중국 소수민족 티베트족(藏族)의 복식 특성을 활용한 친환경 니트 패션 디자인

Abstract

With the emergence of importance on conservation and succession of traditional culture, studies on ethnically minority people in China with cultural uniqueness have been steadily undertaken. The purpose of this study is to investigate the cultural background and costumes culture of the costumes of the Tibetan people, an ethnic minority in China and analyze the design characteristics and expression characteristics of the Tibetan costumes in a way of deploying and producing the development for the traditional culture-based fashion design to propose the direction of contemporary and creative fashion design. In addition, by facilitating the characteristics of the Tibetan people that live along the nature, it intends to deploy the environment-friendly knit design. This study has its implication with the method of contemporary costumes for ethnic minorities in China, and in particular, it is expected to propose the scheme for the environment-friendly knit fashion design. This study is comprised with the bibliographic study, work design, digital work and actual work production. Detailed research contents and method are shown as follows. First, through the bibliographic data, photo, museum data and others related to the Tibetan costumes, the design characteristics and expression characteristics of the Tibetan costumes is analyzed. Second, the cases of facilitating the Tibetan costumes as displayed in modern fashion collection are surveyed and analyzed. Third, through the earlier studies, the expression methods of environment-friendly fashion and environment-friendly knit design are investigated and the environment-friendly knit design appearing in the modern fashion collection is surveyed and analyzed. And fourth, on the basis of the design characteristics and expression characteristics of the costumes of Tibetan people, an ethnic minority in China, the CLO 3D technology is used to deploy and produce the environment-friendly knit fashion design. The design characteristics and expression characteristics for the Tibetan costumes are shown as follows. First, the Tibetan people is classified into three regions of the Wei Zhuang region, Gangba region and Anda region depending on the respective dialect. The design features of Wei Zhuang costumes is represented by the straightforward style, graceful and thick color-tone and elegant and plain style, and the design of the design of Gangba costumes is shown in exaggerated style, splendid ornament and broad-minded style. The design characteristics of the Anda costumes is summarized in succinct and clearly conspicuous colors, diversified types, enriched ornament and sumptuous styles. Second, the patterns of Tibetan people have representative stripe pattern, Jangpalbo, ‘Yungjung’ pattern and the like. The stripe pattern and color appearing in the Tibetan costumes is appeared in the rainbow stripe, candy stripe and multi stripe. The ‘Jangpalbo’ pattern is applied in diverse field, such as, Buddhist wall painting, ceramics, costumes and others to demonstrate the pride and creativity of the Tibetan people's culture as well as asserting an important role in the multi-cultural exchange and art integration as well. The ‘Yungjung’ pattern satisfies the aesthetic demand on the balance for Tibetans while expressing the recognition and desire for order and stability of the Tibetan people. Third, the expression characteristics of the Tibet costumes may be classified into symbolism, expansion and naturality. The symbolism appears in symbols of history, symbols of religion and culture, and symbols of identity, spirituality, regionality or marital status. The naturality is conspicuously shown for the materials in nature and it is expressed in the naturality of pattern and color. Furthermore, with respect to method of wearing, zero waste plane tailoring method, hand craft work technique of the Tibet costumes, the naturality is in full display. The expansion is in relation to the religious symbol to express the head-ornament for expansion. Next is the survey of expression method of environment-friendly fashion and environment-friendly knit design through the survey of previous studies. The environment-friendly design characteristics is shown in naturality, functionality, multi-culture, economics, social ethics, diversity, locality, uniqueness and the like, and as for the expression method, it is mainly shown in recycling, zero waste and others. The environment-friendly knit fashion brand has been affirmed to progress through such methods of ethical ingredient, ethical production method, ethical trading, recycling, upcycling and so forth. Through the analysis on the Tibetan costumes, the characteristics of the Tibetan costumes for each region with the intent to propose the possibility of developing new knit fashion design by combining the knit design for the and environment-friendly expression method, such as, hand craft works, zero waste, and so forth. The result of the work production is shown as follows. First, the subject of this work study is ‘Polygonal Tibet’ in a way of deploying the contemporary knit fashion design with the traditional features of the Tibet Wei Zhuang costumes through the environment-friendly expression method, such as, hand craft work, zero waste, and so forth. By facilitating the composition type, color and pattern of the Tibetan costumes, the hand knit technique is used to apply the traditional folk costumes onto the knit fashion design in a way of presenting new point of view. The environment-friendly knit fashion design that facilitated the characteristics of the Tibetan costumes is appropriate in facilitating the contemporary and creative design development by applying the traditional elements to utilize in contemporary design. Second, the most representative strife pattern of the Tibetan people has been diversely facilitated through the large needle technique for hand knitting skills, Intarcia technique, color Jacquard technique, Crochet technique and others and it could minimize the discarded materials and was appropriate to facilitated for zero waste and sustainable environment-friendly design. Such a result brings out the ethnic features while adding the contemporary sense to protect the material resources and production of crafts in the Tibetan costumes as well as practical utilization of traditional motive to confirm the possibility of public features. And, third, for the work product development, the CLO 3D technology is facilitated to take on the 3D digital fashion design. The strength of the CLO 3D technology is to virtually produce the patterns and complete the embroidery and enjoy the pre-design effect to save time and prevent economic wastes, as well as possible instant correction to have the sustainability phase over the direct production. However, the knit design deployment facilitating the CLO 3D technology could not satisfy the effect of materials for deploying the knit design. It is expected to improve in development and application of various digital technologies with supplementing such shortcomings.