• Fashion & Textile Research Journal
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• v.11 no.5
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• pp.701-708
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• 2009

The study aims to investigate women's clothes described in Gilsang-Cheonyeo-Sang in Nara period of Japan to gain a clear understanding of the clothes of the ruling class women at that time. Gilsang-Cheonyeo-Sang was made in Nara period of Japan when Japan sent envoys and students to Tang, a dynasty of China, to acquire advanced civilization. At that time, Japan also fostered a strong international culture through the exchanges with neighboring nations. With this inflow of continental culture, Japan was dramatically advanced politically, socially, and culturally. The analysis of the clothes of Gilsang-Cheonyeo-Sang showed that she had her hair decorated with Bogye. She wore Ungyeon, Baeja, Daesui, and Tongsui as for her upper garment and Gun, Seub, and Peseul as for her lower garment. She also wore Bidae and Youngeon and put on Geummal and Seok on her feet. Overall, these results suggested that she wore Chinese style clothes. The clothes of Gilsang-Cheonyeo-Sangwere very similar to formal dresses of high class women described in Yangroryeong. Some of her clothes were not shown in Yangroryeong because those clothes were added after Yangroryeong. Another reason may be due to the fact that generalized clothes could be worn even though those clothes were not described in the dress code. In conclusion, the clothes described in Gilsang-Cheonyeo-Sang suggest that they were based on the dress code of Nara Period of Japan while there were also some variations due to the cultural circumstances at that time.

• Fashion & Textile Research Journal
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• v.4 no.6
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• pp.524-533
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• 2002

The present study selected female Japanese and Korean university students (a population that is assumed to be sensitive to the subject of fashion) as subjects. We investigated (1) their awareness of and attitudes about clothing styles, and (2) their relationships to fashion and various media. In both Japan and Korea, female students were highly interested in fashion and their major motive for adopting a given fashion was "style change" (the desire to change one's style by adopting a novel fashion) or "self-expression" (the desire to express oneself and achieve self-realization). They most frequently adopted a fashion during the acceptance phase (when the fashion has spread through the market and been shown extensively by the media). Korean students were more interested in and positive to fashion than were Japanese counterparts. Fashion magazines often served as the major source of information on clothing fashions. The frequency of buying magazines and the number of magazines bought were higher in Korea than in Japan. The time spent in reading these magazines was also longer in Korea. The frequency of buying fashion magazines correlated with the degree of interest in fashion and the time when a fashion was adopted. Students who adopted a fashion earlier tended to buy fashion magazines more frequently.

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.11-22
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• 2013

This paper is focused on practical research regarding costume design and arts management that make use of local resources and which are influenced by local culture of Tokuji in Yamaguchi-city, located in a mountainous area in Yamaguchi Prefecture in the western part of Honshu in Japan. We will examine possibilities in fashion design through this study. This was a practical research project, done with cooperation between the university and local industry, with priorities being assigned by the requests of residents of the Tokuji area. In 2011 the Aurinko, Tokuji, Talo (it means the Solar Tokuji Building in Finnish) was decided as the base of activities. Other functions were gradually added on, including a salon for people of the area to exchange ideas and workshops for group discussions. This paper will specifically be focused on the handmade paper peculiar to Tokuji and traditionally used as a material in fashion. The fashion designs developed by this researcher's laboratory were strongly influenced by these styles of paper. These costumes were made with a handmade paper called "Kamiko" in Japan, that is aesthetic sense has been historically cherished. This paper suggests that the affluence and depth of costume design may be expressed not only by directly borrowing from these influences, but also by borrowing the traditional aesthetic sense original to Japan. Thus this paper will examine industry and culture simultaneously, examining in particular the impact of arts management and costume design using handmade paper manufactured locally.

• Fashion & Textile Research Journal
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• v.8 no.4
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• pp.391-399
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• 2006

Modern Japan has been known as the country manufacturing Shin-gosen that denotes Japanese synthetic fiber. Japan has long traditon of weaving and dyeing of local traditional Textiles. Japanese traditional weaving and dyeing methods have been handed down through hundred years and various type of textiles have been fabricated in different regions. Japanese modern worldly famous fashion designers are recognized by using the Japanese traditional textiles. Traditional textiles of Japan are inherited in the present age and become the source of inspiration for modern Japanese fashion designers. This research investigated the originality and modernity of 10 kinds of main Japanese traditional textiles by design servey, 5kinds of weaving methods and 5kinds of dyeing methods. The 5kinds weaving methods include Kasuri, Shima, Cizimi, Zohu, Chumugi and 5kinds dyeing methods include Izome, Katazome, Tuzukaki, Uzen, Shibori dyeing.

• Fashion Information and Technology
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• v.10
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• pp.56-65
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• 2013

• Proceedings of the Korea Society of Costume Conference
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• 2002.10a
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• pp.93-93
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• 2002

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.1-11
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• 2011

As a result of comparison analysis on body types of Korean women in their twenties and Korean women residing in Japan, the following results had been found. 1. The comparison of 49 items in physical measurements between the Korean women in their 20's and Korean women residing in Japan resulted in the differences in 33 items. 2. The comparison of the factor analysis results for physical measurements did not reveal big differences. 3. The comparison of the physical shapes according to the grouping resulted in three types each for both groups, with different features for individual types. Women residing in Korea were classified into tall and normal body, normal height with obese body, and short and thin body. Women residing in Japan showed different characteristics with tall and obese body, short and thin body and normal height with obese body. As a result of this study, identical ethnic group was found to take on different body types resulting from sociocultural differences and difference in eating habits if their place of residence differs for a long time.

• Fashion & Textile Research Journal
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• v.5 no.4
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• pp.331-336
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• 2003

This study is to research the influence of Caesalpinia sappan which was imported through the exchanges between the Chosun dynasty and Japanese envoys during the early Chosun dynasty. Korea interchanged politically and culturally with Japan since ancient times. Particularly, the good-neighbor foreign policy toward Japan grew into trade relations. The diplomatic mission, under the name of Tongshinsa, was dispatched 12 times in total. Plenty of goods were exchanged through the visiting of Japanese envoys as well as through the activities of Korean envoys. In other words, the Korean-Japanese relations were at first focused on the political and diplomatic etiquette and gradually evolved into economic exchanges. Trading goods were various, including food, clothing, etc. Caesalpinia sappan, a red dye, was the most imported goods from Japan, but it was sold at a very high price, which caused luxurious trends in clothing. However, these sumptuous moods of the upper classes were decreased in the 16th century. Some of the reasons are : the difficulties of Japan's trade with the Caesalpinia sappan producing countries in South-east Asia, the transition of the high classes' preference from red clothing into Chinese BaecSa and SaraNeungDan, and the comparative decrease in the demand of Caesalpinia sappan by the changed understanding of Honghwa. Therefore, the early Chosun dynasty's clothing trends were due to the relationships between the Chosun dynasty and Japan.

• 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.