• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.1
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• pp.25-33
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• 2004

This study is aimed at reviewing how the Orientalism trend is expressed in the modem fashion in terms of silhouette, color, materials, and detail. To this end, the geographic scope of this study is limited to China, Japan, Korea, while data are collected from fashion collections, domestic and foreign magazines since 2000's, literature, and internet sites. The results of this study can be summarized as follows: 1. Silhouette: the basic square silhouette of the Oriental traditional costume do not disturb the body movement and have an effected on design to smoothly follow the body line rather than cutting out materials into several parts or emphasize the curved body. 2. Color: due to the influence of the Oriental Zen thought, color trend seems to pursue simplicity rather than complexity, and natural aesthetics. In addition, the Oriental colorfulness shall not be ignored. 3. Materials: golden embroidered material, polished satin, jersey, tough or rough materials, etc. have used with materials of the Oriental traditional costume came into fashion. In pattern, the Orientalism trend is expressive of pattern by Chinese ink-spread technique, simple brush touch technique, cloud pattern, lotus flower pattern or dragon pattern, all of which feature the Oriental calm aesthetics or those motivated by the Oriental traditional patterns. 4. Detail: the techniques of handicrafts and manual arts such as meticulous embroidery, tassel or patchwork reflect well the Orientalism trend in the modem fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.73-83
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• 2006

This study aims to focus on clothing design's practical uses of the superior esthetic elements that can be found among the East's representations, in particular the characteristic Korean elements found in the latter part of the Chosun Era's women's Gauche and decorative personal ornamentation's moulded features. This has been the foundation for the creation of all eight pieces, and the conclusion is as follows: First of all, the Chosun Dynasty women's Gauche and ornamentation are in close relation to the general flow of society at the time. Gauche and personal ornamentation was not just a matter of beauty consciousness, but is permeated with then-mainstream society's culture, the results of an attempt to display a Korean appearance. Secondly, the desirability of the Chosun women's hair was expressed through Gauche, and through the exceptional brilliance of a diversity of embroidered color tones, braided as though creating Dare. Using this technique in clothing, a new image was created. Thirdly, the outstanding beauty of personal ornamentation's mouldings was used while creating new clothing compositions. The beauty felt through the Chosun women's personal ornamentation can also be felt through today's clothing. More than merely practical, this beauty also brings one closer to Korea and Korean past.

• Korean Journal of Human Ecology
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• v.24 no.4
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• pp.531-539
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• 2015

The purpose of this study is to analyze the aesthetic characteristic of men's costume in the Renaissance period. Fashion is a reflection of Zeitgeist. The ideal aesthetic values of each period create the concept of ideal beauty for that period. Costume represents the ideal beauty of a particular period. The aesthetic characteristic of men's costume in the age of Renaissance was analyzed in terms of four categories: the beauty of male body, sublime beauty, sensual beauty, and artistic beauty. First, for the beauty of male body, the men in the age of Renaissance enlarged their chests and shoulders by inserting a pad in them in order to express their masculine beauty of human body by emphasizing their sexual organ. Second, for the sublime beauty, men's costume was exaggerated by using a pad, a ruff collar and slash. In this period, men intended to represent their power and dignity through horizontal extension in their costume. Third, for the sensual beauty, erotic emphasis were made through physical elements. In order to show off sexual charms, men padded their costumes and introduced the codpiece. Last, for the artistic beauty in the age of the Renaissance, men's costume showed proportional, balanced and symmetrical beauty. And men's costume was made of rich brocades, which were embroidered and encrusted with jewels.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.87-99
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• 2014

This study aims to suggest a bag design focusing on the symbol of Bo patterns by developing a pattern-based textile which forms a Korean design with a modern sense of beauty as well as following the conventions of traditional cultures, a design which is based on the previous study on formative characteristics of Bo patterns. That is, seven pieces of motifs are considered as proper patterns that have a symbol suitable for the materials of bags, showing their individual beauty well. This includes Horomum (longevity and prosperity of desendants), Banjangmum (eternity and samsara), Jeonbomum (treasure and luck), Seobomum (innate good fortune), Bangseungmum (it means that things don't break in harmony with one another), Bomum (embroidered patches for royal family representing justice), and Seogakmum (blessed life). With these seven motifs, we developed textile patterns and printed them through DTP. Then, we created a fashion bag design with a high quality using durable canvas fabrics. Therefore, a fashion bag with the Bo patterns symbol has a propitious symbol designed with a propitious shape, not to mention its formative beauty. It is expected to have value as a fashion art item by being redesigned for benevolent patterns with a modern image.

• Journal of the Korean Society of Costume
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• v.56 no.8 s.108
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• pp.1-14
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• 2006

This study is to examine the Hyangnag used in China. Results of the study can be described as below. 1. Hyangnang was also called Hyangdae, Hyanghapo, Hunnang and Chunnang. Perfumes were used to make the body and clothes diffuse a good fragrance. And Perfumes were used to prevent insects and remove related pollutions. It was possible to prevent insects when perfumes were burnt out. 2. In the Han, Song, Yao and Win periods, Hyangnang had Cylinderical, Rectangular, Cylinderical and Rectangular, Circular and Calabach types. These various types were developed into one, Norigae type, in the period of Ching. 3. Hyangnang were decorated mainly with embroideries, knots and seams. Embroideries were applied always onto the surface of Hyangnang. Knots were used mainly in the Song and Win periods, decorative seams were used mainly in the Ching. 4. From the Han to Yao periods, Hyangnang was made of perforate textiles like na and Sa for practical reasons, making perfume smells more easily diffused. From the Win to Ching periods, Hyangang was made of dense textiles like silk and Dan, which could be easily embroidered for decoration purposes. 5. Hyangnang was often hanged down from the waistband and up onto the fore chest or the elbow, or put into the liner of the sleeve. 6. Hyangnang has immanent implications of symbolism, ideology and aristocraticism.

• Fashion & Textile Research Journal
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• v.3 no.2
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• pp.115-123
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• 2001

The dress and ornaments in the Taijiang were fashionable, which were densely populated with Miao nationality. Women's traditional festive dress in Taijiang included an embroidered blouse and a pleated skirt. The garments are decorated with plenty of ornamental designs. The colours of festive dress were as rich and gorgeous as those of fashinable desses. Embroidery was very popular in Taijiang and its principal feature is embroidery with loose, coloured floss silk. The image of patterns changed ingeniously and colourfully but do harmony. In the using of colour, one kind of the festive dress was in the main red, which means a bright dress. The colour of another kind of festive dress was blue, which means a dark dress. There were many kinds of silver ornaments for women. Taijiang was most outstanding in this respect. The great variety of silver ornaments was a unique feature of women's dress in Taijiang.

• Journal of Fashion Business
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• v.3 no.3
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• pp.49-57
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.

• Journal of Fashion Business
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• v.11 no.2
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• pp.42-57
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• 2007

The purpose of study is to investigate costumes of the heroin in the opera which has performed by 4 different directors ; Metropolitan opera by Franco Zeffirelli, San francisco opera by David Hockney, Salzburg Festival by David Pountney and Korea Arena opera by Zhang Yi-mou. In these performances, Her costumes normally expressed the change of her characteristic from a haughty and cruel lady to a lady who realized a true love. The former is wearing exaggerative and splendid styles while the latter is wearing simple and ladylike styles. Costume styles of each performance are like this. In the Metropolitan's opera, costumes are very splendid using brilliant fabrics and accessories of Chinese peking opera. Their costume styles are influenced by Chinese 'Pao' which is similar to Ming Style. In the San Francisco's opera, costumes are very simple, specially pattern of dragons. This silhouette mixed Chinese style and western dress. In the Salzburg Festival's opera, costumes are based on simple western style but they expressed her mind effectively like a extremely long skirt which means her haughtiness. In the Seoul arena opera, costumes are based on Ming styles using silk which embroidered dragons, phoenixes and flowers.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.4
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• pp.205-210
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• 2018

This paper examines the wearable technology in two aspects. First, it is the desire that permeates the clothes that smart technology is embroidered. Second, it is a reflection on the gaze that looks at the user wearing clothes. This article is a study on clothes that will be newly appeared with wearable technology. But this is not just a technical issue. Rather, it is a system design that takes human instinct into clothes. Therefore, this study encompasses social scientific boundaries. This article does not refer to data collected from wearables as simple sensing based data. Rather, wearable technology reveals human life activities and emotions. This paper is an attempt to combine or combine humanities and technology.