• Fashion & Textile Research Journal
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• v.23 no.5
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• pp.545-558
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• 2021

This research analyzed the Chinese style design embodied in the collections of the new generation of fashion designers shown during the Shanghai Fashion Week to improve the understanding of Chinese style and the modernization of Chinese design. The research questions were 1) studying the development of the Chinese fashion industry chronologically and investing young designers' current situation, 2) investigating young designers' awareness of Chinese style and analyzing Chinese style design in collections. A literature and case study were conducted as the research method. The literature study focused on the books about the Chinese fashion industry and history, newspaper, articles, and so on. The case study was conducted among 63 Chinese style collections in 2016-2020 SFW by investigating fashion magazine reviews, articles, and so on. The findings are as follows: 1) Young Chinese fashion designers' awareness of Chinese style has three characteristics; the nonmaterial tendency from decreasing stereotyped images, combination of traditional culture and local youth culture, and commercialization with trends. 2) Chinese elements, including natural, character, and cultural elements were predominantly used in the concept, pattern, and shape. Nonmaterial characteristics were identified in concept, cultural combination characteristics in concept, shape, color, material, and pattern, and trend commercialization in shape, color, and pattern. In conclusion, Chinese young fashion designers had strong national consciousness and new awareness of Chinese style fashion in decreasing the stereotyped images of China. Thus, they used more varied expressions. Meanwhile, they faced difficulties in expressing nonmaterial Chinese elements by balancing them with Chinese style and globalization.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.125-143
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• 2013

This study aims to clarify the identity of contemporary Chinese fashion design by examining how the characteristics of Chinese tradition are accepted and presented in fashion under the influences of western cultures. This study performed a literature survey on related works. Also this study performed demonstrative analysis of Chinese daily newspapers (People's Daily and Xinmin Evening News, 2007-2010) and fashion collections by Chinese and Chinese descent designers(2007-2011). The results are as follows: First, China is trying to express Chinese traditional ideas and factors in the design areas, and also trying to achieve an universal generalization. Second, the Chinese designers emphasized traditional ideas and culture in their designs. The Chinese descent designers were affected more by western culture. The common aesthetic consciousness were the beauties of sophisticated and splendorous decoration, vastness and elegance. Also the compromised images, neutral images and antique images were common in both groups. Third, the Chinese designers presented fashion designs on formalized and imitation stage. Also they tried to make a metaphorical stage. The Chinese descent designers showed designs on a metaphorical stage. In conclusion, the contemporary Chinese fashion design should find the way to globalize and identity of the traditional culture code simultaneously.

• Journal of Fashion Business
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• v.24 no.6
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• pp.18-45
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• 2020

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.

• Journal of Fashion Business
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• v.25 no.1
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• pp.108-132
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• 2021

The objective of this study is to develop and present the modern men's hip-hop fashion designs using the design elements of Hanfu which is a traditional culture of China as a motif by applying the SCAMPER technique. In the research methods, this study conducted the literature review and work production. In the process of work development, first, after setting up the concept, a design map was produced. Second, the characteristics of hip-hop fashion style and the design elements of Hanfu were organized. Third, this study developed the hip-hop fashion designs reinterpreting the design elements of Hanfu into modern hip-hop styles by applying the SCAMPER conception list. Fourth, Fourth, of the developed designs, the finally decided upon designs were produced into real six articles, which included a T-shirt, shirt, zippered sweater, jumper, denim jacket, long jumper, denim pants, baggy pants, and short pants. This study offers the possibility of developing Chinese hip-hop fashion design targeting the emerging Chinese hip-hop fashion market by suggesting hip-hop fashion designs with the characteristics of Chinese traditional culture.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.4
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• pp.31-46
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• 2016

This study would inquire into the fashion image and design characteristics of Peng Liyuan, the first lady of China that has a mighty influence on the recent global economy and consumption. For this purpose, first, this study investigated the fashion image of Peng Liyuan according to the role which she performs as a first lady and analyzed how the fashion image appears and changes by year and role type. Second, this study analyzed the design characteristics of Peng Liyuan's fashion image, focusing on the silhouette, fashion items, coordinated items, colors, and textile patterns. The scope of the research was limited to the dresses worn by Peng Liyuan from March 14, 2013 to September 30, 2015. The fashion image of Peng Liyuan changed from classic and elegant image to modern image till 2015, and she reduced ethnic image and emphasized romantic image. In international diplomatic visits, she tried to express the confidence and potential of China through classic, ethnic and modern image, while in formal events of China, she showed an intention to communicate with the Chinese public with soft intimacy through elegant and ethnic images. As design characteristics in her fashion image, she flexibly changed her fashion image by the composition of silhouettes and items, which could cover her mid-life body type and made use of the form and detail of Chinese traditional qipao, appropriate coordination of scarves and brooches, the combination of chromatic color and achromatic color, appropriate uses of textile patterns and the delivery of China's image according to place and purpose. The study of Peng Liyuan's fashion image has significance to understand the fashion trend as a role model of fashion for the Chinese people and can help the domestic fashion industry that aims at the Chinese market in the future by predicting Chinese women' Fashion trend.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.61-71
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• 2006

The purpose of this study is to present a contents production process for costume design analysis by take advantage of the image media of Chinese historical backgrounds. The production process of contents for lectures on fashion design analysis can be summarized as follows: The contents for the design analysis of Chinese costumes can be divided into major media and supplementary media. Major media can be completed through the processes including the selection of Chinese historical backgrounds. images and media (video, DVD title or VOD), verification of image capture parts, image captures, and applications of PPT files. Supplementary media consist of production of analysis materials for each item and TPO, report preparation methods and discussions, and printed matters to be used at the stage of image comparison and verification. This way, a process applicable to the design analysis of Chinese costumes can be presented.

• The Research Journal of the Costume Culture
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• v.32 no.4
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• pp.547-563
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• 2024

This study aims to examine the expressive characteristics of the New Chinese style in the collection of Chinese fashion designer Ziggy Chen, analyze the inner meaning, and suggest a new direction in Chinese fashion design. As a research method, the background and concept of New-Chinese style occurrence were examined through previous studies, and the characteristics of the New Chinese style expression in fashion were investigated. The characteristics of the New Chinese style were summarized as cultural tradition, historical ethnicity, and pluralistic convergence. Based on these contents, the characteristics of the New Chinese style expression in Ziggy Chen's men's fashion design were analyzed. The data collection range was selected as the range of 20 seasons collected from 2012 S/S to 2022 A/W, which was collected on fashion sites and the brand's official Instagram. The analysis results are as follows. First, subcultural resistance is a retro and ragged decadence formed by combining punk elements and industrial styles based on the clothing styles of lower-class Chinese people in the 17th and 90s. Second, cultural traditionality was influenced by traditional culture by mainland Chinese designers, who expressed the conservative presence of tradition and the Chinese style by looking at it from an oriental perspective. Third, historical ethnicity forms a Chinese fashion culture in which the national spirit and the development of the times coexist, while traditional culture and contemporary social values develop in harmony. Fourth, traditional fashion develops by combining a contemporary aesthetic sense and lifestyle with pluralistic convergence.

• The Research Journal of the Costume Culture
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• v.24 no.4
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• pp.441-456
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• 2016

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun-Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.

• The Research Journal of the Costume Culture
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• v.31 no.6
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• pp.806-823
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• 2023

The aim of this study was to analyze the design characteristics of Chinese fashion designer Feng Chen Wang and interpret their implicit meaning from a neo-deconstruction perspective. A review of domestic and foreign literature, outlined the develop- ment of deconstruction and neo-deconstruction, with neo-deconstruction's aesthetic features termed 'traditional fusion', 'positive playfulness', 'open communication', and 'multiple inclusiveness'. These features informed an analysis of Feng Chen Wang's fashion design. Four key findings emerged. First, 'traditional fusion' combines traditional Chinese colors, items, handicrafts, and patterns with modern design to break down boundaries between past and modern, tradition and fashion. Second, 'positive playfulness' promotes creativity and fun, using bright colors, exaggerated accessories, and playing withthe composition of traditional clothes to create a positive atmosphere. Third, 'open communication' emphasizes design that combines practicality and creati- vity in response to consumer needs, incorporating the thoughts arising from individual experiences and interest in social phenomena. Fourth, 'multiple inclusiveness' breaks down boundaries of sexuality, hierarchy, and body shape, embracing various ideas of beauty and respecting uniqueness through design that are seen as available to all. Using a neo-deconstruction perspective, Feng Chen Wang provides novel product planning ideas for Chinese fashion brands and reflects the values and meaning of modern design pursued by contemporary Chinese designers.

• Journal of Fashion Business
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• v.24 no.1
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• pp.1-14
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• 2020

Based on the trend of pluralization and globalization the collapse of national borders now is a manifestation of mixed and compromised cultures and societies. It is also emerging as a hybrid fashion in fashion. Hybrid fashion means creating a new image by mixing various cultures beyond the time and space. This study aims to analyze the current state of Chinese fashion design and present its direction by grasping the characteristics of hybrids in the works of rising Chinese fashion designers in the era of pluralization. The research method was literature review and empirical research. According to the selection criteria of new fashion designers, 6 new fashion designers of 5 fashion brands were selected and their total 458 points works were analyzed. The analysis results are as follows. First, most of the time trade-offs were 'past and present' trade-offs that express Chinese traditional culture and the image of the past with modern design. The trade-offs between 'present and future' is expressed by mixing print patterns, colors and light with fractal art. Second, spatial trade-offs was expressed in the way of expressing Chinese themes in the composition of western clothing, expressing the Western themes in oriental colors, and inspired by Japanese culture expressed by deconstructionism, Third, the gender mix mainly used dark embroidery on women's clothing, while the men's wear showed a delicate feminine charm with a surreal pattern on thin and transparent gauze fabric.