• Journal of the Korean Society of Clothing and Textiles
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• v.2 no.2
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• pp.277-286
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• 1978

The history of the women's veil which was used to hide their face in Yi-Dynasty was discussed. The similar fashion of wearing veil was popular in T'ang China as Myok-li and Yoo-Mo, then it might have influenced the fashion of the women's dress of the Silla Dynasty. It was also found out that the custom was most popular in Koryo and then continued to Yi-Dynasty. The confucianism of Yi-Dynasty requested very strict moral obligation toward women that veil had to be worn by them whenever going out. It might not be their popular fashion but obligation. There were several types of veil so called; Neoul(라원) Jangott(장의) Suege-China(쓰개치마) Chun-eue(천의) Sak-kat(삿갓) Chun-mo(천모)etc., which were used as a part of formal dress for women. From the late 1930, when the new society started to accept women's activities, the customs of wearing veil had been vanishing from the women's dress.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.109-124
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• 2018

This study focused on the accessory of clothes of minority groups in Yunnan province to further the research about specific accessories' development in the future. Among the minorities in Yunnan, this study centralized characteristics of ornaments, hats and belts among five minority groups such as the Bai, Zhuang, Hani, Dai, and the Zang as representatives to study in detail because these five ethnicities have a relatively long history and plentiful information. The results are as follows: First, exaggeration means large gorgeous patterns that attract attention. Generally, there are many natural resources that can be used in places where these minority groups live such as gems, gold, silver shells and animals' horns, bone, teeth and the like. Headdress includes combs, loops, hairpins and other similar articles. Second, nature is a very fundamental part that people rely on for existence and development. The production and living that people need in life all depend on nature. The design of accessories is made from animal forms and patterns of clothes are presented through embroidery and wax printing. Designers always tried to add natural elements to their works. Third, symbolism consists of two aspects: One is the people's imagination, which related to actual materials, and the other is the product of imagination that provides better conditions to inspire people when they design. In China, most minority groups believe in Buddhism. The symbols in the clothing show their devout faith. Even the method of wear has many special implications like the use of accessories and length of clothing. The pattern of dragons and use of golden, red and other colors all have a proper symbolic significance in modern designs.

• The Research Journal of the Costume Culture
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• v.30 no.3
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• pp.331-347
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• 2022

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics-including religious cultures and totem worship-and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the "seven-star" sheepskin cape, one of the Naxi people's important ethnic costumes as demonstrated by the women's clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled "By the Light of the Moon and the Stars," which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people's seven-star sheepskin cape is a symbol of women's clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people's traditional culture.

• International Journal of Costume and Fashion
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• v.12 no.2
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• pp.41-52
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• 2012

The purpose of study is to understand of china clothing brand to have them to be competitive position in global market. Also through this study people who are in a clothing industry market from China and overseas will be able to utilize it to have competitive brand power. Analyzing of the China clothing brand with a history and process of development is done to help understand of changes through years. With the rapid development of economy in China, the textiles & clothing industry, as one of the key industries, is showing a strong growing tendency, and brand in china have been expanding oversea market. Till 2002, China has already been the world's largest supplier of textile & clothing. Nowadays, "Made in China" is going to be "Created in China", lots of Chinese clothing brands appear, and many Chinese fashion designers step onto world stage. Chinese women's clothing, men's clothing, casual clothing, sports clothing and designer's brand are developing, popular brands are also promoted through convenient e-commerce. Clothing companies are going public, acquiring overseas brands, implementing internal mergers and integration, expanding overseas market. In such a diversity era, Chinese brands not only need to be localization, but also need to confirm with the trend of international management and globalized economy.

• Journal of Fashion Business
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• v.14 no.6
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• pp.70-83
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• 2010

With the rapid development of science and technology and the increased preference by consumers for high-function products, many products are being developed through the fusion of technologies in different industries. Among such fusion technologies, digital clothing which combines clothing with computer functions is being examined as a new growth item. The objectives of this study are to examine the concept, history, development, and market of intelligent clothing, in order to discuss future directions for the development of digital clothing technology. intelligent clothing (wearable computers) originated in the 1960s from the concept of separating computing equipment and attaching it to the body. This technology was studied intensively from the early 1980s and to the early 1990s. In the late 1990s, studies on wearable computers began to develop intelligent/digital clothing that was more comfortable and beneficial to users. Depending on the user and purpose, intelligent/digital clothing is now being developed and used in diverse industrial areas that include sports, medicine, military, entertainment, daily life, and business. Many experts forecast a huge growth potential for the digital textile/clothing market, and predict the fastest market growth in the field of healthcare/medicine. There exists a need to find solutions for many related technological, economic, and social issues for the steady dissemination and advancement of intelligent/digital clothing in various industries. Further, research should be continued on effective fusion technologies that reflect human sensitivity and that increase user convenience and benefits.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.394-400
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• 2013

At a time when the demand for environmentally friendly products is soaring, the fashion industry is following suit. The industry is showing particular interest in natural-dyed products. Against this backdrop, this study conducted a literature review on the history of natural dyeing for textiles and on the types of natural dyes. In addition, this study identified recent trends in the fashion industry and applied the findings from the literature review to those trends. Through this process, possibilities for new designs were suggested. This study proposed designs for various items-t shirts, one-piece dresses, blouses, skirts, and knitwear-by using threads and textiles dyed from mugwort, Polygonum indigo, safflowers, Lithospermum erythrorhizon, and Sophora japonica flowers. This study is also meaningful in that it broadens the boundaries of design for natural-dyed fashion products. To that end, various designs were attempted by combining natural-dyed textiles or knits with leather, denim, and fur.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.6
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• pp.933-945
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• 1995

The purpose of this study is to examine the current foreign languages of clothing terms which have been misused, clarify the meanings and suggest the unified teams. The results are as follows. First, English and Japanese are great parts of the origins of the clothing terms in foreign languges which have been misused. And next, there were French, German, Portuguese and Spanish via English and Japanese. Especially, the misused foreign languages in styles, materials of clothing are also via English and Japanese. The compound words in Japanese are many parts of them and misused Japanese, Japanese via English, French, German, Dutch, Spanish, Poltuguese, and some terms can not be found their origin. (ex: 색채, 컬러, 카라) In case of the colors of clothing, the terms have the English marking rules and the Japanese pronounciation. And some unified terms are Korean, English, and Chinese letters. (ex: 빨강, 레드, 적색) There are lots of the misused foreign lagusges in sewing terms. On each case, the corresponding words in English and Japanese were suggested to understand easily. The most of the unified words were suggested in Korean. (ex: 하찌사시 $\rightarrow$ 하자시; padding stitch, 팔자뜨기) In clothing construction, there were lots of the misused terms in Japanese and the corrupted terms of Japanese. And so the explains and the unified terms were suggested. (ex: 구세토리, 몸새맞춤, 나찌, 가위집 (내기)) Finally, the origins of terms in western history of costume were clarified and analyzed the meanings : $\circled1$robe, $\circled2$ jacket, gipon, pourpoint, doublet, justaucorps, habit, flock(coat), cutaway, swallow tail coat, 배광, lounge suit, $\circled3$ coat Robe is the gown style garment which was used by men and women from the Middle ages, the jacket is a short, coat-like garment and coat is a long outer garment. Each origin is different, however the 'jacket' and the 'coat' were used confusely in the middle of 19th century.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.3 s.162
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• pp.451-462
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• 2007

The purpose of this study is 1) to find out the dominant clothing ornaments in Europe in the 16th, 17th and 18th centuries, 2) to examine the changes of such clothing details as neckline and collar, sleeve and stomacher from 16th to 18th century 3) and to classify the ornaments of these 3 centuries according to Yin and Yang's traits. An analysis was conducted of 405 pieces of art out of 10 books of costume history. Of these pieces, 121 were from the Renaissance era, 107 were Baraque and 177 were Rococo. The analysis found that the distinctive ornaments in 16th century were ruff, slash, chain and girdle decoration. The distinctive ornaments of Baroque period were tassel, fringe, loop and binding. The Rococo period were distinguished by falbala, sash belt and fabric necklace. With regard to the changes over the 3 centuries necklines changed from high to lower. Sleeves became shorter. Stomacher which was long and sharp became wider and shorter. As to the Yin and Yang's traits there was also an evolution. Renaissance costume with Yang's style was decorated mostly Yang influenced ornaments. Baroque clothing was a mixed of Yin and Yang, as were the ornaments. By Rococo both clothing and ornaments reflected Yin's traits.

• The Research Journal of the Costume Culture
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• v.22 no.4
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• pp.619-631
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• 2014

This study proposes an educational direction to be followed by the clothing departments of Korea's specialized high schools in order to help achieve high levels of job placements and to strengthen their students' competitiveness. A comparison was made of the curricula in Korea's specialized high schools and in several fashion schools in other countries including the United States, Italy, France, Taiwan, and Japan. To this end, publicly available educational records were retrieved from domestic school documentation, vocational high school portals, and domestic/overseas school web sites, and were then reviewed. The archival data extracted from these sources shows that the curricula of the three chosen domestic schools uniformly focus on foundational courses such as general computer skills, general design, accounting principles, design principles, and drawing, as well as practical courses such as the design of western clothing, fashion design, fashion CAD, management of clothing material, design of Korean clothing, and knitting. Unlike these standardized courses, it was found that overseas fashion schools provide a more technically-advanced and design-focused education based on the interests of the individual student. Moreover, their education system nurtures the students' creativity through adequate field experience and history/language education. The findings of this study suggest that Korean specialized high schools should find a way to accommodate their students' interests and to provide them with personalized fashion education by adopting a more flexible curriculum. An educational line that considers the individual student's aptitudes and career path will help foster creativity and novel ideas, which, in turn, will contribute to the development of the fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.5
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• pp.823-838
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• 2018

The article surveys the technique and characteristics of contemporary fashion exhibitions in terms of fashion museography and fashion curation. The article reviewed both a literature study on the history of fashion exhibition focused on the display technique as well as a case study of domestic and international contemporary fashion exhibitions. The results of the article is as follows. Fashion brand exhibitions are about building competitive business advantage by planning differentiated contents. It gives viewers a brand fantasy and increases brand loyalty. This type mainly displays the latest collections on the commercial purpose as well as uses diverse mediums and high technology to make a spectacular space that provides an immersive experience to the viewer. Second, the museum fashion exhibition focuses on the roles of fashion in terms of social, cultural and artistic aspects that also focus on public education. The presentation technique emphasizes careful collection conservation rather than celebrate fashion business. The article is to encourage a further scholar discourse of fashion curatorial practice and theory.