The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

The pattern cases for Korean traditional socks are named “beoseonbongip” which means a pouch to keep patterns for making “beoseon”. “Beoseon” is Korean traditional socks. This study is to identify characteristics of the pattern cases and to develop cultural products based on the unique characteristics of the pattern cases. One hundred fifty one photos of “beosonbongip” were collected and quantitatively and qualitatively analyzed. Seventy percent of them were made between Joseon Dynasty and 1960s. As a result, most of the collected pattern cases are rectangular and square shapes, red color, and silk fabrics, and sizes of them are from 9cm to 15cm. A few pattern cases with different sizes and colors were also observed. Most pattern cases were made by fixing two among four triangle pieces which made by folding four tips of a rectangular or square cloth and then puting a not or a loop on the remaining triangle pieces in order to open and close the pattern cases. In a small number of the pattern cases, three of the four pieces were fixed and a button, a bead, a broach, or two nots or two loops were put on the other piece for opening and closing. Products such as apparels, bags, pouches, frames, and key holders were made using “beoseonbongip” form and construction method. This shows that “beoseonbongip” is a useful motive for creative product development.

This study investigated the interrelations among acculturative stress, recognition, preference and eating frequency of Korean traditional food by Chinese students in Korea. The acculturative stress score was 3.06±0.32, ‘homesickness’ score was the highest (3.92±0.62) and ‘guiltscore’ score was the lowest (2.28±1.04). The rate of preferred for Korean food was low (20.5%). The places for eating Korean food were ‘restaurant’ (49.6%) and ‘school cafeteria’ (41.1%). The cooking experience regarding Korean food was 45.0% and they had cooked ‘Bulgogi’ (26.7%) and ‘Bibimbap’ (21.9%). The recognition score for Korean traditional food was 0.70±0.27. The preference score for Korean traditional food was 3.14±0.54, and the favorite foods were ‘Galbi’ and ‘Galbitang’ while ‘Ggakdugi’ was the lowest. The eating frequency for Korean traditional food was 2.15±0.82, and ‘Baechukimchi’ and ‘Bibimbap’ were comparatively high. The acculturative stress showed no correlation with the recognition, preference and eating frequency of Korean traditional food. The recognition of Korean traditional food correlated positively with the eating frequency (r=0.175, p<0.05). The preference of Korean traditional food had a significant effect on eating frequency (r=0.274, p<0.001), and the highest positive correlation was shown in ‘Ddeokbokki’ (r=0.470). The explanation power (R2) of recognition and preference on eating frequency was 0.098. This study showed the interrelations among recognition, preference, and eating frequency of Korean traditional food except for acculturative stress.

We conducted a survey on Japanese women's consciousness of food culture and their traditional food consumption by self filling-out questionnaire during January, 2000 for the period of a month, For the survey we selected 250 women residing in Kyoto, Japan. For the statistic work we used SAS package system, and t-test, X2-test and Duncan's multiple range test were also used to verify the results significance. The purpose of this survey lies in gathering a basic data on the comparative direction of Korean and Japanese women's food culture in the future 1. Comparing the preferred food purchase place, In case of Korean women, traditional market was comparatively more preferred while Japanese women relatively preferred convenience store (p〈0.001). 2. In case of Japanese women, they answered there is no difference from ordinary days on New Year's Day (71%) and Christmas (40%) while 38% answered they prepare food at home. 40% said they prepare food on parents-in-law's birthday, and 41% said no difference from ordinary days. 52% said they prepare food at home on husband's birthday. For their own birthday, 32% said yes to preparing food at home while 45% said no difference and 22.3% said eating out. For children's birthday 65% said preparing at home, 16.3% said no difference and 14.9% said eating out. 3. Comparing the conception on traditional food, Korean women answered 'complicated' (77%) most while 'simple' (5%) least, which indicates their demands for simplified recipes. In case of Japanese women, 'complicated' (44%) was most while 'scientific' (6%) was least which indicates their demands for scientific way of recipes. There were differences shown by age (p〈0.001) and the older the more said 'simple' or 'logical' (p〈0.01). 4. As the reason for the complicity of traditional food recipes, Koreans said 'too many hand skill' (60%) most while 'too many spices' (8%) least. For Japanese, 'various kind of the recipe' (55%) was most while 'too many hand skill' (7%) was least. There were significant differences shown by academic background (p〈0.01) and income(p〈0.01), and the lower the academic background, the more said 'too many spices' as the reason for the complicity in making traditional food. Generally, the lesser the income, the more tendency to say 'various kinds of the recipe'. 5. In case of Koreans, 'the recipe is difficult' (56%) was high while 'uninterested' (9%) was low in answer which showed differences by academic background (p〈0.05), and in case of Japanese, 'no time to cook' (44%) was high while 'uninterested' (7%) was low. 6. The following is the reasons for choosing traditional food as a snack for children. In case of Koreans, they answered as 'traditional food' (34%), 'made from nutrious and quality materials' (27%), 'for education' (22%) and 'suites their taste' (17%) revealing 'traditional food' is highest. In case of Japanese, it was revealed in the order of 'made from nutrious and quality materials' (36.3%), 'traditional food' (25.2%), 'suites their taste' (22.6%), 'for education' (12.8%) and 7. Comparing the most important thing for the popularization of traditional food in the world, Koreans answered 'taste and nutrition' (45%) most while 'shape and color' (6%) least. In case of Japanese, 'taste and nutrition' (75%) was answered most while 'hygienic packaging' (4%) was least. Both considered 'taste and nutrition' as most important thing for the popularization of traditional food in the world. 8. In case of Koreans, they answered they learn how to make traditional food 'from mother' (47%), 'media' (18%), 'school' (15%), 'from mother-in-law' (14%), 'private cooking school' (4%) and 'close acquaintances' (2%). In case of Japanese, they said mostly learn 'from mother', but it was also shown that the lower the academic background the lesser the tendency of learning 'from mother' but 'from school' (p〈0.001). 9. About the consumption of traditional fermented food, Koreans said they..

The purpose of this study was to identify the dimensions and patterns of the perception of Korean traditional food and to find the determinants of the patterns between Korean and Yanbian housewives, taking food culture into account. Data were factor and cluster analyzed, and the results revealed two and three different dimensions and patterns for Yanbian and Korean housewives respectively. Descriptive statistics showed that perceptional patterns are likely to vary depending on cultural background of Korean traditional food. Similarities and differences in perceptional patterns between Yanbian and Korean housewives are discussed, and future implications for food as well as nutrition specialists and food marketers are provided.

Hahoe Mask Dance is one of the most representative Korean Mask Dances in traditional folk customs. With the longest history among all the Mask Dances, it is the only one that has been appointed as the national treasure. The particular figure designs and tinges in Hahoe Mask Dance not only reflect the traits of characters in the plays but also present to the world the Korean tradition and its immanent thoughts, culture, morality, arts and so on. If kimchi is the most representative food of Korea, Hahoe Mask Dance must be the most representative face. In China, Beijing Opera, as the most influential one, enjoys the fame as “national opera”. It has been spread to the whole world and has become an important means to introduce Chinese traditional culture. The painting on the face of an opera performer is called a facial mask which is a big characteristic of Beijing Opera. The facial masks can help the audience to understand the plots of an opera. hey are different based on different roles. For the roles of “Sheng” and “Dan”, the facial makeups are quite simple with little cosmetics. So they are often called as “handsome makeup”, “plain face” or “clean face”. As for the roles of “Jing” and “Chou”, their facial masks are more complex. “Jing”, particularly, is always heavily painted with complicated designs. So it is often called “flowerish face”. The facial masks in Beijing Opera mainly refer to the facial paintings of “Jing”. The article is aimed at an analysis and a comparison between Hahoe Mask Dance and Beijing Opera in the aspects of figure designs, tinges and colors, hence to understand the traditional cultures of both countries deeply.

본 연구는 유아 전통문화 교육을 의미 있게 실시하기 위해서는 유아의 한국전통문화에 대한 태도를 파악하는 것이 매우 중요하다고 보고 유아의 한국전통문화에 대한 태도, 이의 성별과 연령별 차이, 부정적 태도에 대한 이유를 알아보는 것을 연구 목적으로 하였다. 이를 위하여 충청북도 지역과 강원도 지역의 3개소 유치원에 재원 중인 4세반 유아 24명과 5세반 유아 34명을 연구 대상으로 하였다. 자료수집을 위하여 연구자가 개발한 「유아의 전통문화에 대한 태도 검사」를 면접방법으로 실시하였으며 태도 경향과 변인별 차이를 알아보기 위하여 평균을 산출하고 차이검증을 실시하였으며 유아의 반응을 내용별로 범주화하여 빈도처리 하였다. 연구결과 유아의 전통문화 태도는 3가지 범주 18개 항목 모두에서 비교적 긍정적인 것으로 나타났다. 변인별로는 성별 변인에서 유의한 차이가 나타나 여아가 남아보다 긍정적인 태도를 보였으며, 연령별 변인에서는 유의한 차이가 나타나지 않았다. 부정적 태도에 대한 이유는 3개 요인별로 다양한 반응을 나타내었다.

현대 조형예술은 시간이 갈수록 점차 속도와 범위가 확장되고, 이러한 변화는 우리의 생활문화에 조형미를 접목하는 흐름으로 이어져 여러 나라에서 자국을 대표하는 문화상품을 개발하여 부가가치를 높여주는 역할을 담당하고 있다. 의복은 세계 어느 나라이든 그 나라의 특색을 가장 잘 반영하고 있는 문화중의 하나이다. 이러한 의복에 적용된 우리의 전통문양에는 민족의 혼이 담긴 연원이 깃들어 있고 자연에 순응하며 섬세하고 고상하게 우리 전통의 아름다움을 내포하고 있다. 문화상품이 상업화되면서 의복의 상품화와 그 가치에 대한 연구는 다양한 관점에서 접근이 시도되고 있다. 이러한 문헌들을 참고하여 의복에 적용한 대표적인 전통문양의 조형적 특성을 파악하고 사례를 통해 검증하며 향후 발전 방향을 모색해보고자 하였다. 한 나라의 특색을 가장 잘 보여줄 수 있는 의복과 우리나라의 전통문양이 결합됐을 때 그 시너지 효과는 더욱 커질 수 있다. 의복이란 상품을 통해 정체성을 바로 찾을 수 있으며 더 나아가 그 나라의 위상을 전 세계적으로 전파할 수 있는 충분한 매개가 될 수 있는 것이다. 한국의 고유문화나 전통성이 소멸되어 가고 있는 시점에 심미성만을 목적에 두고 의복이라는 상품을 생산하는 것은 우리 민족 고유의 정신이 점차 소멸되어 가는 상황으로 이어질 수 있으며, 이는 현대사회의 흐름에 맞추어 개성있고 창의적이며 누구든 공감할 수 있는 특별한 전통의복을 개발하여 그 뿌리를 이어갈 수 있어야 한다. 고유의 전통문양에 뚜렷한 상징과 정체성, 가치를 담아 재탄생된 의복은 한국 고유의 전통성을 잃지 않고 상품의 가치를 높에 만들 수 있는 계기로 작용할 것이다. 또한 점점 장인이라는 전통 계승자들의 부재는 우리 민족의 혼을 사라지게 하는 하나의 요소가 되고 있으며 이는 산·학간의 협력을 통해 정부의 지원을 받아 우리의 전통을 이어갈 수 있는 젊은 인재의 양성에도 소홀하여서는 안된다. 이러한 젊은 인재들은 전통의상디자이너들과의 교류를 통해 우리 전통문양이라는 문화유산의 가치를 창조하고 기능적인 형태와 색체, 그리고 전통문양의 조화를 이룰 수 있는 한국의 전통의복의 발전으로 이어질 수 있을 것이다.