• 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 Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.39-47
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• 2008

Korean embroidery is the long historical industrial arts of real life and has handed down Korean sentiment up to now. Korean traditional embroidered pattern is designed to wish someone's health and luck, who uses the embroidery on the clothes and the goods in real life. Especially, the ten longevity symbols' design is represented as 10 which means perfection in oriental philosophy, the sun, mountain, cloud, water, crane, rock, turtle, pine tree, the elixir of life and deer; these 10 symbols show how ancient Korean believe and wish perpetual youth. However, fiber material used embroidery relic has difficulty in preserving for long period compared to other relic descended from historical events for long time and their preserved state isn't so good owing to have been used directly in the real life. Therefore, it is essentially embossed to preserve the embroidery relic and pattern, and make DB for the data. With preservation of the pictures about the handicraft, it's necessary to preserve embroidery technique and make DB through digital imagination. Through the process, we can apply Korean embroidery image to cul-duct package and digital image related field, and it will be helpful to make the tradition popular. In this study, through the research for the embroidery technique applied pattern on the embroidery relic of ten longevity symbols, we'll establish the cultural identification of Korean embroidery image and then develop a worldwide Korean image.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.90-103
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• 2012

Felt, is one of the Korean traditional woolen fabrics, that is thermally excellent and durable, so it has been widely used for various living goods from the ancient time to the modern society. Felt makes various changes in colors and shapes, does not change easily even after a long-term use, and is easy to clean. In this study, the origin and history of felt were researched. Also, different kinds and shapes of felt and the currently used manufacturing technique, and how the Korean traditional pattern-applied cultural products were developed using felt were examined as well. The method of this study were as follows. First, felt manufacturing techniques used after investigating the precedent studies, books, records and literatures of museums, the existing relics of felt were examined. Second, the conditions of the traditional pattern-applied cultural products were found out through the precedent studies after examination of kinds and symbols of the Korean traditional patterns. Third, patterns that were applied to cultural products were selected and designed with new patterns. Fourth, the past techniques were conducted with the following three methods by referring to the range of cultural products manufacturing; )color felt made with one color, pattern felt, and pattern-embroidered felt. Fifth, the following products combined with decoration and practical application by applying felt techniques were used. This study was aiming at the development of practical cultural products made with the traditional wool, felt, which can receive a good response from all age groups. It is allegedly required to develop various cultural products through studies and the rediscovery of the national traditional materials. In the future, it is necessary to study in such a way that diversification and differentiation are made through approaches and attempts with various techniques.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.75-86
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• 2004

This study aims at considering and analyzing the stature of denim clothing as an ornament as well ai how aesthetic meaning and human being's mental side indwell in the development of denims. which will be proceeded in the future, from the view of contemporary culture of dressing. It is found that the stylishness expressed through denim clothing is formed on the basis of the cultures of party, drawing and disorganization, and the result of the study was as follows. Firstly, the culture of party became the source of for decoration of denim clothing, and denim clothing more glamorize women as a party-look which makes the most use of its advantage to be comfortable and able to display in various ways with splendid artificial jewelry, patchwork, dyed pattern which is elaborately embroidered. Secondly, Such culture of drawing is applied to denim clothing so that denims are expressed to make people feel more human being's warmth as being free from the existing stereotype and formality. Thirdly, the most outstanding feature of denim clothing showed in the culture of disorganization is to make the most use of vintage style as it is. This reflects an image of the culture of disorganization under postmodernism, which is free from the traditional conception of the existing dressing by destroying the original form, in the way of slashing, making a hole and tearing. That is, people can sufficiently express not only free sense of release based on postmodernism by wearing denim clothing, but also human being's intrinsic desire for restoration of humanism or human warmth with splendid decoration or various techniques such as handicraft. It can be recognized these features as the reasons, that make denim clothing place themselves as an original fashion item, by giving denim clothing technical decoration in recent years.

• Journal of the Korea Fashion and Costume Design Association
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• v.26 no.1
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• pp.17-31
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• 2024

The purpose of this study is to propose a modern use of traditional culture by developing creative fashion designs that combine modern and traditional styles based on an analysis of traditional costumes of women in the Tang Dynasty of China. The characteristics of the Tang Dynasty women's costume are as follows. The Tang Dynasty women's costume consists of a short coat (衫, Shan), skirt (裙, Qun), half-arm shawl (半臂, Banbi), and short embroidered cape (帔, Pei). The colors are succinct and elegant, commonly red, yellow, green and navy blue in its entirety. It may be classified by pattern that blend plant patterns, animal patterns, geometric patterns, and two or more mixed patterns. On the basis of the characteristics for traditional women's costume during the Tang Dynasty, the CLO 3D program is employed to develop digital fashion design for four pairs of 3D digital clothing and the production of two pairs of work product. The results are as follows. First, the development of fashion design reflecting the design characteristics of traditional women's clothing in the Tang Dynasty of China could be expressed as fashion design reflecting unique values while connecting tradition and modernity. Second, the 3D virtual clothing program displays an extremely important effect in design deployment and pattern arrangement by having efficiency and convenience in clothing production. The CLO 3D program is closely combined with the 2D design and 3D effect and heightened efficiency while being appropriate to realize sustainability while saving processing time and energy for the sample products. Third, the production of an actual product by facilitating the 3D virtual clothing design may lead to time savings and an effective economy and may allow for the comparison of digital fashion design and actual products as well as confirming the effects of digital fashion design.

• Science of Emotion and Sensibility
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• v.21 no.4
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• pp.55-62
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• 2018

The two main requirements of wearable optical fiber fabrics are that they must presuppose a high degree of flexibility and they must maintain the luminance effect in both flat and bent conformations. Therefore, woven optical fiber fabrics that satisfy the above conditions were developed by both weaving and by using computer embroidery. First, we measured the brightness of the wearable optical fiber fabric in the flat state at a total of 10 measurement points at intervals of 1 cm. Second, the wearable optical fiber fabric was placed horizontally on the forearm, where three-dimensional bending occurs, and the luminance values were recorded at the same 10 measurement points. For the woven fabric in the flat state, the maximum, minimum, average, and standard deviation luminance values were $5.23cd/m^2$, $2.74cd/m^2$, $3.56cd/m^2$, and $1.11cd/m^2$, respectively. The corresponding luminance values from the bent forearm were $7.92cd/m^2$ (maximum), $2.37cd/m^2$ (minimum), $4.42cd/m^2$ (average), and $2.16cd/m^2$ (standard deviation). In the case of the computer-embroidered fabric, the maximum, minimum, average, and standard deviation luminance values in the flat state were $7.56cd/m^2$, $3.84cd/m^2$, $5.13cd/m^2$, and $1.04cd/m^2$, respectively, and in the bent forearm state were $9.6cd/m^2$, $3.63cd/m^2$, $6.13cd/m^2$, and $2.26cd/m^2$, respectively. Therefore, the computer-embroidered fabric exhibited a higher luminous effect than the woven fabric because the detailed structure reduced light-loss due to the backside fabric. In both types of wearable optical fiber fabric the luminance at the forearm was 124% and 119%, respectively, and the light emitting effect of the optical fiber fabric was maintained even when bent by the human body. This is consistent with the principle of Huygens, which defines the wave theory of light, and also the Huygens-Fresnel-Kirchhoff principle, which states that the intensity of light increases according to the magnitude of the angle of propagation of the light wavefront (${\theta}$).

• Journal of Fashion Business
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• v.6 no.5
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• pp.48-58
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• 2002

The purpose of this study is to analyze four separate elements-sublime beauty, elegant beauty, mysticism, ornament-which appeared in materials, patterns, colors, silhouettes, details, and accessories, laying stress on luxurious, brilliant, mysterious feelings on Gorgeous Images appeared as trend theme of modern fashion by mixing religious mysticism of the Byzantine Empire. Mysticism element is using the effect of splendid and gorgeous colors from the Orient rather than forms. And a philosophy of abundant colors in mosaics, which are seen in art forms such as architecture, paintings, etc., shows that it creates some visual rooms for religious spirits. Influenced by the fashion of the Greco-Roman style, the elegant beauty element is expressing abundant comfort and elegant feminine lines that are from creases, and it is also emphasizing natural beauty which seems to slip down by displaying the splendid images of Gorgeous as drapes that fit a body. Ornament element was reflecting an inspiration from the splendid and brilliant culture of religion in the Byzantine Age. Therefore, it was appeared as a style filling the whole with bulky silks, splendid ornamental materials embroidered in gold or silver thread, the complicated geometric patterns that are two-dimensional and dignified, and so on. It was decorated with crosses which represent Christianity as a motif, and also it emphasized the splendor of the Byzantine and dazzling splendid images of Gorgeous by using accessaries decorated with various jewels. The elements of sublime beauty are showing the beauty adding humble and majestic images to it as designs sought by spiritual values or intrinsic values. Those designs, so to speak, have pretense which does not allow to expose a body and plain pure feeling, so that they are showing some abstinent styles in a solemn atmosphere, with most details removed. We can say the Fashion Theme appearing in Modern Times is the result from representing by combining various factors of the times with formative beauty through creative works for aesthetic expression. The moderners are requiring new designs which is possible to meet their individualities, in addition to their outstanding fashion senses. From this point of view, a variety of textiles, patterns, and colors in the Byzantine have a great meaning to fulfill people's various desires as interesting elements.

• 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.