• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.192-201
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• 2013

This study explores the culture surrounding the dyeing of royal garments in the late Joseon Dynasty. The findings of this study are as follows. First, several dyes were used to color royal garments, such as jicho, honghwa, danmok, simhwang, sambo, goehwa, chija, and namjong. Mordants such as maesil, hwanghoemok, yeohoe, and baekban were also used with the dyes. Second, the Sangeuiwon (尙衣院) was the department in charge of the purchasing of dyes and the entire dyeing practice. It was the Seonhyecheong (宣惠廳) and the Hojo (戶曹) who provided revenue to the Sangeuiwon through a wongong, regular tribute, and a bokjeong (supplementary tribute). Additionally, additional dyes, if found to be insufficient, could be provided by the Hojo. Every year the Hojo provided jicho, honghwa, and danmok to the Sangeuiwon, and sometimes imported namjong from China. Third, royal garments were, in most cases, dyed by the Sangeuiwon's professional dyers and court ladies belonging to the sewing department in each palace. Naenongpo (內農圃) eunuchs were in charge of the indigo crops of each palace. Finally, more dye was used in royal garments than in the clothes of commoners to obtain a deeper shade of color. In addition, dyers tried to achieve a clear and vivid tone in their garments. Silk which absorbed color relatively easily, was dyed inside the palace using an ice vat filled with fresh indigo leaves; however, cotton was difficult to dye and was sent to professional indigo dyers outside the palace.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.40-43
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• 2001

Du-Dou was one of the Chinese costumes worn mostly by women and children. It is the equivalence of modern brassieres or under wear. While small in size, du-dous were popularly worn by many ethnic groups and in many regions in China. The embroidery on du-dous has attracted major attention recently, due to its functional and artistic aspects. The design, floral pattern, stitching technique, and color combination and distribution clearly demonstrate the practice of Chinese folk art and reflect the essence of Chinese life style. Among the three major ethic groups of Taiwan-the Fukiens, Hakkas, and Taiwan aboriginals, each group has its distinctive du-dou. The purpose of this study is to investigate and compare the similarities and differences of the embroidery on du-dou among the three ethnic groups in Taiwan, and furthermore, to make recommendations for the modern du-dous in the fashion industry.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.93-106
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• 2016

The aims of this study are to elucidate the relationship between the luxurious trends of costumes and the importation of Ming's patterned textiles in the $17^{th}$ century, and to analyze the similarity between certain Joseon and Ming fabric patterns. After Imjinwaeran[임진왜란] and Byungjahoran[병자호란], more diverse Joseon textile patterns appeared. Generally, wars lead to a shortage of luxury goods and basic commodities. However, $17^{th}$ century Joseon had an abundance of luxury goods, which allowed even some commoners to have clothing made of Chinese silk. That was the result of free trade between the Koreans and the Chinese merchants in Joseon. Ming's merchants followed the Ming's troops into the Korean Peninsula and targeted Koreans to sell their goods, such as fur coats and fur hats. Free trade between Ming and Joseon took place at Junggang [중강] and Donggangjin [동강진]. Joseon imported Chinese textiles there and resold them to Japanese merchants. Some of the Changgi Chung's excavated fabrics might be an evidence of the import from the Ming. These fabrics had the inscription and were similar to Ming fabrics. It can be assumed that trade occurred between Joseon, China, and Japan, as fabrics found in the countries had similar patterns such as flower, bee, and four seasons, which represented longevity. Furthermore, Chinese fabrics might have triggered Joseon's weaving skills to develop, which led to the ability to weave refined and beautiful brocade satin at Sangbang [상방]. According to Uigwe[의궤], Sangbang could weave silk fabrics in the 1620s and 1630s. The improvement of weaving techniques might make it possible to weave some popular patterns at Sangbang.

• 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 Fashion Business
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• v.8 no.1
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• pp.1-15
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• 2004

The purpose of this study is to provide for some basic data useful to production of the apparels fit and measured well for the Chinese men. For this purpose, Chinese men's apparel measurements and specifications were determined per area group(Beijing/ Shanghai) according to the Men's Wear Specifications (GB/T 1335.1-1997), National Standards of People's Republic of China. The collected data were statistically processed using SAS 6.12 for technical statistical analysis, correlation analysis, factor analysis, group-wise analysis and ANOVA. The results of this study can be summarized as follows; 1. As a result of dividing the Chinese men into Beijing and Shanghai men and thereby, setting height and upper chest circumference for upper garments and height and waist for lower garments. 2. Analyzing the correlations according to the three-fold classifications of height/upper chest circumference/waist for garment specifications, 17 specifications based on heights and upper chest circumferences for Beijing men's upper garments could be designed within the deviation level of 2%, while 15 specifications based on waist measurements could be designed (between $70{\sim}98cm$) for their lower garments within the deviation level of 4%. Thus, a total of 60 combinations of the specifications could be obtained. 3. 16 specifications based on heights and upper chest circumferences for Shanghai men's upper garments could be designed within the deviation level of 2%, while 16 specifications based on waist measurements could be designed (between $68{\sim}98cm$) for their lower garments within the deviation level of 3%. Thus, a total of 56 combinations of the specifications could be obtained. For other reference measurements, grading measures were set for each type and body part, while the average measures of major body parts were calculated.

• Journal of Fashion Business
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• v.5 no.5
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• pp.87-96
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• 2001

The purposes of this study is to supply information on the most common and generalized purchasing conditions of suits in China by surveying male customers from Beijing, Shanghai, Dalian, Tianjin, Harbin and Guangzhou with ages from 20's to 40's. Statistic data from the questionnaire was analyzed by SPSS 10.0 for windows and the analyzing method was processed by descriptive statistics, cross analysis and dispersed analysis and for verifying similarities, t-test and $\chi^2$-test were used. The results could be summarized as follows; First, Purchasing places for suits were stores specializing in men's wear, department stores and reasons for purchasing suits were 'For business' and 'Change of season'. Two, for purchasing information provider, television worked as the key source of providing purchasing information and outdoor advertisement, for main influence of purchasing, the consumers answered that they are the key decision makers and replied their wife or girlfriend's opinion as the answer. Three, for number of suits in possession, answered three suits followed by more than five suits and for the purchasing period, the consumers chose one suit per year or every 6month. Four, according to the questionnaire on prices, colors, fabrics and styles of suits they buy, the consumers pay between 1,000 and 1,999RMB per suit and for the colors, black, dark gray and deep blue. For the choice of fabrics, said pure wool. For the styles of the suits, answered single three buttons. Five, the result from a question on the level of satisfaction shows 'satisfied', 'average' and 'very satisfied' with the purchase.

• Fashion & Textile Research Journal
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• v.11 no.5
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• pp.741-752
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• 2009

As a major obstacle to active online purchase at the level of consumer in China, distrust is raised in this study. Most of previous studies showed that trust is a major variable to cause a relational unity between company and consumer, on the other hand, this study attempts to show that according to the two dimensional point of view regarding trust each dimension of both trust and distrust distinctly contributes to marketing achievement. Interaction, perceived popularity, information usefulness, perceived security risk and perceived dealing risk were created as preceding variable, trust and distrust were constituted as parameter and relation absorption and purchase intention as consequential variable. These variables were analyzed with structural equation modeling (SEM) in LISREL 8.3 program. The results for this study are as follows. First, relation between exchange actors in marketing is divided into two concepts of trust and distrust differently from the previous studies. On the assumption that trust and distrust might exist simultaneously and they would distinctly have an influence on marketing consequency such as relation absorption and repurchase intention, it is identified that trust and distrust are a different dimension in online context. Second, the formative factor of online trust-distrust is identified and it is shown what relationship between internet shopping mall and relation absorption and foregoing purchase intention resulting from online trust-distrust exists. Third, it is shown that in online context the formative factor of online trust-distrust is distinctly contributed to relation absorption and repurchase intention. It is suggested that trust needs to be managed two-dimensionally separating from trust and distrust. Fourth, it is shown that both trust and distrust factor in terms of relation absorption and repurchase intention of consumer in internet shopping mall are significant variables. Trust is linked with repurchase intention through relation absorption, however, distrust is not directly linked with repurchase intention through relation absorption. Thus, the ripple effect of distrust appears to be much higher than that of trust.

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.134-147
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• 2016

The mainstay of modern fashion design has always been Western costumes. Though Asian costumes do get featured in collections at times, most instances are just instances of the western culture showing curiosity toward non-mainstream costumes. Until recently, Japan, which has been the most active in cultural exchanges, has been the main recipient of these curiosities, and has been used as the representative style and culture of East Asia. What needs to be let known is that Korea has its own costume style and culture, which have been developed according to its tradition and beliefs. Hanbok, which is the representative traditional costume in Korea, has existed since the beginning of the Kochosun dynasties. I started this study to figure out the design source of Hanbok's shape and develop it into a modern costume. In the fashion industry, "Mandarin Collar" and "Kimono Sleeve" are common terms, And I hope that words like 'Korean Collar' and 'Hanbok Sleeve' will one day become a household term. Hanbok contains Korea image. And its shape is formed depending on how Koreans have been treating all sorts of objects or things for many years. If my study can identify and express the unique Korean way of pattern and considering clothes, which is clearly different from those of China and Japan, I will be able to establish a concept of 'Korean style', that people of the world could come to recognize.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.29-41
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• 2009

The purpose of this study is to improve the fitness of clothes by producing patterns considering body proportions at a time of producing clothes for export through extracting factors comprising body types and conducting comparative analysis of proportions by body part using body indexes of Korean women in their 20s living in both Korea and foreign countries. The study results are as follows. Factor analysis by group was conducted for body indexes in order to examine body types of Koreans living overseas. As a results, six factors were extracted from all of three groups; Joseonjok(Koreans living in China), Goryeoin(Koreans living in Russia) and Korean residents in Japan, and their explanatory powers were 60.42%, 63.62%, 63.15%, respectively. Obesity factor was extracted as the 1st factor, and the groups showed differences in other factors. As a result of proportion comparison using body indexes of Koreans living in foreign countries and Korea, it was found that, in height item, when regarding the height as 100, the length of the lower part of the body was long in the order of Goryeoin. Joseonjok, Koreans living in Korea and Korean residents in Japan. Also in width item, when regarding the waist as a standard, it was observed that Joseonjok people have the shoulders, the breasts and the hips that look relatively wider comparing with the width of the waists because they have very narrow waists and the width between shoulder length is big. In addition, the study examined proportions of the breast thickness/the breast width, the waist thickness/the waist width, the hip thickness/the hip width to height. From the analysis, it was found that breasts of Koreans living in Korea are flattest while their waists are slender, and Goryeoin and Joseonjok have round body shapes from the waist to the breast.

• Fashion & Textile Research Journal
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• v.3 no.4
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• pp.337-343
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• 2001

This study was purposed to see how men's hair styles of Japan had changed throughout history and results of the study was as follows. There are such evidences as topknots in its primitive styles and wooden combs that several hair styles were tried already in the primitive Jomon Period. In the Yayoi period, bare topknot style without crowns and Mizura style in which hair drop down both ears were popular. In the period of ancient burial mounds, Mizura style was dominative style and varied its form and shape according to classes and status. In the Aska and Nara era, topknot-in-the-crown style in which hair bound in one as in continental style and put in crown or hood, which style was influenced by the Sui and the Tang periods of China. Since the Heian period, topknot-in-the-Ebosi style, binding style, and Karawa style as well as topknot-in-the-crown style came in sight and Sakayaki style became popular in the Kamakura and Muromachi periods. In the Momoyama period, Chasenmage style and Ichomage style were spread widely. In the early Edo era, Wakashumage style and Yaromage style as well as Ichomage style were preferred. In the middle of Edo era in which form and shape of topknot was more distinct symbol of class, status and job than in any other period, Tachmach style under the influence of the Punkin and Honda modes. Sonno style was popular in the late Edo era. There was a drastic disappearance of topknot style by the hair-cutting order during the Meiji Restoration period and civilized hair style of the Jankiri style, a kind of dishevelled hair style without making a topknot was in fashion and continued to the present.