• Journal of the Korean Society of Costume
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• v.26
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• pp.69-85
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• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• International Journal of Costume and Fashion
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• v.3
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• pp.25-36
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• 2003

This paper discusses developments in fashion practice, and fashion education, reviewing developments throughout Asia. Reference is made to the historic origins of the clothing trade and efforts made on behalf of industry to educate its personnel. Current challenges are addressed, and a case study based on experience in Asia is provided.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.5-15
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• 2003

This paper discusses developments in fashion practice, and fashion education, reviewing developments throughout Asia. Reference is made to the historic origins of the clothing trade and efforts made on behalf of industry to educate its personnel. Current challenges are addressed, and a case study based on experience in Asia is provided.

• International Journal of Costume and Fashion
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• v.15 no.1
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• pp.87-101
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• 2015

From the 1920s to 1945, East Asia experienced radical social change with the introduction of new fashion styles, and new ways of thinking, from the West. The emergence of a new generation of "new women" educated in modern schools was part of this phenomenon, and functioned as a trend-setting influence in East Asian society. In schools, education in dressmaking, sewing, and home economics were important parts of female education. Adopting a new fashion style is, by necessity, accompanied by the new technology of dressmaking. Given that ready-made clothing was not generally available, dressmaking education also served to introduce a new material culture. In Korea and Taiwan under Japanese colonization, the greater part of school curricula and textbooks mirrored those in Japan, which enabled these countries to develop and adopt transnational styles as well as local styles. This research explores the transition of women's fashion in East Asia in modern and colonial conditions from the 1920s to the 1940s by analysing curricula and textbooks on dressmaking in comparison with the prevailing styles in each region. This is expected to suggest the impact of modernity in East Asia and the transnational styles of fashion in colonial Korea and Taiwan, as well as Japan, developed within the local culture. Colonial conditions are also discussed in terms of their impact and limitations in the transition of styles.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.902-910
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• 2008

A view of the Orientalism that sees the Orient as the inferior Other, characterized by the heterogenic, eccentric, backward, and passive features, has been internalized in the unconsciousness of Westerners. 'Orientalism' which is the cultural device and the system of discourse to put Asia in the fixed frame of dominance was the West European centered term, designating Southwest Asia including South Europe and North Africa as Orient, and contained the idea that non-Western society could progress only with the acceptance of Western civilization. Accordingly, it is need to use this term deliberately. In addition, even though the Asian Look of the West, borrowing the images and costume styles of Asia has lost the original mentality of Asia, it was not initiated from the perception that sees Asia as the inferior Other. Since the Asian Ethnic Look is the Western costume, borrowing the image of Orient and style by being fascinated by Oriental Aesthetics, the attributes of it are different from those of Orientalism. Therefore, it is not appropriate to designate the Asian Ethnic Look as 'Orientalism Fashion' or 'Oriental Look' except for some eccentric manipulation of Asia costume and image. Instead, it is desirable to exchange the term 'Asian Look', 'Asian Fashion', and 'Asian Ethnic Look' upon occasions or the name of individual nation or region can be referred to as preferred alternatives. Today, Asia including Korea is taking the initiative in the World Fashion as one of central axes of World Fashion Industry, and cannot be interpreted from the perspective of West Centrism. Now, it's time to dissolve the dichotomous prejudice of the West centrism on Asia's own strength.

• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.301-316
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• 2016

Due to the dramatic increase in consumers' price sensitivity and growing importance for global retailers to create relevant price strategies, this study investigates the global pricing strategy of the main SPA brands such as ZARA, H&M and UNIQLO. Based on price information shown on official website, the study developed SPA brand index by using exchange rates in terms of US dollars and ratio of differences between the local price and the US price. These figures were compared with GDP per person data in order to analyze each brand's price level against the income level. The study also compared SPA brand index with Big Mac index to identify the difference in price levels between the fast fashion market and the fast food market. ZARA and H&M were mostly targeting Middle East and Asia as a high-price market when considering index only. After taking the income level into account, however, Asia came out be the highest price market and Middle East was similar to the US market. On the other hand, UNIQLO targeted Asia as the lowest price market and the US and EU as the highest in terms of index only. But, Asia came out to be the highest price zone after considering the income level while the price of the US and EU was reasonable. Comparison with Big Mac Index indicated that most of Asia had a higher price level of the fashion market than the food market, whereas most European countries had a similar or high-price level of food market.

• Journal of Fashion Business
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• v.24 no.3
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• pp.51-68
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• 2020

In response to the South Korean government's trade diversification policy, the New Southern Policy, research is needed into the large population of Muslim fashion consumers who live there. Currently, veils worn by Muslim women are becoming a part of fashion collections as a style choice not just as a religious requirement. As such, the aim of this study is to investigate the fashion characteristics of the Southeast Asian Hijabistas. To do this we investigate the activities and the meanings of recent changes in the Southeast Asian fashion market, we also take a look at the Hijabistas who lead these changes. This is carried out as a theoretical study via literature review. In addition to this research, we selected 6 Hijabistas from Indonesia and Malaysia and analyzed 204 of their SNS photos. The results showed that the sportive image was popular; in terms of veils, hijabs and turbans were most popular; while pants and T-shirts dominated the clothing choices. Black and neutral colors were most popular but a variety of colors and tones were represented. In terms of fabric patterns, most of the choices were solid with no patterns. In terms of the types of veil used, in order of most to least popular were: hijabs covering down to the neck, turbans, and hijabs covering down to the chest. It was found that the Hijabista in Indonesia and Malaysia prefer an open, trendy fashion style. In conclusion, it was found that the Southeast Asia Muslim Fashion community are utilizing hijabs to express their identity not only as a Muslim and but also as a fashion item.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.

• Fashion & Textile Research Journal
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• v.22 no.4
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• pp.446-455
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• 2020

In order to develop high value fashion culture products capable of reaching the global market, this study developed the original traditional clothing design of Northeast Asian countries according to a global perspective. This study applied the structural formality of traditional clothing to fashion cultural products. This study developed designs using Deel of Mongolia, Makap of China Korean Dang-ui / Dan-ryung, and Haori of Japan. The research methods are theoretically examined using literature on traditional clothing in Northeast Asia. First, it designed a shirt design using Adobe Illustrator CS6 and created a pattern with the Yuka program as well as applied CLO 5.0 (a 3D virtual dressing system from CLO Virtual Fashion Co.). A survey was also conducted on individual interest for the developed fashion cultural products. The design method obtained various design effects by applying the method of adding point detail parts of the clothes to the shirt that represented each country among their traditional clothes. This research can be used as basic data for the global fashion cultural products market that can contribute to maintaining the originality of each country in the global era, expanding tourism income to succeed and develop culture and tradition.

• Journal of Fashion Business
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• v.20 no.2
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• pp.46-58
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• 2016

Architecture and Fashion mutually affects the shape and appearance of the other as an art of space according to the hybrid trends. Therefore, the purpose of this study is to find the correlations between the characteristics of traditional architecture types in Southeast Asia and modern fashion. Firstly, characteristics of the types obtained through the theoretical consideration of Southeast Asian architectural tradition include vertical, symmetrical, geometrical, epeated and continual structure. On the basis of these characteristics analyzed from 2013's S/S to 2015's F/W collection of Alexander McQueen, Gareth Pugh, Victor & Rolf, designers with strong creative and experimental minds who juxtaposed designs of two opposing points as well as hybrids since 2000, the following formativeness exists. First, the vertical structure of high floor is represented as a straight silhouette, a color contrast, vertical cut or wrinkle. Hence, it impresses verticality, rhythm, etc. Second, symmetrical structure of the gable roof is represented as a trapezoidal shape starting from the shoulder line or neck line widened into sleeves, impressing symmetry, dynamism, etc. Third, the geometry of the assembled is represented as vertical and horizontal bands or pattern pieces like puzzle, impressing geometry, three-dimensional, etc. Fourth, repeated structure of the weaving pattern is represented as repetitive patterns of woven fabric or printing techniques. Thus, it impresses repeatability, harmony, etc. And lastly, continuous group structure is represented as a connection of collars or hem-lines, as well as a crossing of fabric that impresses continuity, liquidity, etc.