• 한국의류학회지
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• 제22권8호
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• pp.1043-1051
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• 1998

The main purpose of this paper was to investigate how ethnic dresses are adopted into modern fashion designs. This research focuses on Japan and Vietnam as a part of an ongoing larger project which examines ethnic dresses of five Asian countries. Fashion designs with influences of Japanese and Vietnames ethnic dresses were anlayzed in order to explore how ethnic dresses coexist with "world fashion" in contemporary society. Eight fashion magazines were examined and the pictures of eigher Japanese or Vietnamese influences were identified. A total of 66 pictures for Japan and 5 for Vietnam were analyzed in terms of eleven characteristics on zero-to-three scales according to authenticity of each characteristic. The characteristics included shape, item, silhouette, color, material, textile print, decorative details, method of dressing, accessories, hairstyle and make-up. The results showed that textile prints and color of Japanese ethnic dresses, and item, silhouette and hat of Vietnamese dresses were most frequently adopted in modern fashion designs. These suggested that fashion world adopts the most distinctive and easy-to-copy characteristics of the ethnic dresses when the designers wanted to incorporate the styles of ethnic dresses.c dresses.

• 복식
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• 제60권2호
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• pp.144-158
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• 2010

The concept and the typical characteristics of ethnic fashion were studied. 267 fashion designs from pret-$\grave{a}$-porter collections in Milan and New York from 2001 S/S to 2005 F/W were analyzed. The major conclusions of the study are as the following: The major types of ethnic fashion are Africa, American Indian, Japan, India, China, and Inca. Among these types, the first volume is Africa, the second is American Indian and others are Japan, India, China and Inca in order. Ethnic fashion changes in years showed reduction from 2001 to 2004, but much rise in 2005 showed more than 30% from 2001. Much more ethnic fashion designs were presented in S/S seasons than in F/W seasons. Africa ethnic fashion designs were more popular in S/S seasons. India ethnic fashion designs were more popular in F/W seasons. In the comparison of the Milan and New York collection, ethnic fashion designs appeared more in Milan collections than in New York from 2001 to 2003. But ethnic fashion designs appeared more in New York collections than in Milan in the year of 2005.

• 패션비즈니스
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• 제4권1호
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• pp.33-44
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• 2000

The purpose of this study is to research Miao ethnic costume which have been distinctly expressed differences according tribes and areas, present fashion design reflecting image of Miao ethnic costume. Two steps was taken in order to achive this purpose. The first step was to put in order formative characteristics of Miao ethnic costume being based on the Chinese books and domestic research materials. The second step was to study formative characteristics of Miao ethnic costume in comparison 2000A/W fashion trend, illustrate and schematize fashion designs. The results of formative characteristics of Miao ethnic costume are summarized as follows 1. X or H silhouette through skirt & jacket and pants & jacket. 2. Layered look that been twisted around several items. 3. Fine pleats skirts. 4. Refined and splendid color. Black was used main color, dark blue & red purple were used coordi color, vivid color were used accent color 5. Geometrical pattern, cross stitch embroidery. 6. Various ornaments being used silver. 7. Various hair styles and hairdressers. Using above characteristics, this study presneted fusion fashion design combined images of ethnic and techno with dark blue, mustard, blue purple. The target was Forties, professional woman.

• 한국생활과학회지
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• 제15권5호
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• pp.823-833
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• 2006

The globalization phenomenon of the 21st century has acted as the catalyst to accept diversity, and a new cultural code, ethnic, has emerged in the modem society by the pursuit of diversity throughout the whole society and culture. Unlike preceding studies focusing on ethnic concepts and design development, this study attempted comparative analyses on ethnic trends shown in the collections of two designers, Issey Miyake and Yohji Yamamoto, who have strong ethnic consciousness. It is considered the comparative analysis on the two designers' collections with ethic images will be a guide to indicate the fashion philosophy of the two designers in the category of Japan, and this will be useful as basic data for the establishment of the globalization identity which is needed in the future fashion industry. The study results are as follows. First, it was found that the ethnic code has been so widely accepted by the world designers in a very positive form to accept foreign cultures that the ethnic code is now showing an aspect of eclecticism. Second, designer Issey Miyake has been pursuing his own ethnic style based on his philosophy to liberate humans through continuous researches and efforts on clothes. Third, Yohji Yamamoto has been pursuing a Japanese ethnic style as a designer who has expressed the unique beauty of Japan from the characteristics of Japanese traditional clothes. Fourth, as a result of comparative analyses on collections, they both have pursued an ethnic style based on the unique national characteristics of Japan, but it was also found that their fashion philosophy has developed differently in the same category of ethnic trend.

• 한국의류학회지
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• 제34권11호
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• pp.1844-1858
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• 2010

Ethnical tendency follows the current political, economical, and cultural influence eastwards, highlighting films, architecture and interiors as well as fashion. With this tendency, the ethnic outfits are expressed by various styles. This study analyzes the features of current ethnic styles with 1,535 ethnic image pieces from 2005 S/S to 2010 F/W of Pr${\^{e}}$t-${\'{a}}$-Porte in Paris and Milan. First, 'ethnic' is to refer to the distinct features of an ethnic group or a country. 'Ethnic look' refers to the adaptation or re-arrangement of various ethnic group's traditional costumes, dying, textile, patterns, color, silhouettes, and accessories. Second, the most popular ethnics in the modern fashion is the African style, followed by India, Japan, China, and Latin America in both collections. Third, the proportion of ethnics decreased, 2005 (14.9%), 2006 (12.8%) and 2007 (8.2%). In 2008 the proportion increased again. 2010 (27.3%) and compared 2010 to 2007, it increased by 20%. By season, S/S had 1.4 times more ethnic styles than F/W with the prevalence of African and Indian styles. Fourth, as of 2005, the ethnic style became colorful and went through changes to combine various images. This is from the polycentric tendency of co-existing various styles with a prevalence of low tone and various colors. It also shows warm colors in front to show a sense of nature.

• 복식
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• 제65권4호
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• pp.124-136
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• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• 한국의상디자인학회지
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• 제1권1호
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• pp.53-71
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• 1999

The purpose of this study is to determine the fashion images implied in men's fashion trends and systematize the characteristics of the textile materials used for fashion images, by analyzing men's fashion trends published by Korean fashion information service companies. This study would be meaningful if it can suggest some objective criteria for the characteristics of textile per fashion image. The researcher analyzed the data on the basis of 8 fashion images, which were ethnic, modern, traditional, avant-garde, active, romantic, natural, techno ones. Above men's fashion images were choosed by analyze the some literatures and men's fashion trend information. The data used for this study were information about S/S and F/W men's fashion trends published by Interfashion planning, Samsung fashion Research Center for the period of 1995-2000. The data collected were subject to “content analysis method”. As a result of the analysis, the major images of 1995-2000 were natural, active, traditional, modern, ethnic, avant-garde, techno images, and while such combinations of conflicting images as ethnic/modern, traditional/avant-garde, natural/techno. Other mixed images were ethnic/natural, modern/active, tradional/active, traditional/modern, romantic/modern, ethnic/romantic, traditional/natural, modern/natural, active/natural, active/traditional/natural, etc. The various characteristics of eight men's fashion images were found in color, pattern and textile materials.

• 복식
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• 제61권2호
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• pp.116-130
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• 2011

Ethnic fashion and makeup were studied. 264 fashion designs from pret-$\`{a}$-porter collections in Milan and New York from 2001 S/S to 2005 F/W were analyzed. The major conclusions of the study are as the following: 1. The major types of ethnic fashion and makeup were Africa. American Indian. Japan, India. China and Inca. Makeup types expressed in ethnic fashion were soft smoky, smoky, retro, nature, avant-garde, eastern. 2. Makeup types expressed in ethnic fashion were used for the image for the designer's collections rather than ethnic features. Soft smoky and smoky makeup types were more used than others. 3. Soft smoky makeup types were more expressed in S/S seasons than in F/W seasons. In F/W seasons soft smoky and smoky makeup types were more expressed than other types. 4. Soft smoky and smoky makeup types were more expressed than others in Milan and New York collections commonly. 5. To emphasize the ethnic image for ethnic fashion, ethnic makeup arts like China, Japan, India, Africa, American Indian, Inca makeup arts and soft smoky, smoky makeup arts were represented.

• 복식
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• 제60권7호
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• pp.131-142
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• 2010

The ethnic image in modern fashion can be interpreted as a trend of post-modernism, which appeared after modernism's established style. It has relativity, pluralism and variety, and it tries to revive style of the past. This makes style that borrows and combines image and style of different era and culture as distinctive feature, and in turn is expressed by a new image that is combined with the country's clothes. Also, thanks to the customers who are tired of artificiality and convenience, gift of modern science and technology, simple and natural sensitive marketing and being 'raw' are getting popular as new trend. Today's ethnic image is not merely borrowing visual, superficial image of culture and clothes of other ethnic group, but pursuing natural as purely created by human senses rather than being polished. In terms of ethnic image's formative beauty and aesthetic value, foreign and domestic collections are compared. But for domestic image, only Korean ones are researched, and for foreign designer's fashion image, there are ethnic styles of Japan, China and Korea. Although the documents of domestic designers that I investigated is not sufficient, canonic simple being of oriental image that is seen by the westerners is summarized.

• 한국의류산업학회지
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• 제7권5호
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• pp.481-493
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• 2005

Reason for contemporary ethnic-look's remarkable world popularity is viewed as due to counteraction of disordered world conditions such as war, terror, and economic depression. These conditions led people to desire the returning to primitive human society where freedom and peace are preserved. The background of ethnic look emergence is influences of post-modernism, eastern and western culture hybrid, and ecology. This study will mainly focus on the analysis of present ethnic fashion trend and, with following to this, their images will be analyzed and categorized. The result of ethnic trend, especially that of Asian's and African's, from 2000 to 2005 is like this: representative Asian ethnic fashion tendency is focusing on Japanese and Chinese. In Japanese style, oversized silhouette was derived by Kimono and wide belt was appeared by influence of Kimono's Obi. Chinese ethic style are analyzed as adapting feministic silhouette and details from Chinese traditional clothes, Chipao. Additionally, in some of the Chinese ethnic-look, there are mixtures with Japanese, North American, and African's images. Mixing with pop images and ancient ones are also emerged. In the African ethnic look, people used colorful cloth and new materials which is considered as integration of primitives and modern science. From the study, it is possible to conclude that current modern ethnic fashion can be defined as blends with one country's image to the other, mixture with new technology, and acceptance to the multi-national folk fashion. These trends are widely revealed and extended in the world fashion. In the following result of the analysis, there were four outstanding images lying underneath in the present ethnic-look. That is eclectic, traditional, natural, and mysterious images.