• 패션비즈니스
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• 제6권6호
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• pp.89-104
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• 2002

In this thesis I have tried to compare the lines, colors and shapes of the Chinese ethnic minorities of the Moi and the Baek who live in the southwestern region of China and that of Korea. From a functional point most of the clothing in this region were separated between a top and a bottom and used colors in the collar, sleeves and lines to emphasize the decorative and pragmatic use of the clothes. The Chinese southwestern dress style had no limits on the use of color or shapes between class and rank. This was also true of the colors and shapes that were used. On the other hand the Koreans, although having the same structure, used different colors and shapes in proportion to the Joe-go-ri and Baji combination and the Jeo-go-ri and Chima combination.

• 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.

• 한국의류산업학회지
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• 제11권6호
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• pp.887-895
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• 2009

The purposes of this study were to provide informations to apparel companies and to contribute the education of clothing consumers through finding out the present status of clothes purchasing behaviors and the degree of the recognition and the application of care labels of the Chinese students in Daegu area. The data were collected from 166 Chinese students through the questionnaire and analyzed by the frequence, t-test, ANOVA, and Scheffe-test using SPSS 12.0. The results were as follows: 1. The main purchasing place was road shops of well-known brands, and the most decisive factor of purchasing was the display style of goods. They purchased 'any time when necessary' and impulsively. They payed mostly by cash and the most affecting factor of purchasing decision was the degree of fitting. 2. The recognition of the necessity of care label was found in 36.7% of respondent and their most rationale was 'for the management of clothes'. The recognition of care labels showed the highest in reliability and the lowest in application. There were significant differences in satisfaction of care label between male and female and in application according to purchasing places. In conclusion, the recognition of the necessity of care labels showed a little high level but relatively low in the understanding and the application.

• 복식문화연구
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• 제10권3호
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• pp.283-292
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• 2002

This study is to examine the costume and features in Asuka period and the results are as follows. Asuka period is the time that the country loader positively imported the continental civilization, founded a new country organization in political society and accepted Buddhism and exerted his best passion for its thriving. As the result of examining the costume and features of Asuka period when the requirement for accepting the foreign culture was met via the present costume regulation and relics material, it was found that the costume had a considerable difference between of the ruling classes with government official and noble as the center and the common people. As for the costume of the ruling-classed official and noble, Korean and Chinese costume regulation was introduced, court dress, ceremonial dress, and uniform were dressed. The composition of costume with introduction of new clothes including Wio, Baedang, Seup, Pil, Kyongsang, for the ruling classes was diversified as well. As the result of looking the clothes for the present ruling classes via the existing and the contemporary relics, it was found that the clothes consisted of Eui and Gon or Eui and Sang style in principle and Po with Banryung or Sooryung was worn over what. However, for the common people, mainly man wore Eui and Gon and woman Eui and Sang, which was the traditional costume style in the ancient tomb days.

• 패션비즈니스
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• 제18권6호
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• pp.137-156
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• 2014

The purpose of this study is to analyze types of roles and fashion of the Chinese first ladies and provide basic data for fashion image-making of first ladies. As for the research methods, the concepts, role types, and fashion of the first ladies were considered by referring to the precedent studies and relevant literature. Then, the fashion images according to role types were analyzed by collecting the photos of Chinese first ladies from the period of the Republic of China until today. The results were as follows: First, when the roles of Chinese first ladies were categorized based on ceremonial, political, and policy roles, Zhuo Lin and Wang Yeping played a ceremonial role; Wang Guangmei, Liu Yongqing, and Peng Liyuan played a political role; and Soong Qingling, Soong Mayling, and Jiang Qing played a policy role while they were first ladies. While the first ladies of the Republic of China often wore classic Chinese styles like traditional qipao as well as western clothes which contained a western influence, the first ladies of the People's Republic of China wore more colorful clothes and more accessories in the later period, and also often wore clothes that combined traditional and western elements. Second, first ladies who played a ceremonial role showed mannish and classic images; those who played a political role showed elegant, classic, and diverse images according to T.P.O; and those who played a policy role showed feminine, modern, and mannish images. Fashion images of the first ladies varied according to the level of political involvement, the sociocultural background of China at that time, and their personality and preference.

• The International Journal of Costume Culture
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• 제4권1호
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.

• 한국의상디자인학회지
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• 제13권2호
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• pp.175-183
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• 2011

Based on an investigation of Miao ethnic group costumes, this research focuses on redesigning and reinterpreting of the Miao costume. The results are summarized as follows. According to the constitution of the clothes, the decorative parts and the way people wear them, women's clothing can be divided into five categories: Sangseohyeong, Geomjungnamhyeong A, Geomjungnamhyeong B, Cheongeomjeonhyeong, Haenamhyeong. Miao consists of straight lines with creases for both skirts and trousers. With the excess part of the belt or apron, X-shape and H-shape are formed. There are three basic decorative patterns: geometric patterns, animal patterns and plant patterns. In addition, there are three color values: warm, cool and dark. Silver Jewelry plays such an important role in the Miao Costume that the process of the production is also very special for the Chinese national dress. According to the features of the five types of Miao, then redesign and re-interpreted of them.

• 복식문화연구
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• 제16권5호
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• 대한가정학회지
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• 제41권5호
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• pp.193-203
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• 2003

Magoja is a jacket for men and women. Magoja was worn between the jacket, jogori and the coat durumagi; that is over the jacket and under the coat. In the 19th century, Daewon-kun, who was wearing maqua, was in China and he came back to Korea. So, it was believed that the origin of magoja was from maqua from Qing. But, there were differences between magoja and maqua in their design. Therefore, I researched the origin of magoja and tried to know the design and the method of wearing magoja in the Chosun dynasty. The results are as follows. The design of magoja, especially its collar, was different from Chinese maqua. As analyzed above, it is difficult to regard the origin of magoja as deriving from Daewon-kun's maqua, which he wore when he went to Qing. Magoja-style jacket can be found from many old pictures. The collar of those jacket, whose style was waonsam-git unlike the present-day magoja, is consistent with the collar of sagyusam or baeja. And this kind of git style had existed for a long period of time as already studied in bangryungbangbi. Furthermore, the origin of this kind of jacket dated back to the maeksu of the Sung Dynasty; maek meaning Koguryo, maeksu was understood to indicate the style of the Koguryo jacket of short sleeves for the convenience of horseback riding. Maeksu, which varied in its kind and style, had been used as the equestrian clothes in China and was assumed to be particularly put on widely during the Yuan and Sung Dynasties. Maeksu continued to exist as daegeumeui during the Ming Dynasty but, later called magua, it was worn more widely ding the Qing Dynasty of the Manchus. This kind of maeksu or magua was the jacket which could be put on the coat and this style of wearing it during the Chosun Dynasty could be confirmed by the pictures. Therefore, magoja is not the jacket which was all of sudden derived from Qing's magua but one of traditional Korean clothes of the northern provinces which had existed for a long period of time. And magoja seemed to be put on more widely during the latter part of the Chosun Dynasty because of the influence of Qing's magua.

• 만화애니메이션 연구
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• 통권39호
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• pp.349-363
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• 2015

최근 몇 년간 전세계 게임시장에서 중국 게임 시장의 시장 점유율이 크게 확대되고 있고, 미국, 일본, 한국 등 게임 수출대국은 이를 겨냥하여 중국적인 요소를 발굴하여 세심한 수출전략을 추진해왔다. 이러한 연구배경을 토대로 본 논문은 미국, 일본, 한국의 주요한 게임 캐릭터를 분석하여 중국의 전통문화 요소에 대한 경험적인 분석을 제공하는데 목적이 있다. 본 연구자는 미국, 일본, 한국의 RPG게임을 선정하여 캐릭터가 갖고 있는 중국적인 요소에 대한 내용분석을 실시하여 기존 게임회사들이 게임 개발에 있어 중국적인 요소들을 어떻게 사용하여 왔는가를 고찰하였다. 동시에 중국인 게임 유저에 대한 설문조사를 실시하여 중국인 유저들이 선호하는 중국적 요소를 분석하였다. 주된 분석 결과는 내용분석과 설문조사가 다소 상반되게 나타났다. 특히 미국, 일본, 한국의 RPG 게임회사들은 한족의복보다는 만주족의복을 사용하는 비율이 두드러지게 나타났으나, 중국인 유저들의 실질적인 중국 스타일의 식별도와 미관정도의 평점은 한족 의복이 훨씬 높게 나타났다. 뿐만 아니라 중국 문화를 보다 심도 있게 사용하는 게임 캐릭터배경에 중국인 유저들은 더 많은 호감도를 보였다. 따라서 단순히 중국적인 요소를 가미하는 기존방식에서 탈피하여 게임 개발단계에서부터 보다 유저 친화적인 중국적 요소에 대한 응용과 선별적인 고려가 필요하다.