• SUVANNABHUMI
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• v.8 no.2
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• pp.113-129
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• 2016

Brunei Darussalam is a Malay Islamic Monarchy practicing and upholding traditional heritage. Brunei Darussalam is rich with tangible and intangible cultural heritage shaped by its way of life. One of the traditions maintained and preserved in the country is traditional textile weaving. The tradition covers both consumption and production. In the context of consumption, traditional textiles have multiple roles and symbolic meanings. In the context of production, the tradition showcases great skills and the distinctive cultural, social, intellectual, spiritual, and emotional values of the people of Brunei. This paper will explicate the distinctive values and characteristics of Brunei people from the practices of textile weaving.

• Journal of the Korean Society of Costume
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• v.34
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• pp.135-150
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• 1997

The purpose of this study was to inves-tigate the economic performance of the textile industry for the Korean traditional clothes. The content of this paper had two pars; The first part was for the macroeconomic aspects such as location production employments and the produc-tion facilities of the textile industries. The second part was for the microeconomic aspects such as business type branding method fabric type R&D efforts sourc-ing and the distributional channel The major results were as follows: 1.) Most textile firms for the korean traditional clothes were located in Gongju for man-made fibers and in Jinju for silk fabrics. 2) The size of the textile industry in terms of the number of business produc-tion amount the number of employee de-creased during 1994 and 1995 due to the decreasing demand. 3) Over the half of the textile firms produced raw fabric products while only 20% of them were involved in additional dyeing and /or printing finish which re-sulted in low value added production 4) The R&D effort of the textile indus-try for the Korean traditional clothes was very low due to the market uncertainty lack of technological knowledge and most of all small size of the firms 5) Most raw materials for the textile in -dustry were imported with high(25%) tariff rates resulting in price increase and thus low competitiveness in the market. 6) The textile producers sole about the 70% of their products to the wholesalers while selling the rest to the retailers di-rectly. This showed the dual structure of the distribution channel in the textile products. These results suggested some implica-tions for the firms the policy makers and the researchers. The firms should develop new and improved products to increase and create consumer demand by intensive R&D efforts. The government policy ma-kers should give financial supports the firms with R&D investment and legal help such as lowing tariff rate for the raw ma-terials. The researchers from the academy could help the textile industry with the advanced technological knowledge and up-date information for the consumer fashion demand.

• Archives of design research
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• v.17 no.2
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• pp.363-372
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• 2004

In the new millenium of information and digital age, the vogue cycle has been gelling shorter and shorter and the individualistic and high quality preference of contemporary consumers drive the small quantity production by order. The traditional screen printing system can not hold the competitive edge anymore. In order to actively meet the demand of the fast evolving market, compete with other nations, and produce high value-added products, we need the new production system to meet the individual needs promptly. Mass production using the traditional screen printing system has the economic advantage of the production speed and cost. The digital textile printing system digitalizes the total process from the design to the printing and omits the separation and engraving. It is more suitable to produce the multiple item-small quantity and add more values to its products. It has also the advantage of less pollution problem.

• Fashion & Textile Research Journal
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• v.15 no.3
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• pp.406-413
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• 2013

The objective of this research is to find out status and consciousness about shrouds according to changes of Jeju's rural funeral ritual while reviewing Jeju's traditional shrouds. Consciousness of customs regarding tradition is much stronger in Jeju Island. Since it was said that shrouds and changes of funeral ritual have very systematic correlation according to the result of precedent researches, changes of funeral rituals of Jeju's rural area were examined. At the same time, consciousness about traditional shrouds of Jeju people was also studied. As the result of examination through literary investigation, visits to rural homes, visits to production places of Jeju's shrouds and interviews with grandmothers designated as human cultural assets of traditional Jeju shrouds, etc, it was found out that Jeju's rural funeral rituals had been rapidly changed since 2000. Traditional Jeju shrouds are also disappearing. In particular, old women of Jeju have considered preparation of their own and their husbands' shrouds in advance as a virtue. However, as it gradually became more difficult to produce and prepare traditional shrouds at homes and as the space of funeral was changed from their own houses to hospitals and/or commercial funeral homes, it was found out that a ratio of people's using general shrouds sold in market was increased and it is believed that this kind of trend will be accelerated more and more in the future.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.42-54
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• 2009

The purpose of the study was to grasp problems through a basic survey of actual conditions of the Korean traditional costume industry and to grope a plan to settle the problems. The results were as follows. Operating Status: Rates of the companies' establishment were reduced in 2000s and their sales were also reduced. Status of Goods Development: Korean traditional costume manufacturers and Korean traditional costume textile fabric companies had the highest rate in non-trademark production. Korean traditional costume textile fabric companies and Korean traditional costume rental companies had high rate in self-design. However, Korean traditional costume manufacturers used textile companies' catalogue with the highest rate. Status of Demand and Supply in Human Resources: In human resources needing most, Korean traditional costume manufacturers were tailors, Korean traditional costume textile fBbric companies were salespersons and Korean traditional costume rental companies were designers. Status of Management and Marketing: Causes of difficulties in management were the market slump and the spreading of products made in China. They had a direct publicity through people around mainly. Therefore, it was urgently necessary to introduce special marketing methods. In an investment plan within three years in the future, about 70% did not have an investment plan. Opinions for Promotion of Korean traditional costume: In the government's support policy they wanted, construction of social atmosphere for Korean traditional costume-wearing and Korean traditional costume related educational support had the highest rate. Most of the companies answered that specialized Korean traditional costume agencies were necessary.

• The Research Journal of the Costume Culture
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• v.22 no.1
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• pp.16-27
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• 2014

This study investigated the characteristics of and changes in hemp textile production practices at Gurye in Jeollanam-do in modern times. To do this, in this study, both a literature review and fieldwork research were utilized as research methods. The literature review focused on Gurye's hemp data, and the fieldwork research involved two separate trials. Male and Female residents of Gurye who had experience in the area of hemp production from the 1920s to the 1980s participated in this study. The results were as follows. First, regarding hemp fiber cultivation in Gurye, hemp cultivation continued to the 1970s and there were no changes in hemp cultivation practices during the Japanese colonial-era. Second, there have been very important changes in hemp kilns over time. In the 1950s, there were both single-body kilns and separate-body kilns in Gurye. Later, specifically in the 1950s, a new type of kiln using an iron pot appeared, and the most modern kilns were concrete structures. Third, in Gurye, women cooperatively removed hemp husks immediately after stemming, subsequently bleaching the hemp by soaking it in lye or caustic soda. Over time, there have been changes in ash types and in soaking periods. Fourth, loom types changed from the traditional Korean back-strap loom to the treadle loom in the 1930s- to 1940s. Fifth, since the 1970s, the hemp textile output levels of Gurye have been reduced due to the westernization of clothing styles, the inflow of Chinese hemp fiber and government regulations pertaining to hemp cultivation.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.6
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• pp.1137-1156
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• 2023

With the advent of artificial intelligence (AI) during the Fourth Industrial Revolution, the fashion industry has simplified the production process and overcome the technical difficulties of design. This study anticipates likely changes in the digital age and develops a model that will allow consumers to design textile patterns using AI technology. Previous studies and industrial examples of AI technology's use in the textile design industry were investigated, and a textile pattern was developed using an AI algorithm. A new textile design model was then proposed based on its application to both virtual and physical clothing. Inspired by traditional Korean masks and props, AI technology was used to input color data from open application programming interface images. By inserting these into various repeating structures, a textile design was developed and simulated as garments for both virtual and real garments. We expect that this study will establish a new textile design development method for Generation Z, who favor customized designs. This study can inform the use of personalization in generative textile design as well as the systemization of technology-driven methods for customized and participatory textile design.

• Fashion & Textile Research Journal
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• v.24 no.1
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• pp.95-107
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• 2022

In reality, the distinction between the Korean traditional culture and the cultures of other countries is at a delicate boundary. Additionally in the wake of the recent socio-cultural confrontation between Korea and China, it has become necessary to establish the foundation and area of Korean traditional culture and to actively utilize the importance of improving awareness of Korean traditional culture. To reorganize the reckless use of the gold foil pattern shown in the rental hanbok, data on the museum's collection of gold leaf patterns were collected and analyzed. Based on the gold foil, Gilsang characters such as Phoenix pattern, Crane pattern, Bat pattern, Flower pattern, Fruit pattern and recovery advice were extracted through references. The traditional gold foil pattern was reconstructed and relocated to design the gold leaf patch. Based on the collection and analysis of the museum's relics, the Wonsam & Daedae, Dangeui, Sranchima, Sagyusam, Jeonbok, Bokgun, and Daenggi were produced. Therefore, we present the possibility of producing gold foil and modern methods for producing gold foil using laser cutting techniques that can express refinement and complexity well, and gold foil thermal transfer paper with retouchable effects. Additionally, we would like to reflect upon the practicality and the convenience to modern people by considering the complexity and hassle of the traditional gold foil production process, and the disadvantages of processes that require relatively longer time. It intends to help revitalize the market of Korean traditional clothing and fashion products.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.730-738
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• 2012

This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata 'I Will Rise'. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First, the costume production process of 'I Will Rise' is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.645-650
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• 2007

Three hundred of women between twenty and over seventy living around Andong, Sangju, Youngju and northern part of Kyungsang Province replied consumer research on industrialization of traditional clothing products in that area. An age distribution of the women is 60 people (20.0%) between 20 and 34 years old, 147 people (49.1%) between 35 and 54 years old, 93 people (27.9%) over 55 years old and the subject of study included in middle-aged and old-aged is 77.0%. A direct questionnaire and enclosed questionnaire are used to measure. The questions consist of questions about current circumstances of traditional clothing production, features of natural fabrics in the northern part of Kyungsang Province, distributive process, features classified by kinds, directions of development and economic conditions of natural fabrics. Andong has a traditionally unique culture throughout Korea. If Andongpo are developed as clothing fabrics harmonized beauty of tradition with modern characteristics, fashion business in the northern part of Kyungsang Province will be improved. In addition, encouraging majority of the young to participate in this movement is regarded as beneficial for the reinforcement of competitiveness against other regions and public relations of the region. As one of the solutions to development of this traditional clothing business, its own program made by industry-academic cooperation for the development of clothing products which is suitable for traditional fabric in Andong should be implemented.