• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.2
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• pp.167-180
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• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.

• Journal of Fashion Business
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• v.15 no.3
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• pp.51-66
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• 2011

The purpose of this study is to investigate the effect of the traditional color sentiment on the contemporary clothing color by studying the pictures of street fashion of Dalian in China, in view of the clothing color of women in their 20-30 years of age having highest purchasing power, along with traditional Chinese color. The clothing color is various in frequency depending on the items in street fashion. Due to the seasonal impact of summer, the most frequent item was one-piece dress with the Multi of various color patterns, followed by White, Black, PB, R and B category. In the top color, the White was most prevalent color due to the seasonal factor, followed by Black, Grey, Multi, R, Y, RP category. Achromatic color is more dominant with the ratio of 7:3, comparing with its counterpart, which consists of R and Y category of V, B, P, VP tone. In the bottom color, Dp tone of PB shows most high frequency, followed by Black. This results illustrate that Chinese women prefer blue jeans and to be looked as slimmer by using of the dark colors. In the accessories, colors of bags and shoes show different results. The bag colors show the high frequency of Dk tone, YR category, and the chromatic colors are little bit dominant than achromatic ones with the ratio of 5.3:4.7. On the contrary, the shoes colors show the highest frequency in Black, the achromatic colors are more dominant than chromatic ones with the ratio of 6.6:3.4. These results somewhat diverge from the international color trend. Color trend in Dalian street fashion in which the high frequency of V tone is observed through all the colors of the items followed by P, VP, Lgr tone in sequence. In the light of Chinese traditional color preference, this result denotes that the traditional color preferences of red, yellow are still affecting the contemporary color choices of clothing in Chinese women. The high incidence of PB category in the bottom and one-piece dress does not seem to have its origin form traditional Chinese color sentiment.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.20-34
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• 2010

This study is intended to suggest the characteristic of dress and its ornament introduced in terms of naturalized words on Korean newspapers and magazines published from the age of enlightenment to the Independence(1876-1945). First of all, naturalized words in that period(1876-1945) can be classified into words originated in Japanese, words originated in western countries and borrowed words came from Japan. Borrowed words which came from Japan are almost related to Japan's traditional dress like Gudu, Gabang, Kimono, Nemaki, Ebijahagama, Hagama, Sirusibanden, Doriachi, Dombi, Sarumada, Sseumeeri, Doriachi, and Mombbe. Borrowed words originated in western countries are like Frock coat, Bonnet, Necktie, Chapeau, Scotch, Homespun, Chamois, Skirt, Spring Coat, Ribbon, Silk hat, Panama hat, Handbag, Pajama, Shawl, Apron, Cuffs, Pocket, Handkerchief, Morning coat, Combination-one piece, Rain Coat, Burberry, and Permanent, etc. Borrowed words came from Japan is Lasa[raxa], jokki[jaket], Les[lace], Veludo[velvet], Bbanss[pants], Oba[overcoat], Meliyas[medias], Shass[shirt], Manto[manteau], and Sebiro[civil clothes]. As we can see from the result of research, borrowed words from the age of enlightenment to the Independence was because of its special social situation, Japanese imperialism, they are divided into real western words and words came from Japan or Japanese. In terms of items, a lot of words related to men's suit and women's dress, accessory, etc. It confirms that men's dress was westernized in the whole part compared to partially westernized women's one. A lot of words used at that period are now adapted to Korean language and became the foundation of words used in the current dress and its ornament area.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.129-142
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• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.95-98
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• 2005

• Journal of Fashion Business
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• v.3 no.1
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• Journal of the Korean Society of Costume
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• v.24
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• pp.47-58
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• 1995

The Study is to find out the thought of costume of the people who advocated the Wejung-chunksa. Conclusions are described as follows 1. The action to boycott western goods was the early response in the Wejung -chuksa Thought. The reason were in fear of ruin in chosun industry and worry about the westernizing the Korean. 2. The people of the Wejung-chuksa had the conservative character in order to maintain the traditional public order and the costume. They thought that costume have a role to distinguish between man and woman , the rich and the poor and so on. Therefore acceptance the wastern constume style meant that the Korean became a savage. So that they rejected the King's order about the dress-system reformation in 1884, 1895. That pointed that their ultimate purpose was to keep the traditional rule. 3. In appearance the purpose of the short-hair law was good for health. But it meant to destory the traditional order and to symbolize the civilization . Especially the short -hair in the people of Wejung-chuksa meant the destruction of the traditional rule and casting away the courtesy. Therefore they wanted to keep the value of the traditional costume.

• Journal of the Korean Society of Costume
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• v.43
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• pp.15-30
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• 1999

The Kosode(小袖) which is a traditional Japanese outfit with a narrower sleeve than the Kimono was worn under the court dress. Korean who first immigrated to Japan wore the Po(袍: the Korean clothes of the time) and introduced the outfit to the japanese people who adopted and integrated it into their daily wear. This outfit was labelled the Kosode(小袖) during the 13th century. The Kosode(小袖) eventually developed throughout centuries into today's Kimono. 기본포(基本袍). Kibonpo(Traditional Korean Basic Outfit), 袍형기본포. Mekibonpo(Traditional korean Outfit with Round Sleeves) 통수포 Tongsupo(Outfit with Narrow Sleeves) 고소데(小袖).Kosode(Traditional Japanese Outifit with narrow Sleeves) 후리소데(振袖). Furisode (Traditional Japanese Outfit with fluttering Sleeves)

• Korean Journal of Human Ecology
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• v.14 no.4
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• pp.631-643
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• 2005

The purpose of this research is to compare, according to tone variation of a red jacket, the preference of female college students from Korea and the U.S. for coloration in the traditional Korean dress. The results of the research can be summarized as follows: As to a vivid skirt according to tone variation of red jacket, students of both countries showed the different view in the preference for coloration of vivid red skirt and vivid. dark red jacket, and vivid orange skirt and dull red jacket, and vivid yellow skirt and light dull red jacket, and vivid violet skirt and dull red jacket. As to the light skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of light red skirt and light red jacket, and light orange skirt and light red jacket. As to the dull skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of dull red skirt and vivid light dull dark red jacket, and dull yellow skirt and light dull red jacket, and dull yellow skirt and light dull red jacket, and dull green skirt and dull red jacket, and dull violet skirt and vivid light dull dark red jacket. As to the dark skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of dark red skirt and dull dark red jacket, and dark orange skirt and vivid light dull red jacket, and dark yellow skirt and dull red jacket. As to the neutral skirt according to tone variation of red jacket, student of both countries showed the different view in the preference for coloration of white skirt and vivid red jacket, and dark gray skirt and light red jacket.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.1-16
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• 2006

The purpose of this study is to analyze the meanings of national images represented in Vivienne Westwood' collections through investigating her works in an aspect of national identity. The results were as follows: British fashion is generally known for having two national identities, Monarchy and Anarchy. Monarchy is the traditional British look and Anarchy is the free-spirited look which is related with the postwar phenomenon of rebellious youth culture. As a punk, Westwood participated in creating Anarchic identity of British fashion. But from the 80s, Westwood's attitude toward the national images has been changed. As a high fashion designer who became to represent British fashion in global market, Westwood started to research British dress tradition, especially through comparing with French fashion. She was particularly fascinated with the traditional fabrics like tartans, tweeds and innovative tailoring skills, which were related with the heritage of Englishness in dress. But she didn't follow the conventional ways and tried to reinvent the historical tradition in modern ways. By combining Monarchic tradition with tempting female sexuality, Westwood transgressed the existing ordinary Britishness of British fashion which was composed of aristocratic and royal identities, and created some innovative British fashion images. With these works, Westwood contributed to consolidate Englishness in dress on the one hand, but on the other hand, served to reconfigure Britishness of British fashion. Consequently, Westwood showed that what is believed as the essential national fashion identity can be challenged and reconfigured in modern fashion field.