• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.127-142
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• 2000

The names of Chinese Po corresponding to Korean Jikryung are Yesal and Jikshin. Thus the purpose of this paper is to review of the shapes and usage of Yesal and Jikshin and then make a comparative review between the twos and Jikryung having side Moo. Results of the study are described as follows : 1. The Chinese costume, Yesal is translated literally into Korean, Euisal or Euisal Jikryung and called Euisal Diknyung or Uisakot in Korean while Jikshin is translated into Korean, Jikryung and called Diknyung. 2. Yesal is a new type of clothing as created during the Ming period. The costume is the remnant type of Yosunoja and Byunsunoja in the periods of Sung and Yuan. Types of Yesal are classified into two, or one whose rear part's upper and lower areas are connected with each other and whose front part's upper and lower areas are net, the other in which those upper and lower areas are disconnected both in front and rear parts. 3. Types of Jikshin are classified into two, one having Pa and the other having loot. The latter is re-classified into two, one whose sleeve is large and wide, the whole length of which is long and which was usually worn by Sain, and the other whose sleeve is small and narrow, the whole length of which is short and which was by the grass root. 4. Yesal and Jikryung both having Pa have the almost same shapes except their front parts. Baerae of the former is more curved than that of the latter. Also the both were used as official uniforms worn by civil and military officials from higher to lower levels. 5. Jikshin and Jikryung both having Pa have the same shapes. Baerae of the former is more curved than that of the latter. The both were used as official uniforms worn by civil and military officials under a King and as casual costumes by Sadaeboo. In terms of color, Jikshin and Jikryung both employed red, blue and green, Especially the red color was favorably used both in China and Chosen at that time.

• 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.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.1-15
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• 2007

The purpose of this study is to classify the types of and to examine the characteristics of the golden decoration technique used for expressing patterns on the costumes from Dang dynasty to Cheong dynasty era. In order to classify the types of the golden decoration technique and to examine its characteristics, literature review, focusing on documents and records of China, and investigation on the relics from Dang to Cheong Dynasty era were conducted. The types of decoration technique using gold include china JigGeum (brocade technique), InGeum (attaching gold powder and flake technique), GeumSaJaSu (embroidery technique), GeumSaTapestry, mixed technique. Interestingly, it was newly found in this study that embroidery with golden thread was used in the GeumSaTapestry technique and that there were some cases of the mixture of 2-3 gold decoration technique. The GeumSajaSu technique was used the most frequently from Dang dynasty to Yo dynasty era. However, its use had decreased enormously while the use of JigGeum had increased a lot since Geum dynasty era. The mixture of 2-5 techniques was used frequently in JigGeum, GeumSaJaSu, and GeumSaTapestry, but not used in InGeum. Particularly, the mixture technique was the most frequently used in the GeumSaTapestry, which expresses by composition of paintings. All four methods were used the mostly frequently in costumes, while GeumSaJaSu and GeumSaTapestry were generally used for home accessories. InGeum and GeumSaJaSu were used a lot for gaze and leno fabrics such as Sa or Ra, while JigGeum was mostly used for satin weaved fabrics like Dan.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.

• Journal of Fashion Business
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• v.15 no.1
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• pp.185-204
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• 2011

The purpose of this study is to take into consideration the formative and aesthetic characteristics of wedding dresses that existed during the periods of Neo-Classicism and Romanticism which appeared as a reaction toward Neo-Classicism. The method of the research was mainly focused on precedent research data and general references. Furthermore the data on wedding dresses was mainly collected from British, French, and American library and museum web sites. The result of the research is the following. The Neo-Classicism art, which appeared along with the enlightenment in the beginning of the 19th century, pursues beauty based on associations and imitations of ancient Greek and Roman arts. In addition to aforementioned pursuits, the Neo-Classicism art also pursued universal beauty and social usefulness through law and order. This aesthetic value was also applied to the wedding dresses, so classical beauty, natural beauty and universal beauty were expressed as follows: corsets of the previous era were removed from general clothing and Empire style that imitated natural Greek style became predominant. Also, muslin replaced high quality clothes which were used as the main materials of the dressing during the previous era. Empire style's wedding dress became popular and simple colors and styles of the wedding dress expressed the beauty of the human body and emphasized civility at the same time. Romanticism art and costumes opposed rationalism and pursued sentimentalism. Moreover, it pursued diversity, exotic tastes and accepted diverse reactionism unlike Neo-Classicism's simplification and standardization. These aesthetic characteristic were applied to the wedding dress of this period; wedding dress of romanticism pursued feminine and elegant beauty with "X" silhouettes and various decorations, like general costumes. And they were decorated with a variety of excessive accessories, details and trimmings to express romantic sentimentalism. Exotic tastes which included Chinese, Egyptian, Indian influence and other diverse tastes were expressed through hair style, accessories and patterns of shawl. However, the white color in the wedding dress revealed purity and sanctity which cannot be found from general costumes regardless of whether the dress expressed Neo-classicism or Romanticism. As a formal dress worn during wedding ceremonies, the wedding dresses of the royalty revealed dignity and authority and significantly influenced later wedding dress designs.

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.481-501
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• 2024

This study aims to analyze the traditional embroidery in Korea, China and Japan based on Pierre Bourdieu's cultural theory, habitus and field. We conducted literature and case studies examining the late Joseon Dynasty, Qing Dynasty, and Edo Period, respectively. Based on previous studies, we reviewed three fields: social systems, goods and economy, and environmental and regional. We also explored art, culture, and national tastes as habitus. We then examined each country's embroidery practices through these lenses, and the practice of habitus is as follows. We determined that traditional Korean court embroidery in the late Joseon Dynasty was characterized as controlled elegance, while private embroidery reflected earnest simplicity. During the Qing Dynasty, traditional Chinese court embroidery depicted sumptuous power, while private embroidery portrayed harmonious splendor. Finally, traditional Japanese embroidery in the Edo period reflected symbolic natural beauty and exaggerated comic beauty. As a result, Korea, China, and Japan have had a relatively close geographical location and a similar climate environment zone, and since ancient times, many cultures have been exchanged with each other. However, it seems that the characteristics of traditional embroidery have developed slightly differently due to the practice of habitus, which was caused by of the conspiracy of field and habitus of the three countries. The significance of this study is expected to explain the relationship between the birth and extinction of costumes and embroidery by establishing a systematic and objective framework for aesthetics research.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.