• Journal of the Economic Geographical Society of Korea
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• v.6 no.2
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• pp.257-292
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• 2003

The purpose of this study is to grope for some developmental strategies for traditional handicraft industry in Korean through focusing on its woodenware handicraft. Human beings built up the stone Age and also used the woodenware culture together with the stone culture. From the fact that there was a serious limit in preserving for the woodenware, the lacquered ware appeared. By dint of lacquering for a long time. The woodenware was used widely for an eating table during the Three Kingdom Period, the Koryo Period, and the Yi Dynasty. Since the 1960s it was declined as the cheaper stainless and plastics came in the market. But, for the woodenware handicraft as the traditional handicraft industry some developmental strategies in terms of governmental policies are needed.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.43 no.4
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• pp.11-22
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• 2011

Jeonji technique was widely used in general Hanji handicraft including Jihwa handicraft. But the technique itself has not been passed on. By contrast, Jiseung technique and Jiho technique have been passed on and continuously developed. And although the Huji technique has not been transmitted, it should be vigorously used as a technique of producing the frame in order to revive the authenticity of traditional Hanji handicraft. Jumchi technique, a method of using water to connect between layers, is an effective technique of diversely expressing the feel of materials of Hanji craftworks. Modern Hanji handicraft has used the characteristics of paper and paperboard diversely produced nowadays as much as possible, which shows that it is more likely to develop as handicraft.

• Archives of design research
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• v.20 no.1 s.69
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• pp.229-242
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• 2007

In Japan, a country renowned for her traditional respect for handicraft, superior craft techniques have been transmitted from generation to generation. Modern Japanese textiles reinterprete these traditional techniques in a new light and combine them with modern technology, to make modern Japanese industrial textile both futuristic and traditional simultaneously. This combining of new technology and handicraft serves as a reservoir for a remarkable diversity and originality in the development of new technology and design, and constitutes an important trend in modern industrial textiles. The aim of this study is to investigate the developmental background of Japanese textile industry that championed this trend to make the Japanese development unique in modern textile industries and to consider the concept of modern textiles as well as the structural innovation as represented by this new trend, thus contributing to the development of creative textiles for the present and the future. The findings of this study can be summarized as follows. The combining of new technology and traditional handicraft: 1) was made possible by Japanese consciousness that values traditional culture and by early recognition of advanced textile industry, which awarded new meaning and value to the traditional handicraft leading to an expanded social role for textiles. 2) helped construct a modern concept of textiles by pursuing textile media that are state-of-the-art, aesthetic, and highly sensitive to satisfy the requirements of modern industrial textile such as high quality, high performance, and high sensitivity. 3) enabled new design ideas and creation of new styles by implementing structural innovation in industrial textiles that involved diversification of expression, diversity in materials, and emphasis on texture. In short, by combining new technology and traditional handicraft, Japan came up with a new sense of aesthetics that is highly original and high level and with which the rest of the world can easily sympathize, thereby presenting one of the most important guiding principles for future textiles.

• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.686-693
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• 2022

The rapid development of the fashion industry in contemporary society has also caused various problems such as environmental pollution, material excess, and spiritual poverty. Accordingly, traditional Chinese Taoist aesthetics can solve the spiritual poverty that people are facing today, and the spiritual pursuit of returning to innocence. This study focuses on the works of first generation Chinese designer Ma Ke as an example to discuss the embodiment and application of Taoist aesthetics. The results are as follows: First, Ma Ke's works emphasize the value of handicraft through traditional handcrafting and natural fibers, which reflect the beauty of simplicity and the non-action of Taoist aesthetics. Second, the works acknowledge nature by using natural materials and retaining their original appearance, which embodies Taoist aesthetics of the beauty in non-action and living in harmony with nature. Third, the collections reflect a critical attitude toward the fashion industry and consumer culture by rethinking consumerism and advocating environmental protection, thus propagating the beauty in simplicity and the harmonious life with nature in Taoism aesthetics. In conclusion, Ma Ke's designs incorporating sustainability and handicraft exhibit the core features of Taoist aesthetics, including the beauty in simplicity, non-action, and living in harmony with nature while exploring the relationship between modernity and tradition, man and nature, and handicraft and fashion. This research can contribute to understanding Ma Ke's works in promoting critical thinking about the fashion industry through Taoist aesthetics.

• 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.

• Fashion & Textile Research Journal
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• v.12 no.3
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• pp.257-264
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• 2010

In the modern Society, the human's way of thinking as well as the new cultural creation has been changing by bringing on a change rapidly. The moderns are demanding humanity and the new cultural cretion through the exchange between the old things and new things by setting material before everything else. The latest trends of today had an effect on the fashion Illustration, a new art category, which gives a new image. This report of research has a purpose which expresses korean images by connecting the korean tradition style to the modern fashion. And we are concerned about the national culture and tradition with the international stream. For this reason I studied these for the purpose of expanding expression area of sewing techniques by applying to fashion Illustration expressing handcraft techniques by natural beauty improving the modern and traditional images, updating, and succeeding to tradition. As the way of studying and contents, I referred to the inside and outside of the country's literatures, these, publications, magazines, or the internet sufing. Firstly, as the theoretical study, I studied a conception and history of the fashion Illustration. I studied the theoretical background of the sewing techniques through the histories, tools, and techniques. The theoretical background of the sewing handicraft is studied through the colors, patterns, materials and sorts. I also and indicated the various works by the domestic designers.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.1-13
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• 2014

RP(Rapid prototyping) technology is widely used to reduce the cost and cycle time of new prototypes in industries as new product development cycle time currently shortened and the voice of customers also become to be diversified. In this study, RP skill used in making jewelry products was adapted to develop the metallic inlaying base of traditional handicraft products as the significance of CAD/CAM technologies was increased. The RP technology showed that it helped the handicraftsman to cut the groove for inlaying metalic wire more easily, uniformly and diversely than conventional handicraft technique in making the groove with undercut shape. Therefore this study showed that RP technology applied for the metalic inlaying base achieved more elaborate, intricate and uniform patterns, not depending on craftsmanship, compared with conventional handicraft skill in terms of quality, cost and delivery.

• The Research Journal of the Costume Culture
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• v.14 no.4
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• pp.670-683
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• 2006

Such trend offers new fashion designs as a formative art with creative spontaneity. The purpose of this study is to seek to work out fashion design methods whereby fashions can be developed into an art form embracing handicraft premium textures, geometric formativeness and traditional beauty so as to satisfy the individualist expression desires of modern people who pursue practicality, originality, and beauty of simplicity. This art form also allows new images to be expressed. The corresponding methods studied include the space and technique of patchwork that can create artistry and aesthetic functionality into differentiated levels of images, and geometric ion from Mondrian' works. Fashion designs based on patchwork technique and the characteristics of Mondrian's works reveal that the patchwork technique using diverse materials is an artistic technique with high handicraft value. This technique provides new value to traditional aesthetic materials of clothing, and that Mondrian's unique designs are very effective in developing new fashion designs because they provide artistry and unique effects to modern fashion expression.

• Journal of the Korean association of regional geographers
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• v.21 no.1
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• pp.79-97
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• 2015

Regional specialty products should be representative of the regional characteristics for a long time, this was not done for geographical research. This study examines current the regional specialty products on 12 web-site of the cities counties in 2013 and the products registered on the Tosan(土産) category from old Jiriji(古地理誌) in Chungcheongbuk-do. Futhermore, the study analyzed periodical change and regional distribution characteristics of regional specialty products. Major findings are as Follows. First, current the regional specialty products types are 4 products(crops, marine products, forest products, livestock products) and 3 manufactures (processed food, handicraft, cosmetic products). Among the regional specialty products, various crops and processed food were distributed in all the regions. Second, the traditional products types are 5 products(crops, marine products, forest products, livestock products, mineral products) and 1 manufactures(handicraft) that registered on the old Jiriji in the Joseon Dynasty period. The jujube, ginseng and honey were cultivated in the most regions. Third, the traditional products types are 4 products except for marine products and 1 manufactures(handicraft) that registered on the old Jiriji in the period of Japanese colonial rule. Its total item numbers of the regional specialty products are greatly decreased, but items of handicraft relatively increased in the Danyang and Goesan regions. Finally, regional analyzing of current local items shows that there are only a few regional specialty products(18 items) that have historical traditionality.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.533-557
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• 2023

Implementing a rural revitalization strategy will help spread traditional culture and promote the sustainable development of traditional handicrafts. Batik is a traditional handicraft made by residents in China's minority areas in their daily lives. This study was conducted because of a lack of objective methods for evaluating related project plans. This study was conducted to develop an index for the sustainable development of functional traditional batik production. This study had three major parts. The first part was a literature review that investigated sustainable and traditional batik dyeing and a field investigation carried out in Shitou Village, Danzhai County and Danzhai Paimo Village, Anshun, Guizhou to identify the factors that influence traditional batik production. The second part identified the factors identified in previous research that affect sustainable, traditional batik production and the projects executed to do the same. The third part was a survey conducted using the Delphi method. The results were analyzed, producing 10 influencing and 23 detailed factors that affect traditional batik production. Future research in this area should draw on various disciplines, investigate the direction in which traditional batik production is developing, and determine how to promote the sustainable development of other traditional handicrafts.