In recent years, as the global fashion industry has rediscovered ethnic and religious elements, Tibetan Buddhist monastic attire has garnered attention from both the design and academic communities due to its striking aesthetics and profound symbolism. This study employs a combined approach of systematic literature review and field investigation to academically elucidate the cultural orthdoxy of traditional monastic attire, providing modern fashion design with a profound philosophical narrative that transcends superficial imitation in an effort to achieve a balance between tradition and innovation. The findings reveal that Tibetan Buddhist monastic attire absorbed Indian Buddhist forms during the Tubo period while adapting to local conditions. Following sectarian divisions, gradual differentiation emerged, culminating in the 15th century as a crucial symbol of authority within the theocratic system. Post-1960, globalization drove simplification in materials and craftsmanship, yet core structures and symbolic systems persisted. Overall, monastic attire employs restrained monochromatic tones like red and ochre to embody the spirit of spiritual practice. Its loose, ill-fitting structure emphasizes a non-individualized image, while fabric materials and accessories convey levels of spiritual attainment and hierarchical status. Sectarian distinctions primarily manifest in color usage, headwear forms, and the coordination of accessories with garments. As a sophisticated symbolic system integrating doctrine and practicality, Tibetan monastic attire has maintained its cultural integrity through several historical periods of development and transformation.

Abstract
I. Introduction
Ⅱ. Theoretical Background
    1. Historical development and principal sects oftibetan buddhism
    2. Historical origins and fudamental elements oftibetan buddhist monastic attire
Ⅲ. Research Method
Ⅳ. Results and Discussions
    1. Changes in tibetan buddhist monastic attireand influencing factors
    2. Formative features and symbolic meanings oftibetan buddhist monastic attire
V. Conclusion
References

• Yinuo Zhang(Doctoral Course, Dept. of Fashion and Textiles, Seoul National University, Korea) | 장일낙 (서울대학교 의류학과 박사과정)
• Jisoo Ha(Professor, Dept. of Fashion and Textiles, Seoul National University, Korea) | 하지수 (서울대학교 의류학과 교수) Corresponding author