조선후기 여성속옷을 응용한 의상디자인 연구

Durable electromagnetic interference (EMI) shielding ramie fabric with excellent flame retardancy and Self-healing performance

Samples of the folk costume of the Armenians of Shushi of the 19th - early 20th centuries have a special place in the collection of ethnographic objects of the History Museum of Armenia. The national clothes of the Armenians of Shushi belong to the Eastern Armenian complex of the folk traditional costume – they were made from woolen, silk and cotton fabrics of handicraft production. Expensive cotton and silk fabrics were imported. Clothes were made by the women. Since the late 19th century, in Artsakh - Karabakh clothes (primarily men's) were ordered from tailors who lived in Shushi, as well as in the villages of Chartar, Mets Tagher (Mets Taghlar). Women's traditional costume of Shushi consisted of a red shirt "halav", cotton and silk pantaloons, outerwear "arkhalugh" and "kulk", a belt, a headdress (forehead adornment "kopi", temple adornments, kerchief, footwear "chmoshk", "mashik", shoes. Men's traditional clothes consisted of a shirt, underpants and trousers, outerwear "arkhalugh" and "chukha", a belt, a headwear (fur hat), shoes.

As a free creature that can fly in the sky, the bird has been an object of admiration and mystery and a mediator between human beings and the heavens. This study aims to clarify the aesthetic value of birds through study of the various expressions of the bird image on clothing and by the formative will of designers. Based on the general examination of the bird image through the study of documents, this study is composed of a case analysis, which reveals on modern fashion designs. Additionally, the forms of expression of the bird image are organized according to the stereoscopic expression of shaping, the relief expression of handicraft decoration, the flat expression of surface design, and the characteristic expression of wings and feathers. The aesthetic characteristics revealed by the expression patterns are metaphorical symbolism, surrealistic humor, lyrical naturalness, and fantastical femininity. Since antiquity, the bird image continuously recreated by artists has offered aesthetic value in terms of formativeness in the external form and symbolism in the internal form. This study would help to understand the diversity of creation in contemporary fashion design.

Traditional Chinese cultures are formed along the line of social development and reflect the developing situations of this aspect. The artistic concepts and charms of the intangible cultural heritages of arts and crafts in China strongly signify the history and cultures accumulated throughout 5000 years. The fashion design industry is currently confronted with a bottleneck due to the continuous development of social economy; hence, its development has been restricted to a certain extent. In regard to that, the related sectors in Shanxi emphasized on the integration and innovation of intangible cultural heritages of arts and crafts with modern fashion designs to lay the foundation for creation of modern arts. Therefore, this paper expounds the relationship between the intangible cultural heritages of arts and crafts and modern fashion design in addition to the significance and strategies for their integration.

With the development of society, people’s aesthetic needs for clothing are also changing. The emergence of national style has become a new trend in the field of clothing design. Yao costume language and modern fashion elements have many common features. Yao costume can be integrated from the details of costume elements, costume color matching, decorative techniques and costume elements. Modern fashion design is carried out in style and other aspects. Virtual reality technology is a technology of human-computer interaction using virtual technology. Modern virtual clothing design is that clothing designers use virtual reality design technology through vision, hearing and touch to design clothing under the virtual reality environment displayed by computer. A comprehensive technology integrating computer graphics, artificial intelligence, concurrent engineering, network technology, multimedia technology and virtual reality technology. Retain and develop the essence of national costume and apply it in modern society, which reflects the artistic expression and national cultural charm in modern costume design, improves the position of national costume elements in modern costume design, and plays an important role in promoting the excellent costume culture of ethnic minorities.

The study aims to define the Korean Wave as global attention to Korea’s unique culture and consider the specificity of traditional Korean fashion images in Korean Wave content. The research method of this study is a case study through literature research. In order to collect Korean Wave content on YouTube, 24 channels with the highest number of views were selected from among content uploaded from 2018 to the present through keyword search, and up to two channels with high views showing traditional Korean fashion images. As a result of selecting the analysis target, 41 Korean Wave videos and 368 costumes were selected and analyzed based on fashion style elements, including item, color, detail, motif, styling, silhouette, and accessory. As a result of the study, music, broadcast, fashion, and other content were found in the Korean Wave content fields in which Korean fashion style appeared, and the characteristics of each field were derived. Music content was characterized by fashion style excluding stereotypes about traditional Korean costume, broadcast and fashion content was characterized by fashion style inherited from traditional costume, and other content was characterized by symbolic fashion style of traditional culture. This study is meaningful in revealing the formative characteristics of traditional Korean design elements recently shared online through the study of Korean traditional fashion images in Korean Wave content.

Subject areaMarketing.Study level/applicabilityThe case is aimed at Business Administration students.Case overviewUdaipur based Aavaran – the echos of rural India – is a concept by COS-V, a leading non-governmental organization (NGO), which aims at connecting the tribal women of rural India with the mainstream. The NGO, set up in 1988 by Smt. Girija Vyas, was initially involved in imparting vocational training to the rural poor. Later, COS-V was taken up by Alka Sharma, a graduate from the Indian Institute of Crafts and Design, Jaipur, who completely changed the direction of the NGO. Her interest in textiles and crafts led to the genesis of the concept “Aavaran”. Aavaran is a retail outlet which was opened with a vision to provide the Indian market with traditional yet contemporary textiles and clothing. It offers a collection of women's and children's clothing and home textiles using a variety of traditional textiles and crafts. It is an artisan driven concept where the supply chain incorporates the essence of Indian textiles and crafts at every level. From the dyeing, printing, sampling and assembly of garments everything is done by the local women trained by COS-V with the support of DC-Handicrafts. The raw materials – the textiles, grey fabrics, etc. – are sourced directly from the rural weavers and artisans across India. The case study discusses how Aavaran developed the unique positioning of a retail platform for contemporary products made from traditional techniques, skills and hand-based processes; how it could revive the diminishing arts of Dabu and Phetia and how it carved a niche through its channelized marketing efforts.Expected learning outcomesThe case will familiarize management students with the concept of niche marketing with Udaipur based firm Aavaran as an example which developed a unique positioning through its traditionally developed products. It will also acquaint students with a basic understanding of a supply chain with a cooperative firm in focus.Supplementary materialsTeaching notes are available for educators only. Please contact your library to gain login details or emailsupport@emeraldinsight.comto request teaching notes.

Iran is home to various ethnic groups with diverse cultures and customs. The Turkmen ethnic group in the northern part of the country possesses a rich culture, including traditional clothing that is characterized by its unique authenticity and beauty. Over the past few decades, this clothing has undergone changes and transformations due to various factors, including modernization. This study aims to examine the clothing of the Turkmen ethnic group and the changes it has undergone over the past three decades from an anthropological perspective. The research is qualitative in nature, utilizing a thematic analysis approach. The statistical population includes experts, elderly individuals, and those with experience and knowledge of traditional clothing within the age range of 30 to 60 years. To determine the sample size, the method of theoretical saturation was used, with 30 individuals being interviewed. Analysis of the interview results identified seven main categories as important features of Turkmen clothing, which include traditional elements of Turkmen clothing, product quality, time spent on Turkmen clothing, design and creativity, embroidery of clothing, color in Turkmen clothing, and changes and modernization of clothing for different social groups. These categories were derived and inferred through 23 subcategories and over 400 open or initial codes. Additionally, the results indicated that the most significant changes in Turkmen clothing over the past three decades include four major changes: the fusion of traditional and modern designs, the reduction of totems in clothing, the decline in embroidery, and the decrease in clothing quality. Overall, these changes were identified through six subcategories and more than 107 open codes. Among the most important factors influencing the changes in the features of Turkmen clothing are the desire for innovation among the populace, the influence of modern-style clothing, and the high cost of Turkmen clothing. In general, the clothing of the Turkmen ethnic group is unique in terms of design, color, elements, and content, and efforts have been made over time to adapt it to changes.

This paper analyzes the Chinese folk children’s and adult women’s bellyband, in order to explore it’s cultural connotation and artistic characteristics, and dig out useful elements for modern clothing design. This paper adopts the research methods of literature analysis, physical investigation, and modern works analysis. Through the analysis of the children’s bellyband, mainly by its summarized origin and customs, we believe that the bellyband not only has practical function and rich artistic elements, but also is the carrier of thick family love and has reference value for modern children’s clothing design. For the adult female bellyband, through the analysis of the traditional culture from the perspective of emotion, this paper believes that the shape of adult female bellyband is constrained by feudal etiquette, but its sewing process reflects women’s wisdom. At the same time, the color matching and pattern composition of bellyband are the expression and catharsis of women’s emotion. Based on this, this paper puts forward suggestions for modern clothing design, innovating the embroidery and patchwork process of bellyband, bionic modeling design. We believe that the embroidery technology, patchwork technology and pattern cultural connotation of bellyband can be combined with modern fashion design.

This study is about the expression types and characteristics of Trompe l`oeil in modern fashion. The study defines the concept of Trompe l`oeil, examines the Trompe l`oeil in the surrealist works from which the Trompe l`oeil derives from, and analyzes the works that have emerged since 2000. The study used a collection of magazines such as Vogue, Gap, Fashion News, and the Internet. According to the findings, the expression types of Trompe l`oeil in modern fashion were seen in the human body, the wearing style, the details, and accessory effects of clothes. The modern fashion design using the Trompe l`oeil based on such external expressions was characterized by the following: first, the fashion design destroyed the concept of common sense and expressed the purity of the human spirit by revealing the human body hidden in clothes from the combination of clothes and the human body with surrealism. Second, the details or accessories of clothes were printed or painted as if they existed. Pleasure was expressed by applying Trompe l`oeil to the wearing methods and forms of clothes through the optical illusion of materials or colors. Third, the effects of an optical illusion were displayed by transforming and distorting the wearing style and reversing the front, back, exterior and interior of clothes; this optical illusion characterized the deconstruction expressed through the transformation of ideas.

Whether you’re adapting a Regency, American Civil War, Victorian or early Belle Époque pattern, costume designer and historian M. Elaine MacKay guides you through creating a historically accurate garment perfectly fitted for the modern wearer. Illustrated with clear diagrams of bodice, skirt, and sleeve blocks, this step-by-step guide demonstrates how to alter modern pattern blocks to achieve authentic period designs for various modern body shapes. With techniques that can be easily transferred to any garment, each chapter details the techniques distinctive to each decade – from dramatic changes in the use of panels and bias, through the crinolines and bustles of the 1850s and 1870s, to the gored skirts and swept hems of the elegant 1890s – and features: - photographs of a historical garment from the decade - an in-depth garment analysis to help you understand how the cut of the period garment differs from a modern one - instructions to alter the modern pattern blocks provided in Chapter 1 to achieve the period silhouette. You'll also find examples of finished mock-up garments created using the book’s techniques, historical context on the society in which each dress might have been worn, and an accompanying online resource providing basic pattern blocks to download and adapt. Using tried and tested methods developed over M. Elaine MacKay’s 35-year career drafting and fitting historical patterns for theatre, film, and museums, this guide is essential for anyone interested in creating period silhouettes for historical dress, fantasy costumes, cosplay, or modern fashion design.

This creative research aims to produce deluxe ready-to-wear fashion by elevating local culture into modern fashion designs that have aesthetic and exclusive value. The main focus of the creation is to enrich the variety of Indonesian culture-based fashion designs through a practice-led research approach. The traditional house of the Tengger Tribe was chosen as the main source of ideas because of its unique architectural form and the philosophical values contained therein, which are still rarely explored in the fashion world. The creation process consists of four stages, namely: exploration of the source of ideas, design, realization of the work, and presentation of the work. In the exploration stage, visual studies and literature studies were conducted regarding the visual characteristics and philosophy of the traditional house of the Tengger Tribe. Next, these ideas were translated into fashion designs with an artistic and functional approach. The resulting works are three ready-to-wear deluxe characters, consisting of two women's outfits and one men's outfit. The techniques used in the realization process include semi-couture and fabric manipulation with stylized embroidery applications that represent the architectural elements of the traditional Tengger house. The results of the work were presented in a theatrical fashion show with the theme "BHUMIBRAMA" held in the courtyard of the Rectorate of Surabaya State University. This performance showcases the synergy between fashion, local culture, and artistic expression, which not only presents visual aesthetics but also builds a cultural narrative about the cultural heritage of the Tengger Tribe through the medium of fashion.

The study of popular clothing, its classification, characterization and exploration gives us valuable information about our ancestors, the traditions, the life and the culture of our ancestors. Part of this cultural heritage is the Bulgarian traditional costume. Trained and analyzed, traditional clothing is a good basis for transforming ideas into the design of contemporary fashion collections - a practice that is enjoyed by all current designers. In this report the characteristic of a Bulgarian traditional costume is made. The purpose of the present work is to trace and explore the historical development of the traditional folk costume in the Rhodopean region and to design modern women's clothing using the decorative elements of the authentic costumes.

This article investigates woollen skirts with double ikat motifs that were made in the late 19th and early 20th centuries by women in the western Estonian parishes of Hanila, Karuse, Lihula, Kirbla and Martna. The skirts were worn as part of traditional costume. After the wearing of traditional costumes came to an end in the 1920s, these skirts ceased being made. As this craft has been not been practiced for almost 100 years, the skirts were largely forgotten.
 The aim of this article is to give an overview of the materials, tools and methods used in the production of western Estonian double ikat skirt fabrics, to describe the principles used in sewing the skirts, and to describe the colours and patterns used in such skirts.
 The material sources for this research comprise 30 double ikat skirts and skirt fabric pieces, as well as an ethnographic drawing of a traditional double ikat skirt. Of these 20 skirts and fabrics (as well as the drawing), ten were held in museums and ten were from private collections. The most important archival sources were Estonian National Museum manuscripts (from both the ethnographic and the correspondents’ archives), as well as dialect texts held by the Institute of the Estonian Language.
 For western Estonian double ikat skirt fabrics, single woollen yarns were used (both for warp and weft). Fabrics were woven in plain weave with 14,4 ends per centimetre for the warp and 12 ends per centimetre for the weft, on average. Tow and flax in the form of both fibres and yarns were used as binding materials for tying the ikat yarns. No information was found about tools developed specifically for use with ikat, so it seems likely that general weaving tools were used. According to archival sources, warp yarn groups for ikat patterning were stretched to the same length as the rest of the warp on the warping mill, and then tied, taken down, and dyed. The ikat patterened warp yarns were added to the rest of the warp during warping in the same form, i.e. as warped groups.
 There is no information as to how the tying pattern was applied to the yarns, but there is mentioned of the pattern for tying weft yarn being copied from the warp when the warp was already on the loom. Only synthetic dyes were used for dyeing. Both white and yellow yarns were used for ikat. Ikat motifs were re-tied and re-dyed to achieve a multicoloured effect. After weaving, the skirt fabrics were cut into panels, and then sewn together. Pattern matching was usually not a priority. Although about half of the double ikat skirts have pleats, analysis shows that double ikat skirts were without pleats traditionally.
 The most common background colour for western Estonian double ikat skirts was red, although blue and purple fabrics have also survived. The view expressed in earlier works that blue skirts were mourning skirts is not supported here. The most populaar ikat motifs were yellow and white, but green, blue, pink and purple motifs were also used. Only two types of double ikat motifs were used, and both are simple and cross-shaped.
 Two-thirds of the patterns are on a checkered ground and one-third are on a solid coloured ground. Based on the composition, the double ikat patterns of western Estonian skirts can be divided into four groups. The patterns are typically unique: there are only two instances were two skirts have exactly the same combination of pattern and colours. This supports the view that making traditional costumes that were exactly the same (as though they were uniforms) is not in line with traditional practice.
 Keywords: traditional clothing, skirts, double ikat, western Estonia, weaving, dyeing

Xinjiang Uygur’s flowered hats is famous all over the world, it leads the world of headwear of variou nationalities within China by the variety of styles, the various ways of how to emroider pattern design and exquisite manufacture. It is unusual even in national costumes art of the world. The poupose of this study is to analyze Uygur's headwear, study the rules of Uygur's headwear pattern, analyze the characteristic of the basic pattern, research on the procedure for computer-aided pattern design of Uygur's flowered hat, explore the application of computer-aided design in traditional costume's pattern design and to realize application exploration of computer- aided design in designing of costume and dress adornment.