• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.902-915
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• 2007

This study examines decorative features found in the traditional costume of the Miao, one of the minority groups in China, and adapts them for the development of modern Korean-style fashion designs in order to present visual sample data and to introduce techniques. As for the research method, both literature and visual data are examined: the former includes Miao-related books and theses; the latter, pictures from various documents and real-life data in the possession of Seoul Women's University. The study result is as follows: 1. The basic structure of Miao costume is consist of a Caftan-type upper garment and an accentuated lower garment, pleats skirt although they are decorated luxuriously with various techniques such as delicate embroidery and dyeing. 2. Details and trimmings in modern shapes are developed and presented by adding modern materials to satin, twists, cross-stitch embroidery, stripe patterns, geometrical patchwork, machine pleats and smoking, trimmings of fringe & feather, and the border line decoration of coloration, braids, piping, embroidery, belts tied and wound with colorful threads. 3. Detachable accessaries such as front reinforcement strips, back reinforcement strips, belts, decorative aprons and patchwork skirts are developed and designed by adapting highlighted layered effects. 4. The silver decoration used as an necessary by the Miao is suitable for modern fashion design in futuristic sense. Various techniques and decorative features of Miao costume display their true value all the more in modern fashion stream in which ethnic trends draw much attention.

• Journal of the Korean Society of Costume
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• v.39
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• pp.181-196
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• 1998

This study is about the similarities and the individualties of the traditional costumes in the ruling classes of Koguryo(高句麗), Bakjae(百濟), and Shilla(新羅). The analysis is based on the views of historical reformation on$\boxDr$Sam-gooksagi(三國史記)$\boxUl$Bongi(本紀). The costumes that were worn by the governing classes are categorized by the following, official duties, wars, ceremonies, and recreations(hunting). Up to the present time, there has been a great tendency to emphasize the similarities of the Three Kingdoms' costumes among most of academic researchers. However, the conceptions of individualities of the costumes among the Three Kingdoms were conceived by the facts that geological environments, political systems, social traditions, social aspects, and foreign affairs. The Three Kingdoms had different official rank systems along with official costume systems. Monopolization of official positions of the ruling parties tried to show their dignity and authority through styles of their costumes. The costumes of Koguryo were greatly differentiated by geographical regions ; One direct example is cheak of Pyoungyang and Anak regiona was named as official hats of rulling parties of Kokuryo. However, in this study, the cheak was viewed as a product of influences of Chinese costume. Further-more, the laguan was named as mooguan. Costumes of ceremonial occasions were heavily decorated to symbolize dignity and auth-ority. Metal ornament of headgear and belt, metal shoes were con-sidered as ceremonial costumes. the tight hunting costumes of Koguryo shown in mural pain-ting costumes of Koguryo shown in mural pain-tings were presumed to be spring and autumn clothing. Excavated from Neungasnlee, the hunting costumes inscribed in the gold incense burnner were confirmed as hunting costumes of Bakjae. The individuality of the costumes of the Three Kingdoms could also be supported by the fact that they had different climates. The temperature difference between Gipan region and Kyoungjoo(慶州) region was emphasized. Especially winter clothing would have had a big difference in style than the summer clothing. Through the research summarized above, this study was able to confirm that each of the Three Kingdoms had developed individualized costumes based on their geographical, cultural and environmental factors. Furthermore, through this study, it was possible to find out the difference as well as the similarities of their costumes according to each of their people's sociopolitical status, awareness of indepen-dence, andunique historical and traditional charactoristics.

• Journal of the Korean Society of Costume
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• v.19
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• pp.209-240
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• 1992

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume's 'collar' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century's. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women's Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume's outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one's dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.251-260
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• 2012

Nowadays, global wedding dress companies are interested in the Chinese wedding market because of expectations in consumption patterns of the post 80's generation. Therefore, wedding behavior, selection criteria for wedding dresses, and favored image by segmented groups targeting 20's to 30's Chinese women were studied to help the Korean wedding dress industry to establish their business in China. The survey was conducted in Shanghai city and three neighboring cities-Wuxi, Zhengziang, and Hangzhou-, and the primary data were analyzed using the SPSS program. As results, Chinese women thought that the wedding ceremony should be elegant and dignified, and they wanted to choose their favorite style rather than a recommended style. The criteria of selection were classified into four factors. Overall image and well fitting with their face and body were the most important factors in the selection of wedding dress. The most favored image was unique/novel image. Several favored images for their wedding dress were significantly different by occasion (ceremony day and photo shoot day) and education level. People of higher education level preferred more luxurious and classic image during the ceremony, and a classic and gorgeous image on the photo shoot day. A white dress and a colored dress for weddings were favored more than the Chinese traditional dress on both occasions. There was also a significant difference between general consumers and the wedding business employees in the quantity of wanted wedding dress.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.101-116
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• 2010

In this study, the subjects are the expression methods and compositions of peony patterns in Chinese textiles. This study represents the peony patterns which are from Tang Dynasty to the Qing Dynasty, the research subjects are the peony patterns in fabric, except the peony patterns which are expressed by gold foil, embroidery and kesi. The objects of this study are 72 pieces of peony patterns. We sketched the configuration details of peony patterns through the Illustrator program. Analyze and classify the configuration accurately. Based on the 72 pieces of peony patterns, expression methods and compositions of the peony pattern are as following, firstly, we classified peony patterns into three categories, based on expression methods, as realistic shape, pattern shape and shape. Among these 72 fabric relics, there most of realistic shape 42 pieces(58.3%), pattern shape 25 pieces(34.7%), and shape 5 pieces(7.0%). Secondly, in the realistic shape peony, the most of pattern has petal accumulate as grape- shaped. This type is found in almost every Dynasty and was used regularly in the eras of Song and Ming Dynasty. In the era of Ming Dynasty, by using petals like the curly mushroom, Yeongji(靈芝), the pattern of symbolizing longevity was habitually used. The U-shaped flower pattern (type E) and the pattern of emphasizing the veins of petals are found only in the remains of the era of Qing Dynasty. Thirdly, in the pattern shaped peony, the most of pattern has some petals which are separated(type C). Fourthly, we classified peony patterns into four categories, based on compositions, as individual branch form, floral branch form, cluster branch form and floral nest form. Among these 72 fabric relics, there most of individual branch form 33 pieces(45.8%), floral branch form 18 pieces(25.0%), cluster branch form 13 pieces(18.1%), floral nest form 8 pieces(11.1%).

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.455-476
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• 2022

The aim of this study was to develop Jiangxi Nuo masks using 3D digital fashion design technology and suggest various ways to utilize traditional culture based on the characteristics of Nuo masks, a traditional Chinese artifact of intangible cultural significance. The researchers conducted a literature review to gather information about Nuo culture and masks that could represent Jiangxi. Features of the masks were analyzed and classified. The result are as follows. First, the symbolic characteristics of Jiangxi's Nuo masks can be divided into those based on their origin and history, the user's social status, and the notions of primitive beliefs of the chosen people, such as naturism and totemism. Second, Nuo masks' splendid decorations convey meanings such as luck, the bixie, longevity, wealth, and peace in the family. Third, playfulness in mask-making is about dismantling the original form of the mask, re-creating it through application. Fourth, the masks express primitiveness mostly by conserving the wood's original color or material. The initial masks carved to represent images of figures aptly deliver the primitive forms and images of Nuo culture. In this study, Nuo masks were developed and produced using the 3D digital technology CLO 3D by adopting the expressive characteristics and applying design methods such as asymmetricity, exaggeration, and modification. The results of this study demonstrate the possibility of creating diverse as well as economical designs through the reduction of production.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.905-917
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• 2021

Qipao is a national costume of China and a representative Chinese symbol with unique cultural meanings. This study first outlines the concept and development history of Qipao, sorts out existing literature, and summarizes the five elements of Qipao through previous study. Then, based on the theory of cultural levels and design characteristics, focusing on the design characteristics of the three levels of the outer level, middle level and inner level of culture, it analyzes the specific meaning of the five elements of Qipao. Through research, it was found that there are various developmental relationships between the three levels of culture for each element of Qipao. Through the study, it is found that Qipao, as a typical Chinese dress, not only has the research significance of design, but also has rich cultural connotations and diversified information on social, economic, technological, and fashion development. This study can enable us to fully understand the historical and social value and modern significance of the Chinese Qipao, and can provide basic data for fashion design researchers. This study is a basic research for the modernization of traditional Chinese clothing.

• Journal of Fashion Business
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• v.5 no.4
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• pp.127-143
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• 2001

This thesis looks into the characteristics and compares the clothing styles between the Three Kingdom to the Unified Shilla era. The purpose of this study is to see what common themes exists between the foundation of Korean clothing and how it has evolved and through see to what extent the Chinese influence has been to Korean clothing culture. Also by explaining the originality and creativity of Korean clothing, we will be able to make clear the status of Korean culture. These findings include the following; 1. The Korean strait line Gik-ryong Kyo-im can also be found at the Gochang region in the west. 2. The Ban-ryong-ui, worn by the aristocrats of the Three kingdom and Unified Shilla era, began to appear from the nobles from the Nam-Buk cho(South-north era). This combined with a Bokdu(headwear) became a part of casual dress wear. 3. Go(pants) became a traditional part of clothing for Unified Shilla and the west. 4. Ban-bi and Bae-dang, all forms of Bansu-ui ( short sleeve), came from Chinas Kucha and Hotan and came to Korea. 5. Chinas Pae-baek and Pae-za (Shawl) which is the same as Unified Shillas Peo was also to be found to have come from the west. 6. The way a different color line was added to clothing both can be found in Korean and western clothing. Similarities to material used are; First, expensive wool was used and mostly originated from the west. From far away Rome came the O-saek-gae (Five-color wool). Secondly, Kong-gak me (peacock feather) and Bi-chi mo were all originated from the west. Third, Sil-sil is stated in the Sam-kuk Sa-ki (Three Kingdom records) as being prohibited to be worn by Jin-gol women (Highest nobility during Shilla era) as headwear or comb (pin) or as a comb(pin) for yuk-doo poom ( 6th class nobility) women. Suggesting that it existed and other sources tell us that it came from Tashkent region of Russia and was a jewelry of some sort. From what we have seen above, we can see the similarities between Korean and western clothing cultures and that these interactions not only occurred with China but with many other nations. We can see that our ancestors were creative and original that when importing foreign cultures that they transformed them into a Korean style. That these foreign cultures were transformed into our own style is good evidence to these facts.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1315-1322
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• 1997

Ramie is one of the traditional fabrics in Korea, and very comfortable fabric for summer clothes because it has a high moisture-absorbing and transporting property. Futhermore ramie is very popular and Koreans prefer its handle for summer clothes. The kansan ramie has better quality as fibers and can be weaved as fine fabrics which are famous as kansan Fine ramie. Even though the good quality of kansan ramie has known widely, very few research work have been carried out on kansan ramie in the field of textile science. In this study, the analysis of the physical and chemical characteristics of Hansan ramie was conducted by using two different kinds of Hansan ramie: Hansan Fine ramie and kansan Coarse ramie. In addition, the same experiment was held on the one kind of chinese ramie to be compared with those of Hansan ramie. The following results were obtained from this experimental study. By the analysis of chemical composition of ramie, the similar chemical composition (a -cellulose: 83∼85%, pectin substances: 2.81∼ 3.01%) were found from all of the ramie fabrics used in this study. It has shown that Hansan coarse ramie has the highest toughness value and wrinkle recovery angle among the samples used in this study. From the result of KES-F system, it was found that Hansan Coarse ramie which is composed with the thicker yarns has the highest value on the bending properties, 2HG and surface properties. The primary hand value was also calculated by KN-203 LDY and value of Koshi was shown as the order of kansan coarse ramie> Chinese ramie> kansan fine ramie, and Hansan fine ramie had shown the highest Numeri and Fukurami value among the 3 samples used in this study.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.