• 한국의상디자인학회지
• /
• 제12권4호
• /
• pp.115-135
• /
• 2010

Regarding the figure painting of the T'ang period, by Yeomipbon, a representative painter of the early T'ang period, shows a traditional painting style. Figure paintings of the Prosperous T'ang period, influenced by Odoja's painting style, are characterized as illustrating the lives of noble women delicately with brilliant colors. They include Janghwon's and in which Chinese traditional and Western painting styles were combined. , and , which were painted by Jubang in the mid T'ang period, were the developmentally succeeded the figure painting style of the previous times, illustrating even the psychological and emotional states of painted figures in a sophisticated way. Skin make-ups shown in figure paintings of the T'ang period are mostly baekjang in type. Besides, other different types of the make=up such as bihajang, dohwajang and juwoonjang can be seen. The paintings, show that the tone of skin got more and more red as the times moved from the early to the late T'ang periods because rouge was more and more used as the times passed between the periods. As a type of forehead make-up, aekhwang is found in Janghwon's and of the late T'ang period. Hwajeon is seen in lots of figure paintings made between the Prosperous the late T'ang periods. Most eyelid make-ups shown in the figure paintings are round-shaped wolmi and yuhyeopmi in type. Besides, other creative types like gyeyeopmi, paljami and iljami are found. Lips are found made up clearer and more red as the times went from the early and the late T'ang periods. The types of cheek make-up like sahong and jangyeop can't be found in figure paintings of the T'ang period.

• 한국의상디자인학회지
• /
• 제23권2호
• /
• pp.1-15
• /
• 2021

The purposes of this study was to investigate the effects of materialism value on the clothing shopping orientation and impulse buying behaviors of Chinese female consumers. The subjects were 417 female millennials in Gillim-province, China. The research method was a survey, and the questionnaire consisted of questions to ascertain materialism value, clothing shopping orientation, impulse buying behaviors, and the subjects' demographic characteristics. For data analysis, descriptive statistics, Cronbach's α, factor analysis, and regression analysis were performed. The results of this study were as follows: First, materialism value was derived with 3 factors (happiness pursuit, possession-oriented, and success judgement). Second, the clothing shopping orientation was derived with 5 factors (trend pursuit, pleasure pursuit, brand pursuit, economic pursuit, and convenience pursuit). Third, the impulse buying behavior was derived with 4 factors (pure, planned, reminder, and implicit impulse buying). Forth, materialism value had significant effects on clothing shopping orientation. The higher the value of materialism, the more the brand pursuit, pleasure pursuit, and trend pursuit shopping orientation increased, while the economic pursuit and convenience pursuit shopping orientation decreased. Fifth, materialism value had significant effect on pure and planned impulse buying behaviors. As the value of materialism increased, pure and planned impulsive buying behaviors increased. This study suggested that materialism value is an effective variable to understand the clothing shopping orientation and clothing impulse buying behavior.

• 한국의상디자인학회지
• /
• 제24권3호
• /
• pp.127-144
• /
• 2022

This paper aims to analyze the different external images of women expressed in ancient artwork through the socio-cultural background and the aesthetic view during the Tang and Song dynasties of China. The research method contains a literature review involving the collection of historical literature, thesis, and artwork data. The image of women according to the aesthetic view of the two periods is summarized as follows. In terms of face shape, the Tang pursued a round face while the Song pursued a more slender shape. As for hair ornamentation, the Tang wore various shapes of hair buns like "Paojiaji", and decorated them with coronets. The Song wore various types of braided hair called "Tongxinji", but the coronets were smaller and more sophisticated. For makeup, the Tang wore colorful and heavy makeup and the Song makeup was lighter and more elegant. In attire, the Tang followed revealed shape, used splendid colors and thin, transparent material. The Song exhibited a more simple design and was conservative and neat, using luxurious silk fabric with low chroma. In body shape, the Tang pursued the "beauty of obesity" with a voluptuous body shape; the Song pursued the "beauty of gaunt" with a slim body shape. As the result of the analysis according to the aesthetic views of the Tang and Song dynasties, women of Tang were depicted as rich, and women of Song were rather neat. The research on the aesthetic views that changed according to the development of social civilization and the status of women will play an active role in the transmission and development of traditional Chinese culture. At this point, the paper may contribute to the creation of images of women as well as changes in the art of future generations.

• International Journal of Costume and Fashion
• /
• 제10권2호
• /
• pp.15-36
• /
• 2010

This study aims to examine if a consumer's evaluations of and purchase intentions towards textiles and apparel-related cultural products are influenced by their culture, as indicated by their nationalities. Additionally, several psychological variables, such as novelty-seeking tendency, world-mindedness, and familiarity with Northeast Asian culture were included in the analyses to compare the relative importance of cultural influences with the importance of individual characteristics. To conduct a quantitative analysis, we collected data from 400 female consumers in two countries: 200 from the USA and 200 from China. Key findings showed that, nationality and novelty-seeking were found to have a strong influence on purchase intention when product evaluation variables were not included. Evaluation of appearance and Northeast Asian design emerged highly significant predictors of purchase intention for Korean cultural products, regardless of the product type. Cross cultural comparative research on cultural product evaluations is extremely rare. This study focused on groups of consumers residing in the US and China and asked them to evaluate a series of textiles and apparel-related cultural products produced in Korea.

• International Journal of Costume and Fashion
• /
• 제6권1호
• /
• pp.20-29
• /
• 2006

Once people thought the phenomenon of 'Ha-Han' was only a vogue of young people pursuing oddity. However, when Korean TV series, Korean food, Korean movies and their music penetrated into our life and appeared on TV screens and fashionable magazines, all aspects influence of Korean wave finally arouse people's attention. 'Ha-Han-Zu' is a group of young people who pursue Korean popular culture even imitating their dressing, thoughts and behaviors. This article takes China the original place of Korean wave's popularity as focus, observes the reflection of Chinese to Korean popular culture and discusses the culture exchange phases of Korean wave as the center of popular culture. It can be more detailed that it bases on HOT wave from 1998 to 2004 and analyzes of popular TV series, observes reflects of 'Ha-Han-Zu' to Korean culture, discusses the acceptance to Korean popular culture and what kind of active reflection consumption giving to culture exchange.

• 복식문화연구
• /
• 제8권6호
• /
• pp.940-948
• /
• 2000

This paper analyzed the collections of Dries Van Noten and found the influences of oriental ethnic costumes. The oriental looks which he had shown in his collections are followings : Largely, the menswear designs of Van Noten took the concept of an easy and loose style which is a common shape in oriental ethnic costumes. Especially various transformations of layered look were found in his collections. Design ideas of Van Noten's womenswear style included variations of a sarong style, a kimono style, and etc. Also in his womenswear collections, various styles of layered look were shown. He often used lustrous fabrics like satin, brocade, and damask which are driven from the oriental region. His collections had Chinese dragon-or flower-pattern, Japanese geometric pattern, and Indian henna pattern. The patterns were embroidered or gilded.

• 복식
• /
• 제57권10호
• /
• pp.74-86
• /
• 2007

An empirical study was conducted on fashion cultural products, targeting foreigners from diverse cultures. Its purpose was to identify foreigners' attitudes toward fashion cultural products of which design sources were derived from the Korean culture. The quantitative research using questionnaires was targeted at Americans, Chinese and Japanese who visited Korea. The questionnaires were back-translated into different languages for completion by the test subjects. Out of a total of 424 surveys returned, 393 were deemed usable. As a result of data analyses using SPSS 12.0 and AMOS 5.0, we found that: First, two attitude factors, the authenticity and aesthetic elements, exerted a significant effect on the intent to purchase. However, the last attitude factor, care and carriage convenience, did not significantly influence the purchase intention. Second, there was no significant difference in the attributes regarded as important when purchasing fashion cultural product between people from the U.S. and Japan. However, people from China showed differences in the attributes compared to the U.S. and Japan. Third, we found that attitudes toward fashion cultural products were different among respondents of three countries. It was revealed that the Chinese liked Korea's fashion cultural products the most, followed by Americans and Japanese. This research is significant because investigating foreigners' attitudes toward fashion cultural products for reaching out to a broader market abroad would contribute to help building an market entry planning.

• 복식문화연구
• /
• 제28권3호
• /
• pp.356-375
• /
• 2020

The purpose of this study is to understand the characteristics and cultural values of the headdress among Chinese minorities with diverse ethnic cultures, and to provide various data on the design of clothing accessories. Theoretical considerations about ethnic minorities were addressed through literature and prior research, with data being collected using literature and websites. The results are as follows. First, the most common type of headdress is the horizontal type, which includes the head style, headband, and head scarf. The second most common is the cylinder type, which is a headdress with variations in the shape of a round hat, and has is evident among various minorities. Third, the pagoda type is decorated with ornaments mounted on top of a round shape. Fourth, the square crown type is a piece of wood as a material for a form of the material and for a variety of jewelry and the production of up to meet the women's head of the jewelry. Fifth, head belt-type ornaments consist of a headband and fancy bead ornaments from the bottom of the head. Mongol women usually wear an exaggerated form of this type. Sixth, the head cover type is a head decoration influenced by the dress code of Muslim women. Seventh is the disc type of crown shape worn by the Dai. Next, the ogival type is a cone-shaped headdress hat most commonly seen as head ornament hat among the Dai. Lastly, the sailboat type is the most exaggerated form of hair ornaments found among ethnic minorities.

• 복식문화연구
• /
• 제20권2호
• /
• pp.208-221
• /
• 2012

The purpose of this study is to identify the effects of sportswear brands' country-of-origin on purchase intention (PI) in terms of brand personality as perceived by Chinese university students. Chinese students preferred to shop for sportswear at specialty stores, liked Nike and Adidas most, design was the most important factor when selecting, selected their sportswear themselves, and gathered information from TV ads. With regard to perceptions of brands country-of-origin, America was perceived as a developed country, influential to the world, but as having a bad relationship with China. Germany was perceived as a developed country and as having a well-developed civic culture, good people image, high technology, high influence on the world, and a good relationship with China. Italy was perceived as a developed country with the highest civic culture. China was perceived as a developing country, as having a good people image, and low technology and low influence on the world. Japan was perceived as a developed country with high technology. Factors of brand personality were sincerity, competence & sophistication, and excitement. Nike was perceived as having high competence & sophistication and excitement, Adidas as having high competence & sophistication and excitement, Lining as having high sincerity, and Mizuno's brand personality was very low. People image, competence & sophistication and excitement became higher, PI of Adidas increased. If people image, competence & sophistication and excitement became higher, PI of Kappa increased. If a country was developed and competence & sophistication and excitement became higher, PI of Lining increased. If civic culture, people image, technology, competence & sophistication and excitement became higher, PI of Mizuno increased.

• 복식문화연구
• /
• 제29권3호
• /
• pp.328-345
• /
• 2021

The aim of this study is to investigate morphological characteristics of Hanbok images in children's books and propose a direction for the modernization and globalization of traditional culture. This study examines 43 children's books by contemporary foreign illustrators that contain Hanbok illustrations and analyzes them from postcolonial perspective. The results include the following three attributes: first, the transformation of clothing structure and donning method that confuse fundamentals of Korean costume; second, the Westernization of silhouette drawing with tailored garments analogous to Western dress; and third, extension to East Asian dress that represents Hanbok mixed with Chinese or Japanese costume and use what is considered to be the East Asian patterns instead of Korean traditional ones. These attributes are based on Eurocentrism, which expresses and interprets the East from the Western view point with continuously distorted image of the East. Korean illustrators also painted Hanbok incorrectly, which could influence foreign illustrators. Nevertheless, traditional dress illustrated in various ways has artistic value and has a popular global impression. Further, it enables children to experience either own or other cultures through dress illustrations. Thus, the outsider requires an in-depth understanding of other cultures, while the insider needs a critical perception of their own culture as described by others while revisiting the original resources. Furthermore, we suggest follow-up research on Hanbok for subsequent generations; publishing translated books on various topics, producing and disseminating a primer for diverse readers, and essentially receiving counsel from experts.