• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.299-320
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• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.72-79
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• 2024

This study focuses on combining traditional craft lacquer thread sculpture and augmented reality (AR) technology to develop digital educational content. In this way, we not only make it easier and easier for children to learn and understand the traditional craftsmanship of lacquer thread sculpture, but also finds a new direction for traditional craft education. First, through literature research, the production process of traditional craft lacquer thread sculpture is summarized. Through an in-depth understanding of traditional craft lacquer thread sculpture, it provides a theoretical basis for subsequent AR digital content development to achieve educational goals. Next, we used AR technology to design and produce the digital content of the traditional craft lacquer thread sculpture. This study proposes the application of AR technology and the design and production methods of digital content. It is hoped that the methods and experiences we have proposed will not only provide reference for the development of similar digital content in the future, but also provide new educational methods for the inheritance of traditional crafts.

• Journal of the Korea Furniture Society
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• v.24 no.4
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• pp.389-399
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• 2013

This study focuses a comparison of Korean and Western Furniture culture on traditional cupboard terms to make the people understand and distinguish the form of the various Korean and Western cupboard made by the craftsmanship before the industrial Revolution. As the result, the Korean cupboard shows Kangwon Chanjang/cupboard, Gyeonggi Chanjang/cupboard by the local name, dwiju Chanjang/cupboard, three-tiered Chanjang/cupboard, four-tired Chanjang/cupboard, two-tiered Chantak/cupboard, three-tiered Chantak/cupboard in the terms of the form. Korean cupboards are called Chanjang and Chantak. The Western cupboard shows cupboard, buffet, livery cupboard, cupboard-bed, corner cupboard, court cupboard, turkey-breast cupboard, pot cupboard, press, press cupboard, hall cupboard, sideboard, hunt sideboard, huntboard, cabinet, corner cabinet, writing cabinet, art cabinet, china cabinet, dresser, safe, meat safe, wall closet, wall cupboard, hanging corner cupboard, food cupboard in the terms of the various forms.

• International Journal of Costume and Fashion
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• v.12 no.1
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• pp.83-95
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• 2012

This study aims to develop the 21st century eco design-based fashion products by examining Taller Flora products and presenting eco design approaches. Eco design terms were examined based on literature, and Taller Flora products were explored based on literature and websites. The following research issues were discussed. First, eco design terms are totally handled, thus defining the eco design. Second, eco design-oriented Taller Flora products are examined to explore design approaches. Eco design aims to conserve and heal the global environment with focus on a greater understanding of and interest in nature. As such, eco design is based on a new modern concept of aestheticism that seeks to minimize environmental damage caused by the three processes of production and distribution use and disposal, to take social and moral responsibilities for such activities, and to avoid hurting the environment. Taller Flora brands seek to produce products by keeping close ties with indigenous communities in various nations, and by emphasizing and embracing indigenous people's craftsmanship spirit and creativity Indigenous people use eco-friendly materials and produce products with craftsmanship spirit, and their cooperation by linking different cooperative networks is a good model for strengthening fair trade networks. These addresses the problem of expanding design work through traditional crafting. Therefore, the features of Taller Flora brands presented a new method to approach the eco fashion. The research findings are expected to help develop the eco design of fashion products.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.10 no.8
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• pp.3925-3942
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• 2016

Like natural climate change on the planet earth, the climate in software development environments is also changing (fast). Like the natural weather, the software environment is also disruptive. As the climate experts alert and suggest taking necessary measures to overcome certain challenges to make this earth a safer and comfortable living place, likewise this article also alerts the relevant stakeholders of software craftsmanship about the dynamic challenges that traditional Software Engineering (SE) with purely "Engineering mind-set" is not capable to respond. Hence, some new thoughts to overcome such challenges are shared. Fundamentally, based on the historical evidences, this article presents the authors' observation about continuous shift from traditional "Engineering-based" software development approaches to disruptive approaches - "Vibrant Softology". The authors see the cause of this shift as disruptive transformational force, which is so powerful that it is uncontrollably diminishing the "Engineering-based" approach from software development environments. The authors align it with climate change analogy. Based on this analogy, the authors feel the need to theoretically re-coin the notion of SE to some new term; perhaps Vibrant/Dynamic Softology (VS or DS). Hence, the authors suggest "a new (disruptive and dynamic) way of thinking is required to develop software". It is worth mentioning that the purpose of article and this new theory is not to disparage the notion of software engineering altogether, rather the aim is to highlight the importance of transformation from SE to its next level (perhaps VS/DS) due to the emerging needs in the software craftsmanship environment.

• Korean Journal of Heritage: History & Science
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• v.48 no.1
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• pp.96-131
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• 2015

Hanji(Korean traditional paper) is a valuable cultural heritage highly praised, even to this date, for its importance and technology by craftsmanship of our ancestors; it is a product of a combination of craftsmanship, well-established technologies, natural paper mulberry fiber and eco-friendly and durable natural materials and mucilages. Origin of the word 'Hanji(Korean traditional paper)' is from handmade paper made of bast part of the paper mulberry; as paper manufacturing with paper machines introduced in Japan was adopted in late Joseon, paper produced previously was called 'Hanji' and paper produced with western machines was called 'Yangji(machine made paper)'. Hanji has been called by many different names and used in various ways according to materials and production methods; and the functions varied. Hanji, from the era of three states to Joseon era, has been praised for its unique and excellent quality in three Asian countries(Korea, China and Japan); its unique excellence continues to this date in many paper-related national cultural heritages. Also total of 11 cases are registered to UNESCO Memory of the World for its importance, 8 of which are associated with traditional Korean paper: Hunminjeongeum, the Annals of the Joseon Dynasty, Jikjisimcheyojeol, Seungjeongwon Ilgi, the Royal Protocols of the Joseon Dynasty, Donguibogam, Ilseongnok and A War Diary. To examine excellent characteristics of conservation science in Hanji, many studies have been developed. By developing analysis and manufacturing technologies, the excellence of our Hanji should be re-verified scientifically and the tradition should continue as one of the representative Korean cultural heritages.

• Korean Journal of Heritage: History & Science
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• v.45 no.4
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• pp.104-113
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• 2012

Traditional weaving crafts has the history, environment and lifestyle of country where the country is located. Thus it has been an regional industry because it has the representation of country due to a long history. However it has faced a threat which comes from lifestyle changes. Therefore a law on the protection of traditional weaving crafts was established and took action to protect weaving crafts. It was played importantly as protection system on weaving crafts. But traditional weaving crafts was a regional industry from long time ago, accordingly we need to think as not only cultural heritage but also crafts industry. This study will demonstrate how sustainable as designated cultural heritage and traditional crafts industry with case of Ojiya-chijimi and Echigo-jofu (Japanese traditional weaving crafts).

• Journal of Engineering Education Research
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• v.22 no.5
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• pp.49-55
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• 2019

Folded structure is widely applied in various engineering fields. Many of the Japanese folding fans in the Edo era (1603-1868) have been successfully blended with the processing technology of "natural materials" that is the origin of Japan's "Monodzukuri" (craftsmanship) and its application "artistic originality". The charm of a fan lies in the diversity of stereoscopic expression not born in plane representation. For example, the effects of folds, the expression of the front and back sides flowing from the front to the back by double-sided description, and the two-layer effect of raising the backside from the surface using the permeability of Japanese paper, the calculated depiction are also seen. Moreover, by handling the fan, it also produced an illusion effect which skillfully calculated the change due to movement of the viewpoint. Students experience the natural materials such as Japanese paper, bamboo and starch paste, which are the materials of paint and fan at the time, and processing method, and know the difference with the current one. This study is to verify the effectiveness of engineering education which gains experience by making concrete fans and to understand deeply this traditional technology with the artistry of a Japanese fan at the same time. And we can learn from the characteristics of the fan to Japan's history and culture.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.181-189
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• 2010

Crafts in our country designated as an Important Intangible Cultural Property. Are protected, but not being utilized less than in everyday life. But now that the culture industry has important strategic and cultural factors that influence the competitiveness of the industrial era was. So on the activation of traditional crafts growing interest and demand, but the nature of traditional crafts are still several issues that are faced. Of course, for the protection and industrial policies and institutional mechanisms, but not without a very negative and is weak. Therefore, preservation of traditional crafts and industrial use of the technology to effectively carry out two tasks have the policy should be sought from every angle. In this study, the kind of important intangible cultural heritage of the traditional craft techniques from various angles by category, by systematically analyze the characteristics of modern man with the utilization of real-world craftsmanship with the highest tradition of finding and preserving traditional craft skills in the limit popular and can be out of the technology industry as a potential development is proposed.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.231-237
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• 1997

One of the clearest reactions against Modern architecture, and its planning ideology of comprechensive development, was the neo-Regional movement which arose at more or less the same time in serval countries. In the mid-fifties architects in Mexico started to design architectures which mixed vermacular and Modern methodology to recall traditional buildings. This popular alternative to Modernism had caught on in Mexico by the recent to become the accepted approach for the most regional building built by the Mexican architects. The regional architecture provided the continual activity, safety and economy of traditional life which was lacking in so many Modern building, while the these ages provided a cultural continuity. Anonymity of craftsmanship, but personalization of each building; enclosed wall of strong color, wide inward opening, but flat roof; emotional layouts and poetic outdoor water space, but variable massing; as it the buildings had been constructed over several years-these were the contradictory signs of neo-Regionalism. The Regional architecture has direct reference to human inhabitation and use, and it embraces mystery, poetic sense, a quality we are losing in Modern life. There is a freedom from rules, which shows up especially in an insouciant use of color, just for fuv.