• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.13-28
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• 2012

This study examines history of Korean peony patterns and characteristics of peony patterns on the fabric. It is classified according to expression methods, and it analyzes the characteristics of 71 kinds of peony woven on 66 Korean fabrics. First, it was observed that 38 of the 66 studied fabrics (57.6%) were relics from the 17th century, and from this it can be deduced that the peony patterns began to appear regularly around the latter half of the 16th century and were used habitually in the 17th century. Second, 71 kinds on 66 fabrics can be divided into Real Type, Design Type, and Abstraction Type according to expression methods. Among these types, 49 kinds of them are Real Types (69.0%), forming the greatest part and 19 kinds belonging to the Design Type (26.8%), and lastly, 3 kinds were under the Abstraction Type (4.2%). In particular, peony patterns of Design Types and Abstraction Types from the 17th century and from the 19th century to the 20th century were more prevalent, compared with those before the 16th century or the 18th century. Third, Real Types shown on the Korean fabrics are subdivided into 9 types, and the Real Type A among them, which describes to be as real as possible, is 12 kinds, the largest number of them. Therefore, real and natural pattern of peony is the favorite type in Korea, while rather emphasized pattern of peony is the more preferred pattern in China. And also Design Types are subdivided into 6 types again; There are 6 kinds of design type A, the largest part of Design Types. Patterns of Design Type A are most similar to real peony flowers, but more simplified than the Real Type A. This result also contrasted with the trend in China, where the Design Type C, expressed petals in detail was the favored pattern. Fourth, 9 kinds of unique types are found in Korean fabrics, especially Real Type M has not been shown on Chinese fabrics. Real type M, consisting of two parts, inner and outer, where two curve lines between two parts appear as antennas of a butterfly.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.455-476
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• 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.

• Korean Journal of Human Ecology
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• v.18 no.3
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• pp.799-807
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• 2009

When analyzing make-up trends of figures shown in portraits of different eras in Chinese painting history, you can see that red color was used much. This can be because the red color is the most outstanding among all the colors and was most preferred by ancient people, as the color of the sun, the blood, and the sacredness. The women in the Tang Dynasty was especially using the red color much. Though Seongrihak (Neo-Confucianism) in Song Dynasty was the governing ideology, it had an influence even upon its aesthetics. Thus, during Song Dynasty, the beauty of logos appeared too. This phenomenon showed a conservative tendency even in make-up as well as in costume, thereby the concept of clear and elegant beauty was emphasized. The real figure in the Ming and Ching Dynasty, was so young and weak as a sample of a delicate woman that a woman who had feminine beauty was regarded as an ideal type. The feminine image had been gradually generalized from the literary works in the latter half of Ming Dynasty. However, the painters in the era still preferred the beauty of a healthy woman. That tendency probably had an influence even upon make-up culture that was shown in portrait. As an analysis result of make-up culture in Chinese portrait paintings, it reveals that ancient make-up trends much reflected the social and cultural phenomena of the periods.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.897-910
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• 2009

Clothing exports of Korea have been steadily declining since 1990, but its international competitiveness will be continued in the future because of its history and technology. The purpose of this study is to find out the characteristics of knitted clothing exports of Korea compared to China. Statistical data of knitted clothing articles(HS 61) $2000{\sim}2008$ were used for analyses. The results of the study were as follows: First, the proportion of knitted clothing export out of the total clothing export has been consistently increased in Korea and China both, it is similar now. Second, export articles of large proportion are different between Korea and China. Socks, gloves and fancy goods became major export articles in Korea and men's and women's clothing in China in late 2000's. Third, the unit price of Korean export clothing is higher than that of Chinese from two to ten times. Generally the growth rate of unit prices of Korea outpaced that of China. The results of this study will help Korean export firms to develop competitive export articles and make out export strategy.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.1-14
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• 2006

This study is to examine the Hyangnag used in China. Results of the study can be described as below. 1. Hyangnang was also called Hyangdae, Hyanghapo, Hunnang and Chunnang. Perfumes were used to make the body and clothes diffuse a good fragrance. And Perfumes were used to prevent insects and remove related pollutions. It was possible to prevent insects when perfumes were burnt out. 2. In the Han, Song, Yao and Win periods, Hyangnang had Cylinderical, Rectangular, Cylinderical and Rectangular, Circular and Calabach types. These various types were developed into one, Norigae type, in the period of Ching. 3. Hyangnang were decorated mainly with embroideries, knots and seams. Embroideries were applied always onto the surface of Hyangnang. Knots were used mainly in the Song and Win periods, decorative seams were used mainly in the Ching. 4. From the Han to Yao periods, Hyangnang was made of perforate textiles like na and Sa for practical reasons, making perfume smells more easily diffused. From the Win to Ching periods, Hyangang was made of dense textiles like silk and Dan, which could be easily embroidered for decoration purposes. 5. Hyangnang was often hanged down from the waistband and up onto the fore chest or the elbow, or put into the liner of the sleeve. 6. Hyangnang has immanent implications of symbolism, ideology and aristocraticism.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.117-128
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• 2003

For the advance of Korea's ready-made clothes industry into China, we need some information about the body types of the Chinese and the sizes of ready-made clothes. The purpose of this study is to prepare basic data about the reality and process of the size establishment of clothing sizes in China. The conclusions are as follows. 1. Clothing size establishment was made three times in 1981, 1991, and 1997. At present, the version of 'GB/T 1335-1997 Size' is used. 2. 'GB/T 1335-1997 Size' is composed as follows. \circled1 Based on the drop values of chest girth and waist girth, 4 (Y. A, B, C) body types of adult men and women were chosen. \circled2 Sizes contains Ho and Hyoung, 'Ho' refer to height (cm) and serve as the standard of length, while 'Hyoung' indicate chest girth (cm) and act as the standard of girth. \circled3 The size divisions of the 3 basic items for adults are 5cm (height), 4cm (chest girth), and 2cm (waist girth). So they are named '5ㆍ4, 5ㆍ2 size series', \circled4 For grading in dress production, approximate values to the means of the 2 basic items are called 'center types'.\circled5 Other necessary items for clothing design besides 3 basic items are named 'control items'. \circled6 For babies, children, and adolescents, no body type classification is established. Instead, size series are established according to body height.

• International Journal of Costume and Fashion
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• v.15 no.2
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• pp.37-47
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• 2015

The purpose of this study was to examine the differences in terminologies used in South and North Korea, to describe objects or activities related to clothing and textiles, as a part of a bigger project that aims at developing an educational program in provision of reunification of the Koreas. In this study, a total of 176 North Korean terms that differ from South Korean terms were collected from various sources, including dictionaries that are developed to compare South-North Korean languages as well as texts such as magazines and news articles, about North Korean daily life. The terms were classified into sub-categories: materials for clothing, clothing management, construction and design, garment names, body parts, description of physical appearance or state of hygiene, and apparel industry. Many of the North Korean terms were derived from native expressions, rather than adopting foreign terms or terms in Chinese characters. Some North Korean terms did not have any corresponding words in South Korean terms or vice versa. We expect the terminology list to become a useful educational resource in establishing a clothing and textiles curriculum in preparation of reunification, by allowing the students to familiarize with the differences in the usage of terms.

• Journal of the Korean Society of Costume
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• v.67 no.2
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• pp.101-115
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• 2017

Ancient documents, characters, and relics are the utmost important materials when it comes to researching ancient clothing. Of these, the ancient characters explain the contents of the time, which makes it an objective historical record. China has hieroglyphics, such as oracle bone inscription and bronzeware script, which existed in Sang[Eun] Ju era. This character is formed by a simple line and detailed drawing, showing the object or the concrete form and characteristics, so the reader can understand the meaning. Oracle bone inscription and bronzeware script, which are written in pictograph, include contents that help to grasp the original shape and form of ancient official hats. Chinese characters Geon(巾, 건) Byun(㝸, 변) Myun(免, 면) Mo(冒, 모) Ju(冑, 주) and Kwan(冠, 관), which are the names of the official hats, have been researched, and Mi(美, 미) Ryung(令, 령) Wang(王, 왕) and Hwang(皇, 황), which are the characters related to the official hats, have been studied. Geon(巾, 건) switched its form from shape of material around waist to wraping wearer's head. Byun(㝸, 변) is a hat with decoration, and Myun(免, 면) is in form of a helmet with ornaments. Mo(冒, 모) in bone script looks like a hat with decorations on each sides, but in bronzeware script, it is more like a simple round hat Ju(冑, 주) covers one's head and has decorated ornaments, and The Kwan(冠, 관), which is now a common name of official hats, is not shown in oracle bone inscription or bronzeware script, It might have been used later than the other two types of hats. As for the related Chinese characters, Mi(美, 미) is in the shape of a feather decoration, Ryung(令, 령) is similar in shape to the letter 'A', and Wang(王, 왕) is in shape of simple hat from 령 with decorations. Hwang(皇, 황) is like a Wang(王, 왕) hat, but with fancier decorations. Oracle bone inscription and bronzeware script show the original form and shape of ancient hats.

• Fashion & Textile Research Journal
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• v.11 no.5
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• pp.701-708
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• 2009

The study aims to investigate women's clothes described in Gilsang-Cheonyeo-Sang in Nara period of Japan to gain a clear understanding of the clothes of the ruling class women at that time. Gilsang-Cheonyeo-Sang was made in Nara period of Japan when Japan sent envoys and students to Tang, a dynasty of China, to acquire advanced civilization. At that time, Japan also fostered a strong international culture through the exchanges with neighboring nations. With this inflow of continental culture, Japan was dramatically advanced politically, socially, and culturally. The analysis of the clothes of Gilsang-Cheonyeo-Sang showed that she had her hair decorated with Bogye. She wore Ungyeon, Baeja, Daesui, and Tongsui as for her upper garment and Gun, Seub, and Peseul as for her lower garment. She also wore Bidae and Youngeon and put on Geummal and Seok on her feet. Overall, these results suggested that she wore Chinese style clothes. The clothes of Gilsang-Cheonyeo-Sangwere very similar to formal dresses of high class women described in Yangroryeong. Some of her clothes were not shown in Yangroryeong because those clothes were added after Yangroryeong. Another reason may be due to the fact that generalized clothes could be worn even though those clothes were not described in the dress code. In conclusion, the clothes described in Gilsang-Cheonyeo-Sang suggest that they were based on the dress code of Nara Period of Japan while there were also some variations due to the cultural circumstances at that time.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.394-404
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• 2007

The purpose of the study was to analyze the difference in knitwear purchasing behaviors of female college students in the U.S., Korea, and China. It was developed questionnaire that included knitwear purchasing behavior that is fashion information sources, evaluation criteria of knitwear products, store attributes of knitwear, knitwear buying places, and purchasing experience of foreign-made knitwear. The final sample used in this study consisted of 119 female college students in U.S., 150 female college students in Korea, and 217 female college students in China. Aged from 18 to 33. ANOVA, factor analysis, Duncan's multiple range test, frequency, and percentage as analysis methods were used. The results of the study were as follows. The preference of knitwear among the respondents was shown highly. This result is due to a world-wide trend of casual clothing, and is to prove, that knitwear is that made with flexibility, drape, and stretch, is the item that is able to satisfy consumer's desires. Knitwear preference of knitwear the U.S. respondents was shown highly, and buying intention of them was also high, not only for sweaters and t-shirts but for pants, skirts, jackets, coats, and dresses as well. Knitwear information the U.S. respondents considered important, was not only purchasing experience but also shop display and magazine advertisements. By evaluating criteria of knitwear, the U.S. respondents considered good fit, design, color, and comfort important, and they didn't consider the country of origin important. By store attributes of knitwear, the U.S. respondents specially considered the display, variety, price level, and sale frequency of merchandise. The respondents of China was shown higher than them of Korea in the intention of all items. Knitwear information the China respondents considered important, was not only purchasing experience but also shop advertisements of Newspaper and magazine and fashion articles in Newspaper and magazine. By evaluating criteria of knitwear, the China respondents considered good fit, design, color, and comfort important, and they considered fiber content and the country of origin higher than the respondents of U.S. By Store attributes of knitwear, the China respondents specially considered product knowledge and friendliness of sales personnel, Layaway payment plan, Brand names, New Fashion, and Dressing Facilities higher than the respondents of U.S. or Korea.