• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.11-22
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• 2013

This paper is focused on practical research regarding costume design and arts management that make use of local resources and which are influenced by local culture of Tokuji in Yamaguchi-city, located in a mountainous area in Yamaguchi Prefecture in the western part of Honshu in Japan. We will examine possibilities in fashion design through this study. This was a practical research project, done with cooperation between the university and local industry, with priorities being assigned by the requests of residents of the Tokuji area. In 2011 the Aurinko, Tokuji, Talo (it means the Solar Tokuji Building in Finnish) was decided as the base of activities. Other functions were gradually added on, including a salon for people of the area to exchange ideas and workshops for group discussions. This paper will specifically be focused on the handmade paper peculiar to Tokuji and traditionally used as a material in fashion. The fashion designs developed by this researcher's laboratory were strongly influenced by these styles of paper. These costumes were made with a handmade paper called "Kamiko" in Japan, that is aesthetic sense has been historically cherished. This paper suggests that the affluence and depth of costume design may be expressed not only by directly borrowing from these influences, but also by borrowing the traditional aesthetic sense original to Japan. Thus this paper will examine industry and culture simultaneously, examining in particular the impact of arts management and costume design using handmade paper manufactured locally.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.1043-1051
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• 1998

The main purpose of this paper was to investigate how ethnic dresses are adopted into modern fashion designs. This research focuses on Japan and Vietnam as a part of an ongoing larger project which examines ethnic dresses of five Asian countries. Fashion designs with influences of Japanese and Vietnames ethnic dresses were anlayzed in order to explore how ethnic dresses coexist with "world fashion" in contemporary society. Eight fashion magazines were examined and the pictures of eigher Japanese or Vietnamese influences were identified. A total of 66 pictures for Japan and 5 for Vietnam were analyzed in terms of eleven characteristics on zero-to-three scales according to authenticity of each characteristic. The characteristics included shape, item, silhouette, color, material, textile print, decorative details, method of dressing, accessories, hairstyle and make-up. The results showed that textile prints and color of Japanese ethnic dresses, and item, silhouette and hat of Vietnamese dresses were most frequently adopted in modern fashion designs. These suggested that fashion world adopts the most distinctive and easy-to-copy characteristics of the ethnic dresses when the designers wanted to incorporate the styles of ethnic dresses.c dresses.

• Journal of the Korean Society of Costume
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• v.51 no.8
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• pp.141-157
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• 2001

It has been since 15 century when Ainu realized themselves as a race. Their folk culture had been formed with the effect of East-northern Asia and cultural exchange with Japanese through the northern trade during 17 -18 centuries. It can be ascertained from the typical festival food and clothing. clothing style and the ornaments of Ainu people. The basics of Ainu people are composed of an unfolding clothes which men and women had wort in one-piece style even though they had lived in the northernmost cold climate. Atousi is their typical clothing which had been made of the grass fiber. Ainu people had imported the old cotton clothes from the trading with the mainland roughly in the late E-do (late 18 century). Ainu's clothing is divided broadly into Aiusi and Moreu pattern. Ainu people had decorated their back, shoulder, collar, burial clothes, waist and hem by changing and mixing them. These are the expression of their desire to prevent themselves from the wicked plot or the devil. There is no similar Ainu patterns or skill in Kimono, while it is known to be rather related to the area of Amur River, Sakhalin, and the distant Mongolia. Therefore, the traditional pattern of Ainu should be the continental conception which had been skilfully shaped through the trading with the north adding the series of Ainu People.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.121-133
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• 2004

This study is about japanese national suit. women's standard dress, and mompe, which were used as a means of controlling people's life and simplifying people's clothing during the chinese-japanese war(1937) and the pacific war(1941-1945). National suit was a semi-military uniform for men and it was the western style suit composed of jacket, under shirt, and pants. National suit was not popular during the early war, but it became popular afterward. Women's standard dress had the two kinds of styles : the kimono and the western style. Women's standard dress was not popularly distributed. Instead, many japanese women wore mompe, the active wear of standard dress. Almost all of japanese women wore mompe by the end of war because of its practical use. The effects of national suit, standard dress, and mompe on the rapid westernization of postwar japanese clothing can be summarized as follows. First, national suit and standard dress contributed to the official acceptance of the western clothes as japanese daily clothes. Second, national suit, standard dress, and mompe changed the traditional view of japanese on clothing and caused the rapid westernization of japanese clothing with the high emphasis on the practical and functional use of clothing. Especially, as japanese women wore mompe as the outer garment, mompe affected the view of japanese on women's body and it served as an important stimulus to speed the westernization of japanese women's clothing.

• Fashion & Textile Research Journal
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• v.18 no.2
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• pp.194-206
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• 2016

This study analyzed jackets by Alexander McQueen that have always pleased customers with traditional tailoring via every season's collection. This study categorized and then analyzed jackets by components such as silhouette, jacket length, collar, lapel, sleeve, shoulder line, and closure methods. To achieve the research goal, the study referred to photographs of 501 jackets introduced in signature brand collections by Alexander McQueen between 1996 and 2010. The analysis results on McQueen's jackets with the general components of the clothes indicated that the frequency of traditional tailoring components (such as lapels, tight sleeves, natural shoulder lines, and a button closing method) was higher than the frequency of designs of dramatic, deconstructive patterns examined by previously-conducted research. This shows that Alexander McQueen was cognizant to the responsibilities as a tailor and the basics of tailoring when developing jacket designs. This study also confirmed how McQueen enjoyed adding exaggerated jacket design components by making various use of details that emphasize drastic shapes like the hourglass silhouette, wing collar (that covers the shoulders), peaked lapel collar, kimono sleeve, bell sleeve, crescent shoulder, and pagoda shoulder.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.140-151
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• 1999

This research was designed to study the different kinds of ancient patterns applied to the Korean traditional suit and the symbolism associated with these patterns being used the prevalent Han-bok collections in markets. The shapes and changes in the use of the patterns can be summarized as follows. The published collections in the last 5 years were specifically concentrated between 1996 and 1997, proving that the development in Han-bok designs was most active during that time. But the trend decreased due to the effects of a depressed domestic economy. The plant pattern was the most utilized pattern for practical purposes. It looks beautiful and it is also easily manufactured with open space. Symmetrical and linear arrangements make customers feel stable at sight and these patterns tend to attract public gaze resulting in increased sales. There is a problem whether to continue using the existing patterns of the Han-bok without any correction or whether to copy the pattern of the kimono or the western suit. Copying other patterns definitely hurts the elegance of the Han-bok. It is time for us to not only keep our own traditions but also to study and develop new patterns that are distinct from the Chinese and Japanese patterns. The following are suggested as the basic materials.

• Journal of the Korean Home Economics Association
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• v.26 no.2
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• pp.29-38
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• 1988

The shearing properties, which belong to the mechanical properties of fabrics, are most closely related to the appearnace of weared clothes, formation and feeling of wearing. And they are the elements which show the sense of touch, the properties of drape, folds and recoveryk curve foring, and keeping up formation. Sorts of 156 commercial skil fabrics and polyester fabrics of Korean make for women's cloth were tested for shearing propreties. All samples were classified into for summer and for fall and winter wear. Then shearing properties were measured by kawabata's evluation method. In this study shear stiffness(G) and shear hysteresis (2HG, 2HG5) of shearing prperties were measurd, then G/W and 2HG/G which are concerning to formation of weared clothes and trnsformatio behavior wre properties. The results obtained are as follows: 1. Silk fabrics were higher than polyester fabrics in G and 2HG. Thickness and weight of the fabrics for summer were a third to a half of those of the fabrics for fall and winter, but shearing properties were almost the same in the two types of the fabrics. 2. Fabrics for fall and winter were lower than fabrics for summer in G/W and fabrics for summer were lower than fabrics for fall and winter in 2HG/G. 3. korean women's silk cloth was much lighter than Japanese kimono cloth in weight but thickness and shearing properties were almost the same in the two types of the clothes.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• Journal of Fashion Business
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• v.13 no.3
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• pp.1-11
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• 2009

This study was intended to look into the actual status of using their own traditional clothes, by Korean and Japanese female college students, and to compare the differences of their perceptions about the traditional clothes of their own and the other countries, and thus to present the ways beneficial for Korean female college students to establish their positive recognition toward traditional clothes. For the study, the questionnaire method was used, by which a total of 375 sheets was collected; Frequency analysis and t-test were conducted with a SPSS 12.0 statistic program. The findings were as follows; Korean female college students, in comparison with their Japanese counterparts, owned less traditional clothes suitable and wearable for their body, and so they had a less number of wearing and renting experiences. In addition, they indicated a low level of realization about the suitability of traditional clothes to the wearers in their 10's, 20's and 30's. While they thought highly of their traditional clothes in the item of 'pride,' they had a low level of recognition in the item of 'knowledge,' and they considered the traditional clothes to be inconvenient. Korean college students revealed a lower level of favorable interest in the other country, but they had a higher level of evaluation for the items of 'design applicability' and 'popularity' than the Japanese college students did.

• Journal of Fashion Business
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• v.20 no.4
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• pp.1-14
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• 2016

Japan has several unique traditional colors. The traditional colors of Japan include a collection of colors used in traditional Japanese literature, textiles such as the kimono, and other Japanese arts. Japanese color system has a long history, leading to some consistencies in color and naming. During the Edo period(1603~1867), the unique color sense of 'iki' produced many color names that are often related to mouse(nezumi) and tea(cha), and fashion color originated as kabuki actors. As for colors named after animals, the most popular appears to be the mouse, which is used to express grey tones. Recently, many fashion companies in Japan have been working on reviving an interest in traditional Japanese colors. Ordinary people of Edo named even slightly different color tones, each with individual exquisite and mind valuing 'iki' senses. They translated these into their livelihood and culture. The colorimetry result of 49 restored dyed fabrics were as follows; Hue difference was 7.8, value difference was 2.9, chroma difference was 1.8 of prefix siro. Hue difference was 3.8, value difference was 1.6, chroma difference was 1.7 of prefix usu. Hue difference was 3.5, value difference was 1.5, chroma difference was 1.4 of prefix cha. Hue difference was 6.4, value difference was 1.1, chroma difference was 1.6 of prefix koi. Hue difference was 7.5, value difference was 0.8, chroma difference was 3.3 of prefix nezumi.