• Journal of Fashion Business
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• v.6 no.2
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• pp.41-52
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• 2002

At the beginning of the modern times, orientalism and ethnic character was the main stream of current fashion. Early in the twentieth century, orientalism had a tremendous affect on various areas of society, culture, and art. Particularly, it inspired and activated the design of costume. A great variety of colors and construction of the Orient and geometrical simplicity were based on the creation of modern costume. Ethnic placed weight on the Orient because Japan strengthened competitiveness and China opened the door to foreign countries. Therefore, a large number of the oriental costume produced by a variety of fashion designers. The oriental handicraft, motif and colors of the traditional costume have been used in modern costume. In addition, they are precious ideas for designers. This thesis is about a Study on costume embroidery close to fashion through the oriental embroidery and the concept of oriental embroidery. It is also a study on patterns, skills and colors of the oriental embroidery shown in modern fashion and practical use through the designers works. First, concept, process of change, patterns, skills and colors of the oriental embroidery are mainly discussed. 1.The oriental embroidery consists of life, Buddhism, appreciation and costume embroidery. Embroidery was widely used for a variety of purposes. First, it is to make a good impression and beauty. Second, to decorate many kinds of patterns and shapes. Last, to indicate social status and stages. 2.The origin of the oriental embroidery started in Persia. was It greatly developed in Iran and was introduced in Korea via China. We are reminded of the oriental embroidery of China. China is the original place of oriental embroidery. Oriental embroidery has developed the peculiar embroidery according to each climate, custom and nationality. On the basis of these, the practical use of the oriental embroidery on modern fashion is presented through patterns, skills and colors which leads Korean designers use. Even though the oriental embroidery is not very popular among people owing to a great deal of cost and a demand for labor, the patterns and colors of the embroidery has been already familiar with the contemporaries A more profound study on the oriental embroidery will supply a great deal of material and ideas to the fashion industry. Moreover, an effort to raise self-pride in traditional culture will be also in need.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.1-13
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• 2013

This study examines the processes and characteristics of modern Korean embroidery art from the beginning of Korean modern times to 1945 which was the year of independence from Japan. An objective basis is presented by the analysis of articles and illustrations from the press and publications of the corresponding times. The significance of this study is to research the modern Korean embroidery art, which connected traditional times with modern Korean culture in order to investigate its identity. Due to Korea's modern embroidery art being started in the Japanese colonial times, there are some limits in it because of it being influenced by Western modern embroidery art and Japanese embroidery design. However, modern Korean embroidery art expanded from the private space to public space such as schools, open lectures and exhibitions. It has also accepted diverse foreign embroidery forms, which have been commercialized and accepted as art. The embroidery craft as commerce and art has given women the chance to achieve economic independence and to improve their social status. Modern Korean embroidery was art for the modern woman who had been educated in academic art, as well as a liberal art for wealthy housewives. It was the foundation of economic independence for poor rural women. It can be concluded that Modern Korean embroidery art has been accepted and developed by women in modern times.

• Journal of Fashion Business
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• v.11 no.6
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• pp.139-156
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• 2007

The purpose of this study is to analyze the aesthetic characteristics of traditional Korean patterns appearing on fashion collections from 1990 to 2005. Traditional Korean patterns have been used as an important element to express a Korean image since the 1990s. Frequently used patterns included several kinds of geometric patterns, plant patterns(flower, peony, Four Gracious Plants), and Chinese character patterns. Specifically, since the 2000s, animal patterns such as tiger, Chinese phoenix, and giraffe which were not often used, plant patterns such as arabesque, peony, and flower, and a variety of Chinese character patterns appeared. For the expression techniques, while embroidery and printing was often used in the 1990s, they became varied into printing, beading, embroidery, gold and silver leaf, and hand painting after 2000 as a result of designers' active attempts. The aesthetic characteristics of fashion design with its focus on traditional patterns were analyzed. First, Chinese character patterns and phoenix pattern which were mainly used for a court suit, and show the excellence and unique originality of Korean culture. Second, traditional Korean patterns directly and indirectly imply symbolistic significance of lucky sign and illustrate the use of various lucky sign patterns. Third, traditional Korean patterns such as arabesque or peony were expressed by colorful embroidery to add decorative beauty. Finally, traditional Korean patterns reflect a naturalistic worldview and are completed finished as the design.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.85-98
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• 2009

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 Yo tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery pattern has a high artistic value in that its shapes are diverse and splendid and each one has its own peculiar elegance. As for the research method, I examined the Yo tribe's history, culture, traditional costumes and design patterns through related books, research papers, internet sites, and etc. The results of the paper are as follows. The Yo tribe's costumes consist of a jacket, trousers or a skirt, an apron and a belt. Although the color of the costumes is all black, there are splendid embroidery decorations with the colors of red, orange, yellow, green and white on the chest or shoulder part of a jacket, the adjusting lines, cuffs, or a part of a trousers and aprons. The types of the patterns represented in the Yo tribe's traditional costumes are related to nature, ancestor worship, ethnic legends, history, religion, and agricultural lives. The method by which the Yo tribe expressed on their costumes is a "peach-blossom" technique, which uses cross-shaped embroidery with wrap and woof threads. Because it is not apt to express delicate and detailed patterns, the Yo tribe's patterns tend to show abstract and geometrical forms.

• 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.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.299-320
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• 2024

Traditional culture contributes to the diversification of modern fashion design and the inheritance of local cultural identity. This study aims to identify the characteristics of traditional handicrafts reflected in modern fashion design in India. For this purpose, it focused on Sabyasachi Mukherjee, Manish Malhotra, and Ritu Kumar, who are currently leading the Indian fashion design field. The methodology involved conducting literature research and analyzing case studies. In the literature, the techniques of Indian traditional crafts such as embroidery, dyeing, and weaving were examined and five design elements of traditional crafts were defined. Through content analysis of 30 images from the three designers' Instagram accounts, the design characteristics of traditional handicrafts expressed in contemporary Indian fashion design were derived: cultural inheritance using traditional Indian clothing items, traditional materials and practices applied to contemporary clothing, craftsmanship that artistically improves complex details using embroidery techniques, various combinations based on the traditional meaning of colors, and narrative expression using patterns containing India's cultural identity. Incorporating these traditional handicrafts into fashion design, closely linked to everyday life, aids in conveying and enhancing their significance. The cases demonstrate the successful integration of conservation into contemporary fashion design. This study sheds light on the application of traditional culture in modern fashion design.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.176-190
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• 2007

As the globalization has increasingly brought in the disintrgration of boundary between cultures, the hybrid of styles, or fusion styles in various cultural spheres have been introduced as important theme. With this new trend, the traditional culture of Asia appeared as the source of inspiration for the West, and as the source of enhanced pride and asset for ethnic groups which have been considered "the Other" by the West. 1990's witnessed a drastically increased interest in Orientalism and Ethnic trends in most social aspects, especially in culture and art. They have been the main theme in fashion, providing the source of inspiration with elements such as the unique color schemes, composition methods and geometrical simplicity. The creative application of traditional culture into modern design as well as fashion can make a significant contribution and be a solid foundation for the development of national culture in general, since images containing cultural authenticity are the visual representation of the nation and they can be important tools for the globalization of design. This study aims to find out the formative characteristics of Korean traditional embroidery and the ways they are applied in modern fashion by world-renowned Korean fashion designers. The purpose of this study is to make a fundamental source for further study by the same author on creative design development utilizing the result. The study methods are literature study combined with research of genuine articles from museums and personal ownership as well as photos from magazines and internet. The significance of this study lies in enhancing the appreciation of Korean traditional culture and expanding the possibility of its globalization by modern application.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.76-91
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• 2011

During the era of Joseon Dynasty when the Confucian ideas were prevailing all over the manners of living, most women were usually living separated in the boudoirs, the isolated living quarters exclusively for women, where they used to do much troublesome needleworks for the traditional kerchiefs and embroideries for which they poured out their souls and hand skills. And therefore, nowadays, such works are deemed much valuable for either formative or artistic point of view, and their legitimate cultural designs are receiving much publicity from a number of mass communications as one of the national competitive powers. Thus, I, the researcher for the subject study, have completed 1-year researching lessons on the traditional kerchief and embroidery of Ms. Hyeon-Hee Kim, the Mater-hand, at Korea Traditional Handicrafts Institute of Korea Cultural Heritage Foundation, and then engaged myself in the creative works relevant to the subject by cultivating the power of understanding to such field, restoring the techniques of the traditional handicrafts, reconstructing them into the modern sensual descriptions, and also trying to apply various transformations and modifications to them.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.94-105
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• 2009

Hwai-ot is the embroidered bridal red robe that represents the beauty of Korean traditional costume. As there are very few remains of Hwal-ot that are pass to date, the study on Hwal-ot has been limited to the Hwal-ot of Princess Bok-on and some civilian Hwal-ot relics. In this study, I tried to perform a positive research on Hwal-ot of the latter Joseon dynasty by inspecting these Hwal-ot remains housed at Field Museum of Chicago. This study has its meaning in the fact that it tried to illuminate diverse features and beautiful formation of the Korean traditional Hwal-ot by comparing those possessed by overseas museums with the ones in Korean museums. Number 33157 Hwal-ot has very unique pattern with both embroidery and gold imprint decorated. It has less embroidery than the Princess Bok-on's Hwal-ot but has much diverse gold imprint patterns. Other four Hwal-ot remains, other than the number 33157, have similar characteristics with the Hwal-ot housed at Changdeok-gung, whose reproductions are also kept at Dankook University Muesum and Ewha Womans University Museum, which makes it possible to deduce that they have typical characteristics of the Royal Hwal-ot of the latter Joseon dynasty.

• Journal of the Korean Society of Costume
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• v.43
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.