• Journal of the Korean Home Economics Association
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• v.47 no.10
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• pp.1-11
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• 2009

The purpose of this study was to explore differences in style preference, information source, and store selection behaviors of Korean and Chinese wedding dress shoppers. Data obtained from 141 Chinese and 143 Korean females were analyzed through descriptive analysis, t-test, cross-tabulation and factor analysis. Results for Chinese and Korean consumers depended on the marketer-driven information source as well as on the consumer-driven information source. Both groups considered the aesthetics of the wedding dress as the most important criterion for store selection. There were some differences between Chinese and Korean consumers in style preferences and store selection criteria. Chinese consumers liked a wider range of wedding dress styles compared to Korean consumers. Also, Chinese consumers regarded fashionability as more significant whereas Koreans considered economic benefits more importantly when selecting stores for a wedding dress.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.4
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• pp.477-491
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• 2015

This study analyzes Chinese dresses featured in propaganda posters since the mid-$20^{th}$ century as well as explores the political characteristics of dress. This study used an in-depth interview method to investigate information from 10 Chinese familiar with public awareness and donning practices of the Chinese from 1949 to present. Interviews and analysis provided the following conclusions. First, Zhongshan-zhuang, Liening-Zhuang and Bulaji were widely worn in the Reconstruction because of the revolutionary spirit; in addition, Huayishang also became simultaneously popular as a means to reflect the new aspects of socialism. Second, Jufu/Junbianfu were the most common dresses during the period of Cultural Revolution because the government used various mechanisms to control public opinion. Third, Western fashion began to enter the Chinese market and suit wearing by the Chinese became a symbol of the Reformation and Open-door policy. Traditional dress is no longer a symbol of Feudalism and is a part of Chinese culture that has been reaccepted in the Reformation and Open-door times. Finally, during these 60 years, Chinese dress has obvious political characteristics, but began to change. The changes of political characteristics were, de-politicization expressed by the introduction of Western ready-made, permissions for traditional dress and diversification/ individualization.

• Journal of Fashion Business
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• v.28 no.2
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• pp.50-63
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• 2024

Chinese traditional wedding dress is a unique cultural symbol. It had a deep historical background as it went through different productions in each dynasty. However, with the introduction of Western ideas, an increasing number of people are wearing Western-style wedding dresses when they are getting married. Recently, traditional Chinese culture has been increasingly valued. Demand for traditional Chinese wedding dresses among modern Chinese people is increasing. Following this trend, Chinese designer Guo Pei(1967~) is actively innovating elements of traditional Chinese wedding dresses. This study aimed to analyze changes in traditional wedding dress styles by dynasty in China from 1046 B.C. to 1911 A.D. based on museum data and previous research. Changes in traditional wedding dress styles by Chinese dynasty were analyzed and organized. The meaning of wedding dress patterns was analyzed by type using traditional Chinese patterns. This study focused on Guo Pei's 2012 "Chinese bride" series and "Legend of the dragon" series. Starting from the development and characteristics of traditional Chinese wedding dresses, this study analyzed fashion characteristics of Guo Pei's wedding dress series. Goals of this study were to preserve the essence of traditional Chinese wedding dresses; and to determine how to apply the fusion of traditional Chinese design elements into fashion and modern design to wedding dresses.

• 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.

• Acta Via Serica
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• v.6 no.2
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.7
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• pp.714-726
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• 2012

The Korean wave 'Hallyu' has proliferated in China and the trend is remarkable especially in wedding photography. Korean style wedding photography has gained wide popularity among newly married Chinese couples because it is regarded as fresh and trendy. Accordingly, there is an urgent need to develop and supply dress designs for Chinese brides who want Korean style wedding photography. This study outlined the current status of Hallyu and wedding photography in China in order to analyze dresses for wedding photography. Chinese brides were analyzed to outline the features of preferred designs. The dresses preferred by Chinese brides for wedding photography included wedding dresses, evening dresses, and casuals (respectively), and partly featured traditional dresses. The preferred design elements for wedding dresses and evening dresses were ball gown silhouettes, strapless necklines, and gather detail. As for the casuals preferred by Chinese brides, the romantic style was most preferred and the skirts, dresses, T-shirts and blouse items were preferred for the romantic style. Through the analysis, dress designs for Chinese brides who want Korean style wedding photography were developed to reflect Hallyu content as well as 2012 S/S fashion trends for wedding dresses, evening dresses, and casuals. Currently Korean style wedding photography is gaining popularity in China and Hallyu content is considered a fresh and competitive item that may strongly appeal to Chinese consumers. This study focused on the development of designs for wedding photography dresses with Hallyu related content and is to be used as a reference for the development of Hallyu related wedding products as well as the proliferation of Hallyu.

• Journal of the Korea Fashion and Costume Design Association
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• v.25 no.4
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• pp.107-122
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• 2023

This study analyzed the style, dimensions, fabric patterns, colors, and fabrics of a traditional Chinese women's dress from the Zhou Dynasty, and reconstructed it in the form of a virtual garment using 3D CLO. Based on ancient flat image data and three-dimensional portrait data, who wore them, how they were worn, and how they were coordinated was analyzed. In order to analyze the size and pattern of the straight Ju Chines dress, data from the excavation report and the tomb owner's anthropometric measurements were combined to infer the wearing condition and organize the sculptural features. Dimensional analysis was carried out using a well-preserved small-scale woven cotton cloth as a restoration model, and the horizontal and vertical dimensions were reasonably estimated using the shape proportioning method. The analysis of the colors and patterns of the fabrics was based on the colors and patterns of the fabrics excavated from Masan Tomb No. 1 during the Eastern Zhou, Qin, and Han periods. Finally, a virtual model was created using data from the excavation report and the age and height information of the owner of the excavated robe, and the pose and size of the virtual model were determined using 3D CLO. Based on the previous research data, the garment was virtually sewn and simulated. The shape, pressure, and strain of the garment in different postures was also compared. Through the research direction of pattern and 3D restoration, this research maximizes the restoration of Chinese traditional women's dress and presents it in a more intuitive, comprehensive, and vivid way.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.766-774
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• 2012

Ancient Chinese philosophy has had a profound influence on Chinese clothing culture. The researchers reviewed five ancient Chinese philosophical thoughts on Chinese clothing culture. The results show that they had different view of point. The Confucianism advocated "being elegant and refined in manner". Dong Zhongshu believed "Interaction between heaven and mankind is the center of Dress rules". Mohist insisted "Clothing should meet warm first, and then seek for beauty ". Taoism believed "Although a gentleman wears coarse clothes, he has gem in his chest". Legalism believed "Clothing should focus on quality rather than decoration". These philosophy thoughts all have had a profound influence on Chinese clothing culture.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.81-81
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• 2001

R.O.C. has experienced successively the development of previous dynasties that creates out the unique traditional culture of each stage. The Chinese nation is not a one-fold race; each dynasty absorbs the culture of the outside race. It is Tang Dynasty blends mutually however yield unusually brilliant results. The Tang Dynasty's national strength is forceful and the economy is prosperous. Above all, social custom and current of thought both break the constraint of previous dynasties' conservative thinking and keep positive and aggressive. While in the contact with extraterritorial culture, not only changes the feminine social status, but also produces unprecedented innovation and reform on the feminine dress. The Tang Dynasty's varied feminine suit is affected by the western regions of China culture, such as expose of chest, low collar, short top garment and skirt with narrow sleeves or wide sleeves, sleeve gown with plate collar or turndown collar, man's wear, and military dress, etc. An epoch can be known by Tang Dynasty feminine dress's special features, for example, the make-up of Tang-Shien-lon's Uan-Ho period presents dress style of late Tang days. However, the Chinese people compete mutually pursuing the strange costume, and accepting different cultural incitement This reveals that the changes of popular culture would result in the big transform of the Tang's dress style. This paper studies inherit of Tang Dynasty's culture and east-spread of the western regions of China culture. While understanding the Tang's favor in the western regions of China customs, all follow the western regions of China without exception, such as dance music, painting, dress, food, amusement, etc. Because of emperor's progressive race policy and forgiveness attitude to the foreign tribe that makes Tang Dynasty's feminine dress much easier to accept and blend the special features of the foreign tribe culture. While joined with west culture, and pick the dress's essence of the western regions of China, the original possessed of culture consciousness and esthetic sense improve and create their own dress, as well as enrich more inner part of dress art and the spirit.

• Journal of Industrial Convergence
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• v.18 no.2
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• pp.77-86
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• 2020

The purpose of this study was to compare the perspective of marriage and preferences of wedding dress design for female college students in Korea and China. To this end, a questionnaire was administered for 191 Korean female college students and 199 Chinese female college students in Korea. The data were analyzed using SPSS PC + 25.0, and the applied statistical techniques were reliability analysis, cross-tab analysis, and mean comparison analysis. For statistical verification, chi-square and t-test were used. The main research results are as follows. First, Korean female college students were more likely to marry than Chinese female college students. For the reason of wishing to marry, Chinese female college students were higher than Korean female college students in economic, life, and parent-related items. The reason for not wanting to get married is that Chinese female college students were high in worrying about their spouse, work, and their career. Second, the wedding dress design preferred by Korean and Chinese female college students was different in the neckline. Finally, the policy measures for consumer preference and satisfaction in the future wedding industry were discussed.