• Journal of the Korean Society of Costume
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• v.43
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.2
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• pp.143-172
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• 2016

This study analyzes the process of growth of Busan from a fishing village to the capital city of South Gyeongsang Province and the central city of transportation and commerce, and an industry with records. The results of the analysis are as follows: after the port opened in 1876, there has been a decline in settlement spaces in Dongnae; on the other hand, there has been an increase in migration spaces around the port of Busan. Waegwan (倭館) nearby Yongdusan Mountain (龍頭山) was changed to the Japanese concession; thus, the number of Japanese moving into Busan had rapidly increased. As a result, the Japanese government carried out reclamation work for securing available lands for the construction of port facilities and other facilities. The Japanese government built public offices and houses, as well as production facilities for daily necessities around the port of Busan. The opening of the Seoul Busan railway (京釜線) and the cross-channel liner between Busan and Shimonoseki (釜關連絡船) led to the growth of Busan and the development of its status. At this time, as the main industry of Busan was trade, Busan had grown as a commercial city. As Busan had grown as a central city of transportation and commerce, the provincial government building of Gyeongsangnam-do (慶尙南道) moved to Busan. Thus, Busan became the central city of local politics and administration. After the Land Survey Project, a large scale of farmers were recruited for low-wage work in the new port. Because of the abolition of the corporation law, Japanese capitalists moved into their colony in Busan. There, large-scale factories, such as the Joseon cotton textile factory, were established. Through this process, the locality of Busan was changed from a fishing village to a commercial city and, finally, to a city of commerce and industry.

• Textile Coloration and Finishing
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• v.22 no.4
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• pp.314-324
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• 2010

The purpose of this study is to obtain the dyed-fabrics of the elaborate patterns using the natural dye powders extracted from Galla Rhois, Sophorae Flos Immaturus, Clove, Sappan Wood, Madder, Log Wood and Japanese Green Alder. Specific informations on the separation and powder-making of each colorant were disclosed. Appropriate printing paste preparation and printing conditions including the viscosity and mordant concentration in the printing paste were investigated. The dyeability and colorfastness of the screen-printed silk fabrics with the colorant powders were discussed in terms of practical applicability. The deodorization and antimicrobial activities of the silk fabrics screen-printed with natural dyes were also assessed.

• International Commerce and Information Review
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• v.9 no.3
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• pp.323-341
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• 2007

International trade conflict has been increased since WTO has appeared. Like this, the cause that the number of international trade conflict has been increased is by means of enlargement of agreements range. But some new facts have been added. They are Anti-dumping, subsidy, Countervailing duty, Safeguard, the norm of intellectual property right, the procedure of permitting importing products, Technical Barriers, agricultural products, and the area of textile. Since Japanese government has decided to give lavor import quarters to China without permission of Korea, Korean government formally presented the system of lavor import quarter to WTO DSB due to WTO agreement disobedience of Japan. Accordingly, this paper has the following purpose; to analyze situation on fiber dispute of Japan. Some methods about trade barrier against Japan need to be solved from another viewpoint owing to lavor IQ dispute.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.59-68
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• 2007

"Aloha" is the Hawaiian word that extends the warmth friendliness, and pride of the Hawaiian people to their island's visitors. The aloha shirt truly symbolizes aloha sprit to islanders and visitors alike. The earliest foreign settlers in the Hawaiian Islands were the Chinese and Japanese. They brought with them their myriad talents and trades, among them the art of tailoring. In July of 1936, a shirtmaker named Ellery J.Chun coined the term "Aloha Shirt" an apt characterization for such an eloquent garment. He was the first to make the shirt on a commercial basis. The shirt sold for as little as a dollar in Chun's own King-Smith store. The genuine aloha shirt is now regaled as a work of art and avidly sought out by collectors. When tourism came to Hawaii in the late 1930s, these unusal shirts were among the first thing that visitors had to have. Local designers and tailors worked quickly to meet the demand and began to expand the range of decoration to include palm trees and romantic beaches, tropical jungles and volcanoes, exotic flowers and scenes from polynesian legend. Therefore the aloha shirt had been born. The functional use of creative colors and amazing artistic renderings in these shirts certainly capture the simplicity and sprit of Hawaii. Aloha shirt is dress that display mystery and charm of Hawaii and cultural symbol of condensed Hawaiian mind. Furthermore, the innocence with which Hawaiians formerly translated their life and heritage onto fabric ranks these shirts with the finest of American folk art. Aloha shirt is made from cotton, silk, rayon in present and past. Most important design element of Aloha shirt is print pattern. Main print pattern of Aloha shirt are all over pattern, horizontal pattern, border pattern, Japanese pattern, picture pattern and back panel pattern. In this study I investigate the design characteristics and development process of aloha shirt.

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.481-501
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• 2024

This study aims to analyze the traditional embroidery in Korea, China and Japan based on Pierre Bourdieu's cultural theory, habitus and field. We conducted literature and case studies examining the late Joseon Dynasty, Qing Dynasty, and Edo Period, respectively. Based on previous studies, we reviewed three fields: social systems, goods and economy, and environmental and regional. We also explored art, culture, and national tastes as habitus. We then examined each country's embroidery practices through these lenses, and the practice of habitus is as follows. We determined that traditional Korean court embroidery in the late Joseon Dynasty was characterized as controlled elegance, while private embroidery reflected earnest simplicity. During the Qing Dynasty, traditional Chinese court embroidery depicted sumptuous power, while private embroidery portrayed harmonious splendor. Finally, traditional Japanese embroidery in the Edo period reflected symbolic natural beauty and exaggerated comic beauty. As a result, Korea, China, and Japan have had a relatively close geographical location and a similar climate environment zone, and since ancient times, many cultures have been exchanged with each other. However, it seems that the characteristics of traditional embroidery have developed slightly differently due to the practice of habitus, which was caused by of the conspiracy of field and habitus of the three countries. The significance of this study is expected to explain the relationship between the birth and extinction of costumes and embroidery by establishing a systematic and objective framework for aesthetics research.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.17-31
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• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• Fashion & Textile Research Journal
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• v.2 no.2
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• pp.150-158
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• 2000

This study investigated mechanical properties, drape coefficients and node indices of stretch fabrics. We applied mechanical properties to exhibited tailorability control in HESC and evaluated making-up. The mechanical properties such as tensile, bending, shearing, compression, surface characteristic values, thickness and weight were measured by the KES-F system and drape coefficient by drape tester. The summarized results of this study were as follows; First, stretch fabrics, almost, shown high stretch in weft inserted polyurethane yarn fabric and had a ${\pm}2{\sigma}$(sigma) range of shearing, compression, surface and thickness, except bending and weight, as compared with Japanese women's thin dress fabrics. Second, bending had a positive correlation in stiffness, anti-drape and flexibility & softness. Shearing had a negative correlation in crispness and scroop. Surface properties had a high contribution in fullness & softness. Third, The drape coefficient was found by measuring the mechanical properties according to the obtained regression equation. Forth, many problems are expected in overfeed and cutting operations in sewing process. In the decision of the good external appearance using TVA, only 26 of 55 samples are included in the range of the good external appearance. Fifth, in the regard of the result for sewing control, warp values are not necessary to control in the all kind of items. But weft value in the RT and EM are out of non-control zone. So we need a special management during sewing process.