• Journal of Fashion Business
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• v.25 no.3
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• pp.17-35
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• 2021

The purpose of this study was to analyze the different consumption patterns of fashion products according to the demographic characteristics and religious variables of Muslim women in Indonesia. The research method consisted of a questionnaire, which surveyed Muslim women in Indonesia, whose ages ranged from teens to 40s. The final questionnaire made use of 301 responses, and the analysis methods included 𝛘²-testing, factor analysis, and ANOVA. The results of this survey are as follows: For differences in average monthly clothing purchase costs, there were significant differences according to age, monthly income, final education, and whether or not the respondent wore a hijab, but there was also significant difference according to marital status and religious faithfulness. Muslim women's clothing purchasing factors were practicality, visibility, fit-to-wear, and design. In terms of the differences in factors which were considered when purchasing clothing, they depended on whether or not the respondent was married, practicality and visibility according to age, visibility according to final education, and religious faithfulness. There were significant differences in practicality and visibility, but not according to monthly income. When accounting for the differences in the places where Muslim women bought fashion products, there were significant differences according to marital status and age. In terms of the differences in reasons for choosing a place of purchase, there were significant differences according to age, monthly income, final education, and the degree of hijab wearing.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.7
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

• Journal of Fashion Business
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• v.11 no.6
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• pp.125-138
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• 2007

The modern fashion contains the religious factors or theories out of numerous cultural traits. Shamanism is a product of the very complicated combination of diversified cultural phenomena and whose traits are depicted as spiritual and artistic forms, reflecting on the materialism culture, social relations, customs, and religious faith. The Shamanism that lies in the life of humans gives much impact on their clothing life up to date, consciously or nonconsciously as well. The Shamanism clothing studied as yet has been focused on the costumes that a Shamanism priest and a shaman, the principal Shamanism performer wears and on the symbolic meaning or formativeness of the traditional shaman clothing that is only confined to certain local regions. The Shamanism in the modern costume influences not only on the traditional clothing unique to shaman but also on the other apparels in a widely extended sense. Nevertheless, the research on the modern costumes related to Shamanism is yet to be progressed. In this context, it is believed that the examination of Shamanism interrelated with a contemporary clothing expression is needed. This work would take a look specifically at how the Shamanism is given in the modern clothing fashion and review the inherent aesthetic characteristics. A fact was driven through this study that the shamanism shown in fashion is not only expressed in the modern style of shaman clothing but also unconsciously absorbed in the fashion on the whole. A finding was also revealed that the geometrical and abstract expression, the implication of animistic components, and the application of inherent shaman's costume on to design in regard to clothing are related to a view point of studying about shamanism. The meaning in each expressive method is focused on the superhumanistic desire of shamanism.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.958-967
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• 2009

Just as various religions of the world have multiple systems based on their own belief system respectively, religious costumes, which are the expression of religion, are varied in forms according to different religions. Nonetheless, this research attempts to examine the universal features of the variety of religious costumes. Since the range of this research is broad and the limit of study is clear, this research confines the study objects into world's four high religions. The purposes of this research are as followings; first, the investigation of the world's high religions, second, the study of the figurative attributes of religious costume to study and discuss the universality of figurative beauty and aesthetic value. Figurative attributes are distinct in religious costume. First, the non structural feature of composition, and the manner in which the costume is worn. Second, the rich silhouette covering the body. Third, the restraint and inhibition of decoration, and fourth, the preference of achromatic color and monotones. 'The beauty of concealing', derived from the religious absolute and chastity, 'The beauty of chastity' influenced by the restraint of decoration and design, and 'The beauty of nature' as the drapery and non structural feature are the universal aesthetic values. Human beings tend to contact the divine beings by pursuing the essential thing and concealing the body through religion. The forms of concealment and chastity, mentioned above are reflected in the usual costumes, affected by religion as well as religious costume.

• Korean Journal of Human Ecology
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• v.6 no.1
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• pp.89-96
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• 1997

The purpose of this study was to determine the clothing value, awareness of and concern about clothing's country of origin in Korea and England university women. University women in Korea and England were surveyed to determine the importance attributed to 32 descriptors defining 8 clothing values. Awareness of, and concern about, clothing's country of origin were determined mean-scores, t-test and $x^2$-analyses were done. A different rank order of importance for clothing values exists for both groups. The Korea sample rated aesthetic, economic, theorical, political, exploratory and sensory significantly higher and social, religious significantly lower than England sample. England sample appeared to be more aware, concerned about clothing's country of origin than Korea sample. More Korea women were able to recall country of origin. Over half Korea sample but less than 22% England sample recalled purchasing primarily domestic apparel.

• The Research Journal of the Costume Culture
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• v.20 no.6
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• pp.854-868
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• 2012

The purposes of this study were to investigate the effects of clothing values, self-perceived physical attractiveness on sensuous clothing behavior(see-through, body emphasis, body exposure, skinny), and also to figure out if any causal relationships existed among variables and whether demographic variables affected these relationships. For data collection, a questionnaire was administrated to 500 female college students in Gwangju City, Korea. The results were summarized as follows. First, clothing values were divided into six factors: religious clothing value, political clothing value, exploratory clothing value, social clothing value, economic clothing value, aesthetic clothing value. Sensuous clothing behaviors were divided into four factors: see-through, body emphasis, body exposure, skinny. Overall clothing values had positive effects on sensuous clothing behaviors. Second, self-perceived physical attractiveness turned out to have significant effects on overall sensuous clothing behaviors. Third, clothing values turned out to have significant effects on overall self-perceived physical attractiveness. This study confirmed that clothing values and self-perceived physical attractiveness turned out to have significant effects on sensuous clothing behavior.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.3
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• pp.368-386
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• 1994

The primary purpose of this study was to identify the diversity and embellishment of American Indian clothing and relationship between culture and clothing in American Indian Culture Areas. After the introduction of European material culture, change in American Indian clothing was conducted. The result of the Study as follows: 1. The most influential factors affecting the diversity of American Indian clothing were environmental factors. Climates and geographical features, Raw material were reflected in clothing style and clothing material in each culture Area. 2. Economic situation and life style were shown to be influential to clothing development. The best known instance of this was greatly elaborated clothing and personal adornment of the Plains who had higher stand of life and nomadic life style. 3. Religious concepts were important factors influencing American Indian clothing. Indian tribes had different ritual performance they used particular motifs in clothing. Clothing, such as "ghost shirt", Apache medicine shirt and Pueblo ceremonial clothing, served hidden pur- poses. 4. Techenology was another factor identified in this study as influencing American Indian clothing. Especially, weaving skills of Southwest played a great role in textile development. Pueblo "manta" and Navaho "bil" were famous for Indian costume. 5. European material culture allowed great change of traditional native Indian clothing. American Indian had new material, new styles, new concept of clothing. 6. American Indian, although Indian applicated European trade goods, was actually quite conservative in retaining traditional designs and modes of decoration. Asthetics and traction of American Indian were reflected in American Indian clothing.d in American Indian clothing.

• Journal of the Korean Society of Costume
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• v.25
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• pp.185-199
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• 1995

Among many different approches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by in-cluding political, militarial, economical, cul-tural, and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes accord-ing to peoples social status. Generally people in high social status wore clothes with detailed decorations in variety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physi-cal activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed its role to affect the clothing styles in Kokuryo. Baseed on old studies of costume, this study focused on people's life styles that included hunting and weaving. Hunting clothes were differentiated by decorating with feathers. Jowoguan is one of the exemples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect, this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however means and womens wear were claryly dis-tinguished. Unlike other clothes that were re-stricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume. Monks wore black cloth-ing that was influenced from China and the Western Regions. To emphasize their religious power. Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of five and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• Journal of Fashion Business
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• v.23 no.5
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• pp.48-66
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• 2019

The purpose of this thesis was to investigate the similarities between religious costumes and Kazakh and Tajik minority women's costumes in the Chinese northwestern minority population that believes in both Islam and Shamanism. The research was conducted by investigating the forms, colors, and patterns of 240 representative costume pieces and making quantitative comparisons between religious and traditional costumes. The results showed that the Kazakh and Tajik costumes were similarly formed, both intended to cover the human body. Both the Islamic and traditional headdresses were also similarly shaped. In terms of color, black, white, green, and blue were found frequently in the Islamic religious costumes, as were red and yellow. Red, white, and brown, ascribed to the colors of shamanism, signifying incantations, were also frequent, indicating that this was engrained in their lives. A review of the traditional costumes revealed the patterns of Islam. Plants, geometry, abstraction, and letter patterns were dominant, whereas the meaning of the Islamic patterns, rebirth, sun, life, and hope, influenced the traditional costume patterns. Patterns associated with incantations, like the animal horns shown in the shamanism religious costumes, were persistently observed even after the people were converted to Islam. This study on the similarities between religious and traditional costumes in the Chinese minority might help us understand the connection between religious and traditional costumes and elucidate the cultural costume transition process.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.873-887
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• 2010

Yuan Shi Kai, the first President of the Republic of China, established a ceremonial uniform system based on ancient styles in 1914 just before the national polity was changed to the Empire of China in 1915. This system is Jisiguanfuzhi (a system on costumes for memorial services), and figures included in the system are Jisiguanfutu (figures showing costumes for memorial services). This study is the first to examine Jisiguanfuzhi and Jisiguanfutu and to approach the background idea of the establishment of the system with a focus on the meaning of 'unity.' Jisiguanfuzhi regulates the ceremonial uniform system of all classes from the President along with the 1st-class to the 5th-class people. The uniform consists of a crown, robe, belt, the mid-section cloth, and boots. In addition, the uniforms of ritual musicians and dancers are included. The basic principles in establishing the system were the restoration of ancient systems, the adoption of convenience, the acceptance of current practices, and the implication of symbolism. Jisiguanfuzhi clarifies that the pattern of the ceremonial uniforms was modeled on Juebianfu, for religious services. The reason for choosing Juebianfu for religious services was to achieve 'unity' and Juebianfu was associated with 'unity' because it was common to all, from the emperor to the gentlemen class, in ancient times. Yuan Shi Kai tried to show flexibility to the gentlemen class who represented the intellectuals at that time by adopting Juebianfu for religious services, fearing that the gentlemen class might oppose the attempt to restore the imperial system. Therefore, although Jisiguanfuzhi adopted mostly Mianfu and royal sacrificial robes, it also emphasized 'unity' by professing that the uniforms were based on Juebianfu for religious services.