• Proceedings of the Korea Society of Costume Conference
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• 2002.10a
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• pp.99-99
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• 2002

• Fashion & Textile Research Journal
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• v.3 no.3
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• pp.265-270
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• 2001

Korea and Japan, neighboring two nations, have similar cultural background and complicated relations in terms of their culture and constitution. In this study, clothing microclimate and subjective sensation of Korean and Japanese subjects for Hanbok, traditional costumes of Korea, were assessed and investigated differences between them. The results of the study were as follows. For Hanbok, the temperature within clothing at the chest have significant correlations with the variables of race and elapsed time with p<0.001. At the thigh, correlations with elapsed time were significant (p<0.001). For the humidity within clothing at the chest of Hanbok, correlations with variables of race were significant (p<0.001). At the thigh, correlations with race and elapsed time were significant(p<0.001). For Hanbok, Korean group reported 'slightly warm' whereas Japanese group reported 'hot' in the thermal sensation. For the humid sensation, Korean group reported 'neutral' and Japanese group reported 'humid'. For the comfort sensation, Korean group reported 'slightly uncomfortable' and Japanese group reported 'uncomfortable'. Japanese group reported high relation with comfort sensation and humidity of microclimate.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.4 s.10
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• pp.7-15
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• 2006

Japan's modern fashion, which already became distinguished in the world fashion market, creates originality by identifying its own color as well as shape and details from its tradition. The purpose of this study was to draw the results of examining the perceived meanings of color revealed in the culture, arts and clothing color of Heian period in Japan and searching them in contemporary Japanese fashion. The scope of study was the perceived meaning of color in Heian period and Japanese contemporary fashion. In the methodologies, the literature and the empirical study focused on Heian's culture, including art history, ethnology, and the history of clothing and the contemporary fashion collection. Japan's original middle colors and intermediate colors began to be created in Heian period. The color aesthetic characteristics of Heian period appeared the beauty of compound color, layered color, overlapped color in Japanese contemporary fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.3
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• pp.359-370
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• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• Fashion & Textile Research Journal
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• v.3 no.5
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• pp.444-454
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• 2001

The purpose of this paper was to identify and compare the underlying design theory of contemporary European and Japanese fashion designers by using the qualitative research method of grounded theory developed by Glaser and Strauss (1967) and Glaser (1978). In this research, four fashion sites-Paris, Milan, London and Tokyo-were selected. The researcher stayed in each site for a period of two to three weeks for the purpose of data collection. A total of 60 fashion designers, educators, students and journalists were interviewed. 53 open-ended design questionnaires were returned by fashion designers and students. 19 on-site observations of fashion designers and educators were done. Grounded theories of fashion designers were synthesized from in-depth interviews, participant observations and questionnaire surveys of fashion designers, students and educators. The results of theory-building research suggested that there were significant differences between the grounded design theories of European and Japanese fashion designers due to their various cultural contexts.

• Fashion & Textile Research Journal
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• v.1 no.1
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• pp.69-73
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• 1999

Korean and Japanese, both people have a lot of similarity and complexity in terms of physical constitution and culture. This study might be the first implementation that tries to figure out constitutional differences of both people in scientific way. In this study, subjects were from each country, had been exposed $5^{\circ}C$ environment wearing each country's traditional costume- so called Hanbok and Kimono- and all through this experiment we'd compared physiological responses and analyzed differences of cold response go with their own clothing culture. We've obtained following results: Korean had kept maintaining low mean skin temperature basically in cold circumstance, compared with Japanese, have stronger cold tolerance. However, there's no significant difference between Korean and Japanese. Owing to huge influence of wearing other country's traditional costume itself even makes differences of rectal temperature in a cold environment. In addition, in a period of time that wearing other country's traditional costume, thermal sensation would be different according to exposed surrounding temperature.

• Journal of Fashion Business
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• v.11 no.4
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• pp.232-246
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• 2007

The purpose of this study is to investigate aesthetic characteristics and aesthetic consciousness of the style that European fashion(Paris, London, Netherlands) has accepted the since $19^{th}$ century. The mode Japonisme's development process in around $20^{th}$ century and 21st century has 6 characteristics as follows; 1. Accepting kimono as dressing gown 2. Accepting kimono as Japanese style's objet of Japanese taste 3. Accepting Japanese textile's skills, patterns, and asymmetry. 4. Accepting kimono's formative nature : flat pattern, flexibility, style etc. 5. Shocking of Japanese style's beauty 6. Accepting characters and casual wear Japanese aesthetic consciousness expressed on unconstructed design or deconstructed design that is the aesthetic characteristic of Japanese fashion is , , and the aesthetic consciousness expressed on Zen(Seon) style, cartoons of character fashion, and costume play is .

• Journal of Fashion Business
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• v.2 no.3
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• pp.166-179
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• 1998

The purposes of this study were to 1) investigate the problems in and the complaints from fashion textile converters and 2) develope the effective strategies to revitalize the converting business. This research study consists of two parts. The one part includes a study, on the domestic industry, which is mainly conducted through questionnaires, interviews and a review of related literature. The other part includes a study on the foreign industries. In case of Japan, survey was performed by visiting Japanese industry and interviewing Japanese converters. However, in case of Italy, a study was mainly conducted through a review of related literature and by interviewing Italian converters thru mail. As a survey instrument, a questionnaire was developed by the researchers after reviewing the related literature and interviewing textile converters. A questionnaire was distributed to 250 textile converters who were selected at random from the directory of textile converters which had been made by the researchers. All of the returned responses which include sixty four questionnaires were used for the analysis. The difficulties with which these converters confront are in a small scale and lack of specialty, professional training, and government support. Also, converters need an association or an organization that represent them. Cases of Japan and Italy were researched as examples of developed nation's. For instance, one of bench mark companies in development, planning and management, "Fashion Soft House" in Japan was analyzed. Regarding to Italy, the functions of the textile design studios which were mainly located around the silk complex, Como, were examined. Finally, on the basis of the results of this study, the strategies to revitalize the fashion textile converters include the tactics concerning management, production, education, improvement of the relationship between related industries, and the supportive policy by the government.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.844-855
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• 2005

The purpose of this paper is to examine which fashion brands are most likely to be investigated by Korean textile firms when they conduct their market trend analyses. The result shows that for the domestic sales, textile firms are most likely to collect and analyze information on the Cheil Textil Co. It is followed by Bean Pole, Chanel, Buberry, Tomboy. For the future domestic sales, textile firms prefers referring foreign fashion brands such as Burberry, ZARA, MaxMara, Missoni, and Chanel. Textile firms majoring exports prefers collecting and analyzing information on D&G followed by Chanel, Gucci, and DKNY. This preference, however, differs when considering exporting areas. Textile firms targeting the French market considers Gucci, followed by Ferragamo, Dior, Louisvuitton. Textile firms targeting the Italian market prefer Chanel, followed by Valentine, ZARA, Gucci, and Armani. Chanel is also top brand for the North American and Japanese markets, and followed by GAP, ZARA, OZOC, Missoni, Munshing Wear. The information content collected and analyzed by textile firms is style, pattern, color, and textile materials for textile firms targeting the domestic sales, while the exporting firms prefer information on color and textile materials proposed and presented by the fashion brands to which they prefer to make reference. The result of this study can be used to effectively and efficiently collect and analyze market information on fashion brands for textile firms majoring the domestic and foreign sales.

• Fashion & Textile Research Journal
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• v.13 no.1
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• pp.32-43
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• 2011

This study investigate the transition about Japanese national costume kimono. The prototype of the present kimono is a kosode. The origin of kosode dates back to the mid-Heian period, when this type of kimono served as the everyday wear of commoners and an undergarment for court nobles, both men and women. In the Muromachi period, particularly after the Onin war, the kosode began to be by people of all classes. In the Muromachi period, kosode consisted mainly of woven textiles. In the Momoyama period, kosode became very elaborate, employing such various techniques as tie-dyeing, embroidery, metallic leaf(surihaku) and free-hand painting. These were further combined resulting in such techniques as tsujigahana dyeing and nuihaku, which are now considered to epitomize Momoyama-period textile design. A category of kosode of the early Edo period, known as Keicho kosode, is fashioned mainly from black, white, or red figured satin(rinzu), or from figured satin segmented in these three colors. Books of kosode designs began to be published in the Kambun era, when the merchant class was becoming economically powerful, kosode began to reflect its taste. During its final stage of development in the late 17th and early 18th centuries, yuzen dyeing achieved wide acceptance. From the late 18th century toward the early 19th century, kosode worn by the merchant class underwent drastic changes, while those worn by the samurai class changed little. In the after the late 18th century, clear differences in design and decorative methods appeared between the kosode worn by rich merchants and those worn by middle and lower class merchants.