• Journal of Fashion Business
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• v.3 no.1
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• Journal of the Korean Society of Costume
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• v.36
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• pp.219-238
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• 1998

For the purpose of this Study, the situation of Korean costume properties in the collection of overseas museums was investigated through correspondence, interviews with their curators and persons in charge and survey. As results were made about the situation of museum science (conservation) and practical utilization of costume properties. So, the study result were drawn as follows : Krean costume properties unexplaind of 'Korean cultural Properties' could be found in the Metropolitan Museum of Art of New York(135 pieces), the Brooklyn Museum of New York(20 pieces), the Newark Museum of New Jersey(15 pieces), and the Victoria Albert Museum of London(100 pieces). Korean costume properties in the collection of over-seas museums mostly fall under the rang of period between the 19th century and the early 20th century and are classified into everyday clothing, wedding costume and armors for the most part. In 1900s, museum in several countries began to collected Korean cultural properties through foreign missionaries or diplomats as well as merchants or travellers in who bought Korean objects. Recently, scholars, traditional Korean costume designerss and diplomatic and consular offices in overseas have donated our Korean costume to many foreign museums. Korean costume properties were largely on display in the dependent display of folklore museums or in a part of exhibition gallery for Asian culture and there were the separate exhibition rooms in museums in the United Kingdom, Germany, Denmark, Austria, Japan and the United States America. But the size and level of display room for Korean cultural properties is one third as large as that for chinese or Japanese cultual properties. It was found in this study that the traditional Korean costume in the collection of overseas museums was largely recorded only as general items rather than given their proper names. The typical example of misnaming included bridal's Kimono for Wonsam(원삼) in the Metropolitan Museum of Art, Yeonroksaek-bumunsajeokori for Dangeui(당의) and Jissan-gryongwonmunsadurumagi for Kongdali(동달이) in the Okura collection of the Tokyo National Museum, and so on. And the Victoria Albert Museum modified the way of wearing Daenim(대님) and the National Museum of Ethnology in Osaka seemed to misplace the ornament of Keanggi(댕기) on Mubok(무복) and Josunjuk(조선족: Chinese-Korean) Museum also misplace hansam(한삼). On the one hand, the Newark museum of New Jersey mixed Chinese armor with the Korean one and the Photohraph of King Kojong(고종) with Chinese one. It is corrected to publish and disseminate the book concering Korean costume in order to inform foreign museums of thed proper names and wearing method of our traditional costumed. The repair of costume before cleaning in the process of conservation treatment can prevent damage likely to occur as the properties of fiber itself are weakened in liquid. It is recommended that western 8-figure stitch and tacking stitch is added to Korean traditional stitching method. Museums in the U.S.A and the U.K are concerned about the aftermath of cleaning it-self, specially conservation treatment may exert on remains and predominantly use the vacuuming method to remove dust or bits of straw before the exhibition beings. But in case of Korea, the dry cleaning and wet cleaning method are used according to the nature and state of a sample costume. This comprehensive cleaning method is gradually developing scientifically but it is expected that those concerned will make a chemical analysis of the solvent to be used and also the more precise test of costume properties will be conducted before cleaning them. A partial study was made here because the scope of study was too broad and vast. It is expected that more studies will be conducted concerning our costume culture under the long-term plan and active support at the government level.

• Journal of Fashion Business
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• v.2 no.3
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.3 s.151
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• pp.378-385
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• 2006

To release fashion trends in an efficient way, many of the apparel business and fashion educational institutes in land adopt fashion shows employing fashion models. Modeling rather than flat pattern making realizes the majority of the complicated design works for the fashion shows. However, for the different measurements between the dress form and the real human model, problems often occur during the modeling and fitting processes. Researches on the standard dress form development representing professional fashion models' features are therefore in urgent need to enable the related apparel business and fashion institutes to make appropriate use of the dress form in their jobs. The study has been conducted as a preliminary study using a questionnaire method ultimately to develop the female dress form. A questionnaire in the research aimed at an investigation into the actual conditions of and satisfaction with the usage and the body measurements of existed dress forms. Approximately 30 fashion-related educational institutes and 10 apparel companies responded to the survey. Data derived from the survey was analyzed using SPSS version 10.1, the statistics tool. The results throughout the research were discussed in terms of largely three categories that are; (1) the general conditions of the usage of the dress form to prepare fashion shows: e.g. the frequency of holding the fashion show in an annual term, the proportion of professional and amateur models employed for the fashion show, the methods to construct garments, types and number of dress forms utilized and etc.; (2) factors considered to purchase the dress form e.g. its functionality, shapes, sizes, duration, price, A/S condition and etc.; and(3) satisfaction with the similarity between the dress form and the human body in the relation to the body measurements. Measurements in length wise, front and back waist lengths, neck to bust point on the dress forms were apparently differed from the ones of the actual body. In particular, differed torso length measurements cause the problem to have to alter the whole silhouette, consequently, the resultant patterns as well. In girth measurements, in order of bust and waist girths, the satisfaction was low.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1595-1607
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• 2005

Three-dimensional(3-D) body scanners used to capture anthropometric measurements are now becoming a common research tool far apparel. This study had two goals, to test the accuracy and reliability of 3-D measurements of dynamic postures, and !o analyze the change in upper body surface measurements between the standard anthropometric position and various dynamic positions. A comparison of body surface measurements using two different measuring methods, 3-D scan measurements using virtual tools on the computer screen and traditional manual measurements for a standard anthropometric posture and for a posture with shoulder flexion were $-2\~20mm$. Girth items showed some disagreement of values between the two methods. None of the measurements were significantly different except f3r the neckbase girth for any of the measuring methods or postures. Scan measurements of the upper body items showed significant linear surface change in the dynamic postures. Shoulder length, interscye front and back, and biacromion length were the items most affected in the dynamic postures. Changes of linear body surface were very similar for the two measuring methods within the same posture. The repeatability of data taken from the 3-D scans using virtual tools showed satisfactory results. Three times repeated scan measurements f3r the scapula protraction and scapula elevation posture were proven to be statistically the same for all measurement items. Measurements from automatic measuring software that measured the 3-D scan with no manual intervention were compared with the measurements using virtual tools. Many measurements from the automatic program were larger and showed quite different values.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.66-83
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• 2018

This article focuses how the materials of hatstrings of the 19th to 20th century gat, the Korean top hat for men among the collections of National Folk Museum of Korea, was transformed after port opening treaties with overseas since 1876. As a result of analyzing the materials of the hatstrings, amber, tortoiseshell, wood and bamboo as the traditional materials were used, and ivory, glass (soda glass, lead glass, alkali mixed glass) and plastics (cellulose nitrate, phenol-formaldehyde, polystyrene, acryl) were newly used for the hatstrings. Bamboo, wood and amber were the most frequently used materials. Bamboo was mainly used for the pipe of hatstring and were combined with beads and central decorations of other materials. This shows the trend of bamboo hatstring according to the simplification of the clothing and the culture by Regent Heungseon Daewongun. Ambers were used in the central decorations and beads and the origin of ambers was baltic amber just like the amber relics found in Korea. Compositions of glass were soda glass and alkali mixed glass which were excavated or handed down in Korea from ancient times to Joseon dynasty. But in the case of lead glass, Na2O was detected and it is considered to be a new type lead glass for crafts which came from overseas after port opening since 1876 because it showed the characteristic that it deviates from the lead glass component found in Korea. Plastics such as cellulose nitrate and phenol-formaldehyde were used as new synthetic materials to replace traditional materials such as tortoiseshell, amber, and coral as in the West. Cracks, crazing, crumbly and yellowing of cellulose nitrate of hatstrings were observed by deterioration. The survey of the materials of the 19th to 20th century hatstrings among the collections of National Folk Museum of Korea showed that the introduction of new materials such as glass and plastics were used to replace natural materials such as tortoiseshell and amber along with the use of traditional materials after port opening since 1876.

• Journal of the Korean Society of Costume
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• v.1
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• pp.119-129
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• 1977

It is significant for developing the future for us to know our present age. In order to preserve our Korean costume as a fola clothes retaining our distinguished independent characterisitics and to help design the tomorrow of our Korean costume playing a role as a racial to develop the world clothing culture, a survey was conducted to investigate modern people's conscious-ness and wearing practumes of Korean costume by questionaire and interviewing methods. The results of the survey were analyzed as follows: (1) At present, Korean costumes were purchased as customtailored(64.0%) and as ready-made(17.8%) and most of them were not made at individual homes. The laundry and ironing of them were carried out at laundry shops(68.8%). Considering our present economic, social and cultural aspects, sowing, laundryand ironing will not be carried out at homes again in the future and ready made costumes seen to be produced in a large scale in the future. Garment makers and laundry shop operators should be trained how to make our Korean costumes retain our traditional beauty in the course of their production and laundry and the makers of ready-made costumes must make research how to efficiently produce ideal ready-made costumes by adopting the synchro system in their wrk odisivion. (2) The age group wearing Korean costumes most frequently was the aged people over 60 (their wearing rate; 45%-50%) and the group wearing them most frequently next io the aged people over 60, was housewives(their wearing rate; 15%-20%). Excludign aged people and housewives, other respondentsdid not wear Korean costumes very frequently. Men's wearing rate was lower their wearing rate was the younger their ages were and the less their monthly incomes were. Korean costumes were used for holiday and festival(60%), wedding and funeral ceremonies (52%), visiting and working(22%), casual wear(12.8%) and home wear(9.2%). The use of Korean costumes as casual and home wears, was lower than the use for holday, festival, visiting and working, Under our present circumstances in which our Korean people use both Western style clothes and Korean costumer, our Korean costume has lostits position as a basic and necessary requiement in Korean people's daily life and become a ceremonical and fancy costume. It is natural that the times and life change everything in our daily life. Our costume has to be made as good ceremonial and fancy clothes satisfying modern sensibility according to its new role. In order for us to get close with our clothes, a keen study must be carried out to cleat the color, material, style, function and harmony of the Korean costume matching the of the times. (3) The 47.8% of the respondents answered that they were proud of our Korean costume as our folk clothes, 47.6% replied that thought them just common and 1.1% responded that they were ashamed of it. Most of them were affirmative in feeling pride with our Korean costume. (4) Considering the functional aspect of Korean costumes, their strong points were symetric beauty, rhythmical beauty, unity feeling, harmonical beauty and detailed decorations. Their common shortcomings were lack of individuality and inadequateness for active life. The shortcomings of woman costumes were suppressing breast, making resperation difficult and in adequnteness in summer time. The main reason not to wear our Korean costumes, was due to the fact that they are incomvenient for active life. As a measure to eliminate such shortcomings, 1) the suspension system of skirt to remove the suppression of breast should be generally adopted. 2) they should be simplified in their structure to make them convenient for active life and adepuate in wearing them in hot weather in an extent to which the traditional beauty of the costume may not be lostand 3) a new technique must be explored for showing individuality by wearing method and new arrangment of colors and decorations. (5) The reasons desiring to wear Korean costumes were classifide as follows: A. Korean costumes are our traditional clothes(43.4%). B. Korean costumes are noble and beautiful(26.8%). C. They are accustomed to wear Korean costumes by habit(19.5%). D. Korean costumes are necessary for attending ceremoneis(9.5%). E. Miscellaneous reasons(0.8%). Classifying these reasons into age groups, the high age group over 40 wore them because they were easy to wear by habit and the low age group of 10-30 never thought that they were east to wear by habit. Considering that even those who were accustomed to wear Korean costumes showed a low wearing rate and that the young generation were accustomed to wear Western style clothes rather than Korean costumes, the wearing rate of Korean costumes will be reduced in the future if such trend continues. It is urgent for us to make our best efforts in order to enhance the interest of young generation in Korean costumes and not to make them lose the strong points of Korean costume in the future. (6) Conicering the plan of the respondents on what kind of clothes they were going to wear in the future, among the age group over 50, those who wanted to wear only Korean costumes were 24.8%(men) and 35.1%(women), those who wanted to wear 49.7%(men) and 47.4(women), those who wanted to wear chiefly Western style clothes were 20.7% (men) and 14.4%(women) and those who wanted to wear only Western style clothes, were 2.4% (men) and 2.1%(women). This shows that the general tendency to wear only or chiefly Korean costumes is more prevalent than that to wear only Western style. Among the age group under 50, the tendency to wear Western style clothes was conspicuous and most of the respondent answered that they would wear chiefly Western style clothes and Korean costumes occasionally. Only 5.4% of the respondent answered that they would wear only Western style clothes and this shows that meny respondents still wonted to wear Korean costumes. Those who wanted their descendants to wear what they desire, were 50.1%(men) and 68.8% (women) and those who wanted their descendants to wear Koran costumes occasionally, were 85.8%(men) and 86.3%(women). This shows that most of respondents wanted their descendants to wear Korean costumes. In order to realize, it is necessory for us to make ourdescendants recognize the preciousness of our traditional culture and modify our Korean costumes according to their taste so that they may like wearing them.

• Economic and Environmental Geology
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• v.35 no.4
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• pp.325-337
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• 2002

We examined the contamination of stream water and stream sediments by heavy metal elements with respect to distance from the abandoned Backun Au-Ag-Cu mine. High contents of heavy metals (Pb, Zn, Cu, Cd, Mn, and Fe) and aluminum in the waters connected with mining and associated deposits (dumps, tailings) reduce water quality. In the mining area, Ca and SO$_4$ are predominant cation and anion. The mining water is Ca-SO$_4$ type and is enriched in heavy metals resulted from the weathering of sulfide minerals. This mine drainage water is weakly acid or neutral (pH; 6.5-7.1) because of neutralizing effect by other alkali and alkaline earth elements. The effluent from the mine adit is also weakly acid or neutral, and contains elevated concentrations of most elements due to reactions with ore and gangue minerals in the deposit. The concentration of ions in the Backun mining water is high in the mine adit drainage water and steeply decreased award to down stream. Buffering process can be reasonably considered as a partial natural control of pollution, since the ion concentration becomes lower and the pH value becomes neutralized. In order to evaluate mobility and bioavailability of metals, sequential extraction was used for stream sediments into five operationally defined groups: exchangeable, bound to carbonates, bound to FeMn oxide, bound to organic matter, and residual. The residual fraction was the most abundant pool for Cu(2l-92%), Zn(28-89%) and Pb(23-94%). Almost sediments are low concentrated with Cd(2.7-52.8 mg/kg) than any other elements. But Cd dominate with non stable fraction (68-97%). Upper stream sediments are contaminated with Pb, and down area sediments are enriched with Zn. It is indicate high mobility of Zn and Cd.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.2 s.38
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• pp.77-87
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• 1991

The purpose of this study were to investigate the bed climate and the physiological responses in sleep on the traditional Korean floor heating system called Ondol. Ondol has been the most widely used heating system in Korea, yet there has been a no systematic studies examined its environmental effects on human body. Experimental room was constructed to match the typical thermal environment of Ondol. (floor surface temperature; $32\~33^{\circ}C$, air temperature; $22.5{\pm}1.0^{\circ}C$, relative humidity; $64.0{\pm}4.0\%$RH, air velocity; 0.25 m/sec.) Three different combinations of bedclothes were chosen for the experiment based on the study results showing that they were the most widely used types in Korea. Type 1 was the combination of a cotton-padded mattress with a cotton-padded Korean style blanket. Type 2 was a cotton-padded mattress with a cotton-guilted Korean style blanket. Type 3 was a cotton-padded matless with a polyacryl blanket. Thermal resistance of each of these combina-tions in the bedclothes was measured using thermal manikin. Two adult female was chosen for the seven hour sleeping experiment which was known to be the average sleeping hours of Korean adult female. The bed climate was measured with the temperature under the mattress, the surface temper-ature of the mattress, and the air temperature and the relative humidity of the space between the mattress and blanket. The skin temperature, rectal temperature of the subjects and the bed climate were measured eight times, one hour before the experiment and every hour during the experiment. The weight loss and the subjective sensation were measured for the each subjects before and after the experiment. The procedure was repeated twice with two subjects and three types of bedclothes, yielding twelve combinations of results. The results were as follows; 1. With the surface temperature of $32\~33^{\circ}C$ of Ondol, air temperature was $22.5{\pm}1.0^{\circ}C$ with $64.0{\pm}4.0\%$ RH. The bed climates were $39.2{\pm}40.8^{\circ}C$ under the mattress, $35.3\~36.2^{\circ}C$ on the mattress, and $26.9\~32.0^{\circ}C$ with $56.0\~71.3\%$ RH between the mattress and the blanket. 2. Mean skim temperature during sleep was 34.2"C with local skin temperature of $34.0\~35.5^{\circ}C$. The skin temperatures of abdomen, thigh, foot were higher than the other parts of the body. 3. The skin temperature of chest, thigh, leg and back varied significantly according to the combinations of bedclothes. With the cotton-padded blanket, the skin temperature was the highest, while with the cotton-guilted blanket showed lowest. 4. Examining the relationship between the mean skin temperature and the local skin temper-ature, the chest temperature showed the highest correlation with the former. Therefore, the chest temperature can be recommended to represent the skin temperature in measuring the bed climate. 5. The subjective bed climates were $39.0\~40.4^{\circ}C$ under the mattress, $35.2\~35.9^{\circ}C$ on the mattress, $29.8\~31.6^{\circ}C$ with $56.8\~68.4\%$ RH between the mattress and blanket. In sum, from this experiment we not only obtained the reliable value of bed climates on Ondol, but also showed that the bed climates and the physiological responses were affected differently according to the materials of bed clothes.

• Archives of design research
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• v.20 no.1 s.69
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• pp.287-296
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• 2007

Since the beginning of the 20th century, the art has developed its artistic qualities in exercising an influence on the creative elements of the fashion. In this sense, the fashion is one of many methods of which given time's arts, their compositions, and elements can be expressed, recognized, and experienced. In this study, artworks of Roy Lichtenstein, who took the leading, active role of pop artist have been studied. The purpose of this study is to present practical application of the art and aesthetic and artistic application of clothing by studying and applying the factors of Roy's paintings. The conclusion through actual designing is as follows: First, Lichtenstein interested with the characteristic of print media. He combined the image of commercial technique with the traditional painting by using Ben-day dots. Second, he reduces his form and color to the simplest possible elements. Third, by applying Lichtenstein's works to fashion design, we can make creative and aesthetic fashion works. Fourth, his Ben-day dots and stripe was applied to variant dots and stripe pattern in the fashion design. Roy Lichtenstein is expected to continually affect modern fashion and also fashion of the future. Furthermore Lichtenstein's works are expected to be further studied under various methods and ways, and those aesthetic characteristics would be developed and expressed more in fashion design under various perspectives.