• Proceeding of Spring/Autumn Annual Conference of KHA
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• 2009.04a
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• pp.264-267
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• 2009

Today, our lifestyle and residential culture has been changed have been changed by interchange with various countries in various sides. In order to become an internationally recognized residential environment designer in this environment, we must understand the housing viewpoint of residents in a country first. Therefore, this study was intended to obtain useful material for residential environment design of both countries by comparing the housing viewpoint between Chinese students studying in Korea and Korean students. A questionnaire was conducted on 205 Korean students and 193 Chinese students (Korean race) from Y University in random sampling basis. The result is as follows. First, both Korea and China have a higher ratio of apartments in both current and previous types of house. But, both Korea and China have similar ratios between detached house and apartment for a desired type of house at the time of moving in. Second, Korean and Chinese university students consider and as the most important functions of residence, and Chinese university students consider more functions of residence than Korean students. Third, both Korean and Chinese consider a living room as the most important space among housing spaces, but Chinese consider a private room more importantly than Korean. Fourth, overall satisfaction rate of Korean students for current houses was average, and most Chinese students were generally satisfied with their houses.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.66-83
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• 2010

Huafu is the traditional clothing of the Han Chinese as the significant cultural symbol of Chinese civilization. The resuscitation of Huafu is an exemplification for the pride of a nation, due to China's rapid economic development and a craze for Chinese cultures. Huafu's resuscitation is not only introducing the traditional design factors of Huafu into the contemporary fashion but also reflects the image of Chinese style created to modernize works. Through the study of the history of Huafu, it could be summarized that Ruqun(Zu-chin), Shenyi(Shen-yee), and Shan were the most important and typical types. The characteristics of Huafu were primary colors or strong contrast with achromatic colors, flora and fauna patterns, and geometric patterns. The clothing aesthetic of Huafu could be summed up as spacious, delicate, gorgeous, clandestine, and unconventional character. There were lots of elements in Huafu that could provide inspiration for contemporary fashion designers, such as forms, colors, patterns, details, and also the aesthetic. Based on the analysis of the Chinese designers who applied the elements of Huafu into contemporary fashion design, it could be recognized that the Chinese designer's works were made using the elements of traditional Huafu directly or using new fabrics and techniques to give a modern sense, but also embodies the Huafu's clothing aesthetic at the same time. In the wake of the resuscitation and publicity of Huafu, the essential factors of Huafu will be able to provide inspiration for designers not only for Chinese but also around the world.

• International Journal of Costume and Fashion
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• v.12 no.2
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• pp.41-52
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• 2012

The purpose of study is to understand of china clothing brand to have them to be competitive position in global market. Also through this study people who are in a clothing industry market from China and overseas will be able to utilize it to have competitive brand power. Analyzing of the China clothing brand with a history and process of development is done to help understand of changes through years. With the rapid development of economy in China, the textiles & clothing industry, as one of the key industries, is showing a strong growing tendency, and brand in china have been expanding oversea market. Till 2002, China has already been the world's largest supplier of textile & clothing. Nowadays, "Made in China" is going to be "Created in China", lots of Chinese clothing brands appear, and many Chinese fashion designers step onto world stage. Chinese women's clothing, men's clothing, casual clothing, sports clothing and designer's brand are developing, popular brands are also promoted through convenient e-commerce. Clothing companies are going public, acquiring overseas brands, implementing internal mergers and integration, expanding overseas market. In such a diversity era, Chinese brands not only need to be localization, but also need to confirm with the trend of international management and globalized economy.

• Archives of design research
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• v.19 no.3 s.65
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• pp.71-92
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• 2006

People have their own cultural backgrounds and experiences in terms of visual perceptional thinking so that they could misunderstand the cultural symbols, trademarks, Brand Identities, and trade characters, especially, animal trademarks. Sometimes Easterners and Westerners seem to not comprehend the different meanings of the cultural symbols. The signs of twelve Chinese zodiac animals are the typical symbol of the Asian mythology. What I wanted to focus on emphasizing the different views and perspective of an animal trademark is according to the Chinese Zodiac between Eastern and Western cultures. Generally, multiple symbolisms are difficult to comprehend, because they are created by individual ideas and incorporate several mythologies and histories. How do Westerners interpret the implied meaning of Eastern animals in general? How are they going to understand the Eastern animal logos or marks accurately? How can we solve the problem to make people understand their different meanings? There were some confusing pictorial images in the area of the design field when a designer creates an animal mark for globalization and localization. Creating of hybrid symbol is the best way to break the communication barriers with people all around the world.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• Journal of the Korean housing association
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• v.20 no.4
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• pp.121-129
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• 2009

Today, we are living while interchanging with various countries in multilateral measures and residential culture have been changed while interchanging in the same manner. In order to become an internationally recognized residential environment designer in this environment, we must understand the housing viewpoint of residents in that country first. Therefore, this study is intended to obtain the useful materials for residential environment design of Korea and China by comparing the housing viewpoint between Chinese students studying in Korea and Korean students. A survey using questionnaire was conducted on 205 Korean students and 193 Chinese students (Chinese race) from Y University on a random sampling basis. The result of survey is as follows. First, as both Korean and Chinese university students have a similar tendency on previous house type, current house type, and desired house type, it can be understood that they are similar each other in the experience and preference of house type. Second, Korean and Chinese university students consider and as the most important functions of residence, but Chinese university students consider more functions of residence than Korean students. And, both Korean and Chinese students consider a living room as the most important space among housing spaces, but Chinese consider a private room more importantly than Korean. Third, Chinese university students have stronger desire to possess houses, and desire to purchase houses with larger and more rooms at earlier time than Korean university students. Fourth, when selecting the house, Chinese university students give a higher consideration in terms such as , , , , and than Korean university students. Fifth, satisfaction level of Korean students on current houses was average as a whole, and most Chinese students were generally satisfied with their houses. Sixth, as both of Korean and Chinese university students have higher level of consideration in the items such as safety>, , , , , , , , , , and compared to the level of satisfaction, thoughtful consideration should be given to those items in housing planning.

• Journal of Fashion Business
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• v.13 no.2
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• pp.50-65
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• 2009

The main purpose of this study is to identify characteristics of shapes of John Galliano's Dior Collection as the chief executive designer of Christian Dior Maison during $1996{\sim}2007$ after he showed himself in Paris in 1990. This study was based on the analyses of John Galliano's design trends of his collections, the pictures of his works in Christian Dior's collection, real works, documents and fashion magazines, newspapers, mass media, internet sites and other visual materials. The study identified characteristics of shapes in Dior Collection until 07/08 F/W as the chief executive designer of Christian Dior Maison, and the design trends before his post-Paris period. Followings are the conclusions of the study. First, Galliano was open to any types of cultures as a liberalist, and also respectful to the tradition or principles. He led the fashion business with new trends by exploring both sides. Second, he succeeded in commercializing his avant-garde feature. Especially, His creativity changed the image of Christian Dior to younger and more casual one. Third, born in England and worked in French, he always took both English (Victorian Style) and French(Napoleon era, Femme Fatal style) sides, and showed excellent formulation that the times needed by combining topical Chinese, Japanese, Egyptian styles.

• International Journal of Costume and Fashion
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• v.6 no.2
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• pp.55-61
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• 2006

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

• Journal of the Korean Home Economics Association
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• v.50 no.8
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• pp.1-11
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• 2012

The purpose of this study is to compare and analyze the application of raditional elements in Lie Sang bong and Vivienne Tam's Fashion Design. The methods of research, the references to the precedents of prior research, fashion related journals, articles, and websites of designers were examined to analyze how each designer reinterpreted the respective homeland's traditions. The designs of Lie Sang bong and Vivienne Tam studied were from the 2002-03 F/W to the 2012 S/S collections. The results are as follow. First, both designers use traditional marks when reinterpreting the traditional clothes of Korea and China. In the case of Lie Sang bong, traditional Korean marks were linked to the western structure. For Vivienne Tam, designs which revived realistic marks identically were displayed. Second, in terms of the modern reinterpretation of the traditional clothes shapes, there were a number of cases in which the silhouettes of their respective country's traditional clothes were mainly brought into their arts. Lie Sang bong was influenced by the 'line' of traditional Korean design. In addition, the atmosphere of the traditional clothes helped to reanalyze the traditional clothes' figure. In Vivienne Tam's designs, unique Chinese images were produced by, keeping the original form of the Chinese dress. Third, in the use of the traditional ornament techniques, Lie Sang bong partially introduced and applied traditional ornament techniques while Vivienne Tam largely decorated the traditional. Chinese ornaments while directly utilizing the structuring designs.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.2
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• pp.193-208
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• 2020

This study investigated similarities and differences between 2D flat sketch, 3D virtual clothing and real clothing images. Flat sketch, 3D virtual clothing, and real clothing images of T-shirts and dresses were made. Questionnaires were prepared for fit evaluation, sensory evaluation, and location evaluation. A survey of 440 questionnaires was collected from Chinese women in their 20s and 30s. As results of the sensibility evaluation, 3D virtual clothing expressed real clothing images slightly more similar than a 2D flat sketch. As results of the fit evaluation of the dresses, 2D flat sketch and 3D virtual clothing were rated as slightly longer/wider, and real clothing images were rated as slightly shorter/narrower. The results suggested that presenting 3D images with avatars as 3D virtual clothing images will provide more accurate fit evaluation results. This study presented possibilities and methods for apparel companies to utilize 3D system as an effective apparel production tool.