, while the Chinese and the third nation respondents did not show any statistical significance in any of the elements.

• 한국의상디자인학회지
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• 제6권1호
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• pp.25-33
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• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.