• Journal of Fashion Business
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• v.16 no.5
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• pp.23-38
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• 2012

With the rapid developing of economy and the information communication, as well as the fierce competition of marketing, the consumer market of apparel is gradually matured. Also, the consumer has more requirements towards clothes, in terms of quality, style, price level and individuality. As a result, brand fashion, now, needs to accelerate the speed of every stage of producing, which is from designing to the following of finished goods in order to occupy the market share in a fast consuming, variety and individuality pursuing market. An increasing number of industries have focused on the SPA brand so as to adapt the competition of modern market. The paper mainly researches that the differences of purchasing behaviors towards SPA brand between 20's-30's Chinese female and 20's-30's Korean female. The analyzing results of purchase motivation showed difference in the 'personal motivation' and 'social motivation' factor. Purchase standard showed differences in the 'image management' factor. The attitude toward the brand showed differences in the 'practicality' and 'trendiness' factor.

• Journal of Fashion Business
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• v.24 no.1
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• pp.1-14
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• 2020

Based on the trend of pluralization and globalization the collapse of national borders now is a manifestation of mixed and compromised cultures and societies. It is also emerging as a hybrid fashion in fashion. Hybrid fashion means creating a new image by mixing various cultures beyond the time and space. This study aims to analyze the current state of Chinese fashion design and present its direction by grasping the characteristics of hybrids in the works of rising Chinese fashion designers in the era of pluralization. The research method was literature review and empirical research. According to the selection criteria of new fashion designers, 6 new fashion designers of 5 fashion brands were selected and their total 458 points works were analyzed. The analysis results are as follows. First, most of the time trade-offs were 'past and present' trade-offs that express Chinese traditional culture and the image of the past with modern design. The trade-offs between 'present and future' is expressed by mixing print patterns, colors and light with fractal art. Second, spatial trade-offs was expressed in the way of expressing Chinese themes in the composition of western clothing, expressing the Western themes in oriental colors, and inspired by Japanese culture expressed by deconstructionism, Third, the gender mix mainly used dark embroidery on women's clothing, while the men's wear showed a delicate feminine charm with a surreal pattern on thin and transparent gauze fabric.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.167-180
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• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.

• Journal of the Korean Home Economics Association
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• v.8 no.1
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.558-571
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• 2023

In recent years, young Chinese consumers have become more favorably inclined toward products relating to traditional culture. Therefore, this study aimed to develop a textile design that incorporates traditional Chinese patterns and cultural symbolism that will appeal to consumers from the MZ generation (millennials and Generation Z). Through a literature search for traditional Chinese patterns and symbols regarded as auspicious, our design concept and motives were established. We selected peony, lotus, and frog motifs as representative of a "wealth and eternal prosperity" design theme. In textile design work 1, we used hand drawing and watercolor techniques, color transformation with Adobe Photoshop, and colorway and end-use 3D simulation with TexPro. The 3D simulation work suggests that this textile pattern is suitable for women's outerwear, mufflers, and tote bags. Textile design work 2 conveyed the 'wealth and eternal prosperity' design theme and had a graceful mood that embodied the nobility of the lotus flower whilst also encompassing the symbolism of money and status. The end design is a modern reinterpretation of traditional Chinese patterns and motifs. As such, it is hoped that it will satisfy the needs of young consumers for cultural values yet offer a unique new aesthetic distinct from existing textile designs. These qualities can be expected to enhance the competitive market value of textiles bearing this design.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.16-27
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• 2014

This study investigated the characteristics of and changes in hemp textile production practices at Gurye in Jeollanam-do in modern times. To do this, in this study, both a literature review and fieldwork research were utilized as research methods. The literature review focused on Gurye's hemp data, and the fieldwork research involved two separate trials. Male and Female residents of Gurye who had experience in the area of hemp production from the 1920s to the 1980s participated in this study. The results were as follows. First, regarding hemp fiber cultivation in Gurye, hemp cultivation continued to the 1970s and there were no changes in hemp cultivation practices during the Japanese colonial-era. Second, there have been very important changes in hemp kilns over time. In the 1950s, there were both single-body kilns and separate-body kilns in Gurye. Later, specifically in the 1950s, a new type of kiln using an iron pot appeared, and the most modern kilns were concrete structures. Third, in Gurye, women cooperatively removed hemp husks immediately after stemming, subsequently bleaching the hemp by soaking it in lye or caustic soda. Over time, there have been changes in ash types and in soaking periods. Fourth, loom types changed from the traditional Korean back-strap loom to the treadle loom in the 1930s- to 1940s. Fifth, since the 1970s, the hemp textile output levels of Gurye have been reduced due to the westernization of clothing styles, the inflow of Chinese hemp fiber and government regulations pertaining to hemp cultivation.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.147-153
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• 2021

Baekje patterned Pyojihwajomoonkeum is a fabric that expresses Baekje's unique culture possessed by Shosoin(正倉院) in Japan. Reflecting the close exchange relationship with the Chinese Southern Dynasties, these patterns are suitable as good examples to grasp the forms and atmosphere that prevailed during that era. Through the analysis of many pieces, it has been identified that the patterns were unique to Baekje. With an aim to ascertain and restore the original form of Pyojihwajomoonkeum, designs were proposed utilizing Pyojihwajomoonkeum as a form of storyteller clothing that fits the modern sense. Fabric was designed by continuously repeating the colors and patterns of Pyojihwajomoonkeum upward, downward, leftward, and rightward and woven with a Jacquard loom. The fabric woven was dried, processed, and used to make a total of four pieces of storyteller clothing consisting of men's wear, comprising a jeogori and pants, and women's wear comprising a jeogori and skirt. The top jacket was long enough that the hip is covered. It has wide sleeves and linear decorations were attached to the collar, lower edge of sleeve, and bottom hem. The pants are wide legged, the top is wide, and the bottom hem had linear decorations attached. What is the most important when using the original form of a traditional culture is processing the raw materials following cultural traditions to create value. Costumes of an era are the combination of individual elements and represent the culture of that era. Therefore, a consideration of the origin and prevailing ideas of the era must be considered. It is anticipated that this paper will serve as a basis for leading such a process, followed by studies on the utilization of the original form of Baekje culture.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.15-33
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• 2022

The purpose of this study was to categorize the decorative characteristics of the Rococo Age, which displays the most glamorous and elegant decorative beauty, in architecture, interior decorations, paintings, and patterns, and to analyze these characteristics and graft them onto art masks in a modern way. Piece I is a mixed media piece that based its motif on the ceilings and pulpits of the German Vis Pilgrimage Church, which is representative architecture of the Rococo Age. It was glamorously produced using gold and cubic zirconia. Piece II is also a mixed media piece that borrowed its motif from the exterior and gazebo of the Sanssouci Palace in Germany, another representative piece of architecture from the Rococo Age, and it was produced to clearly display the image of the Sanssouci Palace, using emerald and ivory. Piece III applies the furniture trends of the Rococo Age. Curves in S and C shapes, which can often be found in Chinese furniture, along with dark backgrounds, common in portrait paintings, were applied to give a sense of weight and dignity. Piece IV is an application of the fabric patterns of the Rococo Age. Continuous patterns of flowers and greenery stems were drawn on the mask to recreate the fabric patterns of the age. Piece V used the painting 'Swing' of the Rococo Age as its inspiration. Lace and ribbon decorations were used to emphasize feminine beauty and express the loveliness of the woman that appears in the painting. Piece VI borrows from the painting 'Madame de Pompadour' of the Rococo Age and the clothing worn by Pompadour. This piece grafted colors and themes through the painting and expressed a fusion of the dresses of Pompadour and lace that is clearly displayed in the architecture, paintings, clothing, interior decorations, and patterns of the Rococo Age, along with the rocaille (asymmetrically shaped decorations that resemble clams), flowers, leaves, stems, and Chinoiserie styles. These motifs clearly display the decorative characteristics of the age and these were grafted them onto art masks, confirming that it is possible to create new designs.