• The Research Journal of the Costume Culture
• /
• v.29 no.2
• /
• pp.222-239
• /
• 2021

In this study, six mainland Chinese designer brands-Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen-were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

• Journal of Fashion Business
• /
• v.20 no.2
• /
• pp.107-123
• /
• 2016

The purpose of this study is to obtain specific data about the characteristics of color preference on Women's street fashion within China and Korea. Photos of Women's street fashion from the twenties and thirties were taken in person in four cities in China(Beijing, Dalian, Qingdao and Nanjing) and Seoul from July 2nd to August 10th, 2015. Three hundred photos in each city were selected, making a total of 1,500 photos. In the analysis of the colors of the clothing in these five cities, the uses of the multi color was most frequent in Dalian, while those of Black was most prevalent in Beijing, Qingdao, Nanjing and Seoul. The Black proved to be commonly preferred through all the items, regardless of terms of the nationality, areas and seasonal changes. The high incidence of Purple Blue color in Beijing, Dalian and Qingdao might be attributed to their preference of the blue jeans. The Multi color was highly shown in all the cities which might be due to their preference of compound colors rather than the mono ones. The high preference for the chromatic colors such as Red, Yellow Red and Yellow might be ascribed to the Chinese traditional color preferences. The differences lies in the color tones, such as the dark and light grayish tone emphasized in Seoul and Nanjing, and vivid and strong tones in Beijing, Dalian and Qingdao. Seoul shows a liking for the achromatic colors, preferring dark and grayish tones, compared with four cities in China, only Nanjing has a similar trend to Seoul. This study analyzes geographical preferences in China that possibly contribute to the launching of Korean fashion brands in view of the design and marketing as a useful basic resources.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.23 no.3
• /
• pp.23-42
• /
• 2021

The purpose of this study is to analyze the characteristics of the Chinese Miao people's Batik patterns and provide data in the field of fashion design for the utilization of the traditional patterns. This study investigated and analyzed the regional characteristics of Batik dyeing, which was listed on China's national intangible cultural heritage list; Danzhai, Anshun, Huangping, and Gonghyeon. The expressive characteristics were classified into four categories: symbolism, abstraction, decorativeness, and playfulness. The results are as follows. First, symbolism can be classified into the origins of the Miao, symbols of faith, history of migration, and the symbols of status with Batik patterns from different regions, seemingly involving various symbolic implications. Due to the absence of letters, Miao people expressed their emotions and history in the design patterns. A series of developments in recent years has led to incorporating the temperament of the Miao people, history of migration, expression of emotions, and ideal hopes in Batik dyed design patterns and the symbolic functions have been significantly emphasized. Second, the decorativeness is mainly characterized by repeated patterns of the Miao Batik dyeing design. The overall patterns demonstrate design features characterized by regularization and simplification, along with a sense of rhythm with the unique arrangement of patterns. Third, the abstractness of the Batik dyeing design patterns is often found in plant and animal patterns, properly delivering new designs created by Miao women by extracting and rearranging various elements, including dots, lines, and faces shown in natural images. Fourth, playfulness is expressed by the transformation and distortion of Miao Batik patterns, and were created by applying patterns or other elements to original forms to express animal or plant patterns in a playful way.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.24 no.1
• /
• pp.24-33
• /
• 2000

The purpose of this study was to investigate the characteristic and image of oriental costume design on represented among three countries, Korea, China and Japan. The specific objectives were; 1) to identify the design characteristics of oriental costume. 2) to investigate the hierarchic structure of oriental costume image and the meaning structure of oriental costume image. The stimulus were 75 costume design of contemporary costume which represented the traditional image of orient. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyze by Cluster analysis. Factor analysis, ANOVA, Scheffe test. The major findings were as follows; 1) As a result of design analysis, costume design of Korea, China, Japan had differences on form, color, texture, pattern, ornament, etc. 2) The hierarchic structure of oriental costume image consisted of elegance, sexy, feminine. Through factor analysis about oriental costume image 7 factors were identified; Attention, Attractiveness, Sexiness, Activeness, Weightness, Classics, Classics, Maturity. It was found out strongly that Korean costume image was simple and comfort image, Chinese costume image was sexy and feminine image, Japanese costume image was luxurious and mature image.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.2
• /
• pp.185-205
• /
• 2015

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yi tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery or $appliqu{\acute{e}}$ pattern have a high artistic value in that its shapes are diverse, splendid and each one has its own peculiar elegance. As for the research method, I examined the Yi tribe's history, culture, traditional costumes and patterns through related books, research papers and inter web sites. As for the result, the Yi tribe's costumes consisted of a jacket, trousers or a skirt, an apron and a belt. Although the favorite color of the costume is black color, there are splendid embroidery or $appliqu{\acute{e}}$ decorations with the colors of red, yellow, green and purple on the chest or shoulder part of a jacket, the adjusting lines, cuffs or a part of a trousers and aprons. Patterns in their traditional clothing also show details that depict traditional cultural ideas that have long been formed in various fields, such as aesthetics, religion, philosophy, and customs. Moreover, most patterns displayed in their traditional clothing contain nature motifs and represent unique and beautiful designs; some patterns are even reminiscent of abstract paintings by modern artists. In conclusion, the traditional patterns of Chinese ethnic minorities reflect the values and notions of these races as well as decorative magnificence and a unique spiritual image. In other words, traditional patterns indicate the spiritual depth or symbolic stories beyond mere formative beauty.

• Journal of the Korean Society of Costume
• /
• v.6
• /
• pp.161-171
• /
• 1982

The idea of King Hungdok's prohibition of clothing was to restrict the use of chinese-made cloth on the one hand and to compell his people to use Korean-made cloth for their apparel on the other. The prohibition of clothing sprang from King Hungdok's aspiration to restore his dynasty that had been falling due to the repeated drought disaster and luxurious living of the aristocracy. Safflower, Rubeaceae roots and Sapan wood are well known as some of the earliest natural red-dyes, exhibiting beautiful red-color in our anciet cultural tradition. The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. Those plants used to make the color yellow are: Gardenia, phellodendron amurense, Turmeric, coptis, safflower, Arthraxon hispidus, Styphnolobium japonicum. Shikon, root of violet plant, is well known as one of the earliest natural days. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color.

• Journal of the Korean Society of Costume
• /
• v.54 no.2
• /
• pp.121-133
• /
• 2004

This study is about japanese national suit. women's standard dress, and mompe, which were used as a means of controlling people's life and simplifying people's clothing during the chinese-japanese war(1937) and the pacific war(1941-1945). National suit was a semi-military uniform for men and it was the western style suit composed of jacket, under shirt, and pants. National suit was not popular during the early war, but it became popular afterward. Women's standard dress had the two kinds of styles : the kimono and the western style. Women's standard dress was not popularly distributed. Instead, many japanese women wore mompe, the active wear of standard dress. Almost all of japanese women wore mompe by the end of war because of its practical use. The effects of national suit, standard dress, and mompe on the rapid westernization of postwar japanese clothing can be summarized as follows. First, national suit and standard dress contributed to the official acceptance of the western clothes as japanese daily clothes. Second, national suit, standard dress, and mompe changed the traditional view of japanese on clothing and caused the rapid westernization of japanese clothing with the high emphasis on the practical and functional use of clothing. Especially, as japanese women wore mompe as the outer garment, mompe affected the view of japanese on women's body and it served as an important stimulus to speed the westernization of japanese women's clothing.

• Journal of the Korean Society of Costume
• /
• v.56 no.7 s.106
• /
• pp.42-53
• /
• 2006

The purpose of this research is to study doll's symbolism representing our social culture and the characteristics of clothing design. The ball joint doll was selected, that are pretty much resembled to human body in terms of facial expression, body proportion, joint movement, etc. Results of research are summarized as follows: the ball joint doll is indicated a doll whose joints are free to move with a round shaped joint, which originated by Yochilya simon, who adopted German Hans Bellmer's method.'rho ball joint doll, first, there appeared state of human isolation due to the material civilization and industrial revolution, and trend of adhering to one's own world made human possess dolls. Second, according to the doll play became a representing play culture among Kidult culture, dolls, that are resembled with human being, were recognized as personalized objects. Third, along of expanding digital culture that makes easy to exchange information via Internet, so, ball joint doll market is growing fast, for which various levels of mania are being formed. Take a look at the doll fashion in modern society. In accordance to form of Look, it is largely categorized Young Casual look, Office look, Ethnic look and Military look. When take a look at design specialty, young casual look was presented as a comfortable silhouette and also made of elastic materials and expressed vivid bright tones. Office look image was expressed as a suit of jacket with skirt, and cotton wool polyester materials and acro-matic colors. Ethnic look was represented by Japanese traditional dress and Chinese traditional clothing. The Military look was generally emphasized army uniforms of straight silhouette and shoulder straps.

• Korean Journal of Human Ecology
• /
• v.8 no.3
• /
• pp.565-577
• /
• 1999

In this world of globalism, achieving the winning position in the competitive international market is essential in the area of fashion industry. For this reason, we should accomplish this task by adapting our own traditional beauty to the modern fashion design through the modernization of the Korean traditional style. Therefore, this study attempted to analyze the fashion design works of the active Korean fashion designer, Sul Yoon-Hyung, focusing on the subject how she incorporated the modern fashion design with the traditional motives. In order to study this research subject, both quantitative and qualitative research methods were used to collect and analyse the textile motives used in the designer's works found from the major fashion magazines, Bazaar, Vogue, Marie Claire, ELLE, WWD, and Fashion Today during the last seven years(1993-1999). The collected research data, 68 works, was counted and analyzed in terms of the categories of Korean traditional motives they were adapted from, the application techniques, and the aesthetic characteristics. As a result of the study, it was found that Sul Yoon-Hyung has adapted different kinds of Korean traditional motives including motives borrowed from the nature such as flowers and animals, geometrical forms, and Chinese letters with different specific symbolic meanings for each motif and many different techniques were utilized to apply these motives. It was apparent to note that the Korean traditional motives were successfully incorporated into her fashion design works expressing the beauty of oriental grace, naturalism, sophistication, and above all, the modern sense.

• Journal of the Korean Society of Costume
• /
• v.60 no.1
• /
• pp.14-27
• /
• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.