• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.4
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• pp.117-133
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• 2022

In order to reflect traditional elements in modern design, designers should be able to creatively apply elements of traditional Chinese clothing. To understand this, a deep understanding of and insights into the traditional clothing culture are required. In this study, the characteristics of traditional Chinese women's clothing from the Wei, Jin, and Northern and Southern Dynasties of China to the Qing Dynasty were analyzed by dividing them into silhouette, color, pattern, materials, and detail. The characteristics of the silhouette were classified into A, H, X, and O types, of which types A and H were the most common. As for the color characteristics, there are relatively many five cardinal colors, and for the contrast of colors complementary colors were mainly used. As the for pattern characteristics, real patterns, animal patterns, character patterns, geometric patterns, and mixed patterns were used. Four types of materials were mainly used: silk, hemp, cotton, and wool. The detail characteristics were also anlyzed by classifying them into collar, sleeve, neckband, and gusset. Based on the results of this analysis, a satisfaction survey was conducted on the design of modern Chinese women's clothing. The result of satisfaction with design elements showed that the images of vest and suit were most preferred, H and X silhouettes, and yellow and white were the most preferred. Geometric and plant patterns were preferred, as were silk and acetate materials. Based on the result of chi-square analysis of design element preferences according to the characteristics of the subject, there was no difference according to occupation, residential area, or income, and there were differences in silhouette, color, materials, and detail according to age.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.661-680
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• 2008

The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.

• Journal of the Korean Home Economics Association
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• v.44 no.6 s.220
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• pp.121-127
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• 2006

The purpose of this study is to investigate the sin satisfaction and fitness of Chinese women for Korean-made women's suits. The study methodology was questionnaire survey and the subjects were randomly chosen, 20 to 49-year-old female shoppers at department stores in Beijing, China. The data analyses were performed with SPSS 12.0 through descriptive analysis, t-test, and crosstab analysis. The findings were as follows. Chinese women assessed both the fit satisfaction and fit suitability levels of Korean-made women's suits available in China to be higher than that of Chinese-made women's suits. Paticularly, in the tan of slacks showing the lowest suitability level among Chinese-made women's wear, Korean-made women's suits in China had outstandingly high suitability level. In the case of jackets, however, the Korean-made women's suits went through more fixings, on average, than Chinese-made women's suits. In addition, more fixings were done for enlargement than for contraction, which necessitated the measure changes.

• Journal of Fashion Business
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• v.8 no.4
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• pp.1-21
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• 2004

This research suggest the correspondent sizes of female ready-made clothes to export to China on the basis of those of Korean women's ready-made clothes. The following is the concrete coverage of this research: $\cdot$ Analyze the physical measurements and body types of the women in their 30s and 40s in the area of Ningbo, Jeolgang Province in China. $\cdot$ Compare the body measurements of Chinese and Korean women. $\cdot$ Hold compensation measurement by an basic torso pattern test to raise precision of the direct and indirect body measurements. $\cdot$ Establish the corresponding and representative sizes of women's ready-made clothes to go to China. $\cdot$ Make basic torso pattern and sample clothes reflecting representative sizes. $\cdot$ Hold adjustment and compensation through the wearing evaluation by Chinese consumers on the spot. $\cdot$ Finally suggest the correspondent sizes of women's ready-made clothes to export to China.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.7
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• pp.1148-1156
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• 2007

This study were examined Chinese size system and fitness for women's suits of Korean brands produced by the manufacturers operating in China. The results are as follows. 1. One manufacturer used Chinese size system for women's suits among those manufacturers in China. And the rests individually adopted different size system of various ways. 2. Chinese women almost satisfied fitness and size system for suits of Korean brand. Especially, they satisfied fitness and size system for jacket more than the other apparel items. Pants was the worst item of fitness satisfaction. 3. Size assortment of each items was very different for each manufacturers which extended their business in China. And the smallest size was more produced than the other size in many manufacturers. 4. Most of the women's suits manufacturers of Korean brand in China, were collected consumers' informations for fitness and size satisfaction through their salespersons. Most of them replied that they were repairing items which were not in good fitness.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.21-36
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• 2016

The purposes of this study were to find out how the characteristics of Chinoiserie in the perspective of the West have influenced on the contemporary womens' fashion. 440 pieces of photo data for this study were collected, focusing on Paris collections as a fashion capital of Europe, for the period of 10 years from 2005 through 2014. The results of this study are as follows. The impacts of Chinoiserie have increased consistently since 2009. The reasons for the increased impacts are assumed that the influence of Chinoiserie on the contemporary fashion rekindled it, as the worldwide attentions to China have been growing since Beijing Olimpic, Aug. 2008. Reviewing by seasons, the trend of Chinoiserie has been more distinct in F/W season comparing with S/S season except year 2007 and 2011. Considering the results of analysis for each designer, Leonard and Shiatzy Chen, the designers of Chinese-origin, appeared to apply the characteristics of Chinoiserie on the contemporary fashion most successfully, while European designers, such as Dries Van Noten, Valentino, and Jean Paul Gaultier, also appeared to accommodate actively the design styles of Chinoiserie in their fashions. Moreover the Asian designers, such as Aesuro Tayama, Andrew GN, and Kenzo, had been using Chinoiserie as a means of providing oriental ambience. The results of this study would be helpful to design and plan the fashion items which are scheduled to enter Chinese markets by Korean designer brands and fashion enterprises. In addition, it is considered that these results would help Chinese designers understand the design characteristics of Chinoiserie which have evoked empathy of people all around the world, when they make Western stage debut in the future.

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• Journal of Fashion Business
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• v.11 no.4
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• pp.152-172
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• 2007

This research suggest the correspondent sizes of women's and men's ready-made clothes to export to China on the basis of KS size specification. The results of this study, with the cooperation of Sejung and Searte Companies exporting clothes to Ningbo City, Zhejiang Province in China, are as follows: 1. Corresponding Dimensions of China Women's Clothes According to Morrison's relative deviation method, the body measurement characteristics of Chines and Korean women in their 30s and 40s were compared. As a result, Chinese women were bigger in height, arm length, abdomen girth, and upper arm girth but smaller in shoulder length and shoulder width. The cluster analysis for body type classification was as follows: Type 1, tall and well-developed, was 34.8%. Type 2 with weaker upper body, medium height, narrow shoulders and a slim waist was 45%. Type 3 with stronger upper body, shortest height and wide shoulders was 20.2%. 2. Corresponding Dimensions of China Men's Clothes Based on the drop standard of KS K 0050, the body types of Chinese men in their 20s were classified. A body types were 55.77%, Y body types were 32.16%, B body types were 11.55% and BB body types were 1.51%. According to the criteria of ready-made dimensions of normal body type suggested in Korea Standards, and in consideration of the basic distribution reality of body dimensions, representative 5 sizes were selected. 3. The corresponding size specification of China women's and men's clothes based on those of KS size specification were presented here, showing product sizes and physical items in detail.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.15-28
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• 2011

This study will focus on research and analysis covering the period of time since the creation of the People's Republic of China to current day China, with an emphasis on 20-something year-old women living in Shanghai. In conducting this research, historical evidence of fashion was derived from books, photographs, and Internet resources pertaining to the specific periods of interest. Furthermore, each set of data has been organized in approximately decade-long segments that best reflect the transformation of Chinese fashion from 1949 to 2000. As a result of the countrywide emphasis placed on revitalization of the newly created Chinese state during the period of 1949 to 1965, detail to fashion was largely ignored, in preference to the successful upstart of a working economic foundation. This neglect of fashion is evident by the scarcity of new and daring styles during this period. The following the period of 1966 to 1977 ushered in a cultural revolution that was aptly demonstrated in the changing fashion tastes. When compared with the previous period, the blandness of clothing, authorized by the Chinese government clearly reflected the rules and regulations strictly enforced by a government mandate of conformity and obedience. These orthodox changes were so drastic, that women wearing these clothes could hardly be differentiated from men in the same style wear. After Mao Ze Dong's death in 1976 and the end of the sternest period of the Chinese Revolution, a new era of Chinese culture and fashion was made possible by a more lax and tolerant government. During the later palt of the seventies through the eighties, this new governmental policy fostered more openness and self-expression, both of which led to a newfound interest in expressing one's desires and personality through the clothes he or she chose to wear.