동서대학교 동서대학교 디자인대학
홈 일반대학원 디자인학과 한국연구재단 사이트맵 검색
아카이브학위논문전체(All)

학위논문 Theses and Dissertations

NO.D.2022.08_07

근거이론 접근에 의한 ʻ신중국풍ʼ 패션디자인 혁신전략의 이론적 모델 연구 Theoretical Model of Innovation Strategy for ʻNew Chinese Styleʼ Fashion Design : A Grounded Theory Approach

  • Name : 양베이/Yang Bei
  • Info : 박사학위논문/Doctor's thesis/ 2022.08
  • Adviser : 장주영/Ju-young Chang
192.168.95.160

초록

최근 ‘신중국풍’ 현상이 중국 디자인 분야에서 성행하고 있다. 이는 중국의 심미관, 중국문화요소, 현대적 트랜드의 심층적인 융합의 결과이며, 동시에 중국 문화요소의 재창조에 기반하여 구축한 일종의 스타일화된 상품혁신 체계이다. 오늘날 중국 패션디자인 분야에서 중국 전통문화 요소를 활용하여 창작한 ‘신중국풍’ 패션디자인은 다양한 발전 추세를 보이고 있다. 중국의 우수한 전통문화를 패션디자인에 융합함으로써 중국 민족 특유의 문화적 매력을 드러낼 수 있을 뿐만 아니라 오늘날의 라이프스타일에 적합한 복식을 디자인할 수 있다. 본질적으로 보자면 일종의 문화 정체성과 문화적 자신감의 감성적 표현이라고 할 수 있으며, 중국 전통문화의 계승과 커뮤니케이션에 중요한 의미를 지닌다고 평가할 수 있다.
현재 ‘신중국풍’ 패션디자인에 관한 콘셉트에는 여러 가지 갈래가 있지만, ‘신중국풍’ 패션디자인의 혁신적 전략에 관한 체계적인 분석 프레임은 부족한 실정이다. 이러한 측면에서 본 연구에서는 이하의 3가지를 연구 목적으로 설정하였다. 첫째, ‘신중국풍’ 패션디자인을 어떻게 재정의할 것인가. 둘째, ‘신중국풍’ 패션디자인 프로세스가 어떻게 형성되는가. 셋째, ‘신중국풍’ 패션디자인의 혁신적 전략의 통합적 이론 분석 모형을 어떻게 구축할 것인가.
이상의 연구 목적을 바탕으로 본 연구에서는 Strauss & Corbin（1990）이 제시한 근거이론을 연구 접근법으로 삼아 신중국풍 패션을 위한 혁신적 디자인 연구의 관점에서 자료에 대한 반복 정리 및 연역적 사고의 나선형 연구를 통해 이론모형을 개발하고자 한다.
복식과 문화 디자인 관련 이론을 토대로 인터뷰 개요를 마련하고, 13명의 패션디자인 전공 학생, 디자이너, 교육자를 대상으로 반구조화 인터뷰를 진행하여 1차 자료를 수집하였다. 아울러 보고서, 영상 등 2차 자료도 수집하였다. 그 후 질적 데이터 분석 소프트웨어 MAXQDA 2022를 사용하여 자료에 대해 개방 코딩, 축 코딩과 선택 코딩을 진행하였다.
개방 코딩에서 자료에 대한 분석, 개념화, 범주화를 진행하여 최종적으로 73개의 개념, 17개의 하위 범주와 6개 범주를 분류 도출하였다.
축 코딩에서 각 범주의 패러다임 유도를 통해 현상의 구성과 범주 간 관계를 분석하고, 이로써 패러다임 모형을 구축하였다. 인과적 조건은 ‘신중국풍 패션디자인의 잠재력 인식’, 중심현상은 ‘신중국풍 패션디자인의 다이내믹스’, 맥락적 조건은 ‘신중풍국 패션디자인 정체성 확립’, 중재적 조건은 ‘신중국풍 패션디자인의 영향요인’, 작용/상호작용 전략은 ‘신중국풍 패션디자인 방법’, 그리고 결과는 ‘신중국풍 패션디자인의 혁신적인 전략’으로 도출하였다. 그 결과 각 조건과 전략마다 중심현상을 바탕으로 관계를 형성함으로써 결과를 변화시킨다는 사실을 발견하였다.
선택 코딩에서는 핵심 범주를 확정하고, 이론통합을 설명하였다. 패러다임 모형에 기반하여 도출한 핵심 범주는 ‘신중국풍 패션디자인 프로세스 형성’이다. 핵심범주 ‘신중국풍 패션디자인 프로세스 형성’의 유형을 사회적 태도형, 미학적 표현형, 시장적 가치형, 심리적 만족도형, 지속가능성형의 다섯 가지로 도출하였다. 이어서 이를 통합시켜 상황 모델을 구축하였다. 핵심범주인 ‘신중국풍 패션디자인 프로세스 형성’은 다양한 조건과 작용/상호작용 전략과 연결된다. 따라서 디자인의 원동력, 디자인의 정체성, 디자인 방법, 영향요인은 모두 신중국풍 패션디자인 프로세스 형성에 촉진 역할을 한다.
마지막으로 각 부분의 연구 내용을 통합시키고 신중국풍 패션디자인 혁신성 전략 이론 모형을 개발하여 연구의 시스템화를 실현하였다. 신중국풍 패션디자인 혁신 전략의 6개 개념 가운데 14개 핵심 요소를 추출하고 동시에 핵심범주인 ‘신중국풍 패션디자인 프로세스 형성’을 기반으로, 핵심 요인과 신중국풍 패션디자인 프로세스의 4단계를 통합시켜 신중국풍 패션디자인 혁신 전략의 실행 프로세스와 도구를 도출하였다. 재료 분석을 토대로 디자인의 4단계 중 서로 인접한 두 단계 사이에 연결성이 있음을 확인하였다. 먼저, 계획과 수집 단계에서 개념화 단계까지의 과정은 개념 생성의 과정이다. 이 과정에서 민족적 특성과 민족적 심미 특성을 가진 지역문화 요소를 수집한 다음 시각적 특징, 심미적 정신, 문화적 정체성, 문화적 자신감 등의 측면에서 이러한 문화요소를 다차원적으로 분석해야 한다. 이 과정에서 브레인스토밍, 마인드 매핑, 관찰, 메모, 시각적 어휘, 사진 문서, 교차학과 사고 등의 도구를 사용할 수 있다. 이어서, 개념화 단계에서 종합적인 구상 단계까지의 과정이 바로 디자인 전환의 과정이다. 이 과정에서 스마트 기술을 활용하여 이러한 문화요소의 도안, 색상 등을 디지털화하여 추출하고 소비자의 기호, 감정 체험, 브랜드 이미지, 라이프스타일, 전통과 현대의 융합 등을 통해 문화 요소를 재창조하고 재구성해야 한다. 이 과정에서 방직품/니트의 개발, 스케치 그리기, 스토리텔링, 직물 직조, 자가 편집, 지속가능한 실천 등의 도구를 사용할 수 있다. 마지막으로, 종합적인 구상에서 실행 단계까지의 과정은 복장을 매개체로 문화 요소를 다시 표현하는 과정이다. 이 과정에서 패션의 미관성, 감정, 시대성, 융합성, 친환경성, 고품질, 독창성, 농촌 활성화, 국제적인 보급 등을 고려해야 한다. 이 과정에서 프로토타입 제작, 평가 결과, 뉴미디어 홍보 등의 도구를 사용할 수 있다.
요약하면, 본 연구는 학술 이론과 디자이너의 경험을 결합시켜 이론에서 실천까지의 전체적인 이론적 프레임워크를 구축하였고, 문화 중심 패션디자인의 학문 분야에 이론적 지식을 보완함과 동시에 디자이너의 디자인 실천에 이론적 근거를 제공하였다. 본 연구는 새로운 시대 배경에서 ‘신중국풍’ 패션디자인의 혁신 전략 제안을 통하여 중국 문화의 확산을 추동하고, 인류 문화의 다양성과 질적 제고에 기여할 수 있다는 측면에서 연구의 의미를 찾을 수 있다.

摘要

Abstract

In current years, the phenomenon of "new Chinese style” has prevailed in China's design field. It is a deep integration of Chinese aesthetics Chinese cultural elements and contemporary fashion. It is a stylised system of product innovation that is focused on the recreation of Chinese cultural elements. The "new Chinese style” fashion design made using traditional Chinese cultural elements exhibits a diverse development trend in the world of Chinese fashion design nowadays. to better incorporate the wonderful traditional Chinese culture into fashion design and to create clothes that both reflects the nation's distinctive culture and fits modern lifestyles. Essentially, this fashion is an emotive representation of cultural identity and self-assurance. It is of great significance to the inheritance and dissemination of Chinese traditional culture.
At present, there are many disagreements about the idea of “new Chinese style” fashion design. There is additionally a lack of a systematic analytical framework for the innovative strategies of “new Chinese style” fashion design. Therefore, this study has the following three research objectives. First, how to redefine the “new Chinese style” fashion design. Second, how the fashion design process of “new Chinese style” is formed. Third, how to construct a holistic theoretical analysis model of innovative strategies for “new Chinese style” fashion design.
According to the study's objectives, the grounded theory approach put forward by Strauss and Corbin (1990) is used as the research approach. Through repeated inductive and deductive thinking on the results of data analysis, theoretical models are developed from the viewpoint of innovative design research of “new Chinese style” fashion.
Based on relevant theories of clothing and cultural design, an interview outline was created. To gather primary data, semi-structured interviews with 13 fashion design students, designers, and instructors were undertaken. Second-hand data was also gathered at the same time, including reports and videos. The qualitative data analysis software MAXQDA2022 was then used to open coding, axial coding, and selective coding.
The information was broken down, conceptualized, and categorized during the open coding process, and 73 concepts, 17 subcategories, and 6 categories were ultimately identified.
To analyze the connection between the structure of the phenomena and the category, axial coding will create a paradigm model by deriving the paradigm of each category. The category "understanding of the potential of new Chinese style fashion design" is the causal conditions. The category "the dynamics of new Chinese style fashion design" is the central phenomenon. The category "establishment of identity of new Chinese style fashion design” is a contextual conditions. The category "influencing factors of new Chinese style fashion design” is a intervening conditions. The category "New Chinese Fashion Design Method” is considered as the action/interactional strategies adopted to promote the central phenomenon "The dynamics of new Chinese fashion design”. The conclusion is an "innovative strategy for new Chinese fashion design”. The findings found that each condition and strategy can form relationships around a phenomenon that alter outcomes.
A theoretically integrated elaboration is accomplished after a central category is found in the selective coding. "The formation of the new Chinese style fashion design process” has been identified as the main category based on the paradigm model. Social attitude type, aesthetic expression type, market value type, psychological satisfaction type, and sustainability type are the five types of the central category of “the formation of the new Chinese style fashion design process”. The central category's formation process is then incorporated, and a conditional model was developed. The central category "The formation of the new Chinese style fashion design process” is connected to numerous conditions and action/interactional strategies. As a result, the design dynamics, design identity, design method, and design influences support the central category.
Finally, the study materials from each stage are combined, and a theoretical model of the innovative strategy to new Chinese style fashion design is created, accomplishing the research's systematization. From 6 concepts in the innovation approach of new Chinese style fashion design, extract the 14 core elements. Based on the core category "the formation of the new Chinese style fashion design process”， these core elements are integrated with the 4 stages of the new Chinese style fashion design process, and the implementation process of the innovative strategy of the new Chinese style fashion design is deduced and developed tools. According to the materials analysis, the four design stages are cohesive with one another. First, the process from planning and gathering to ideation is the process of concept generation. A multidimensional analysis of these cultural elements from the perspectives of visual characteristics, aesthetic spirit, cultural identity, and cultural self-confidence is required in this process. Regional cultural elements with national characteristics and national aesthetic characteristics must be gathered. Tools that can be used in this process include mind maps, observations, notes, visual vocabularies, photo files, interdisciplinary thinking, and more. The process of design transformation is thus the progression from ideation to comprehensive conception. The digital extraction of these cultural elements' patterns and hues requires the application of intelligent technology in this process. The reconstruction of cultural elements is influenced by consumer preferences, emotional experiences, brand perception, lifestyle, and the blending of tradition with contemporary. Tools that can be utilized in this process include developing textiles and knitwear, sketching, narrative, fabric weaving, self-editing, sustainable practices, etc. Finally, the process of utilizing clothes as a carrier and then once more expressing cultural components is the step from thorough comprehensive conception to implementation. In this process, it's important to take into account the clothing's aesthetic appeal, emotional impact, historical period, integration, environmental protection idea, high quality, uniqueness, rural regeneration, global communication, etc. Tools that can be employed in this process include prototypes, evaluation results, new media campaigns, etc.
This study builds a comprehensive theoretical analytical framework from theory to practice by fusing academic theory with the practical experience of design practitioners. This study adds to the body of theoretical knowledge for culturally conscious fashion design and offers a theoretical framework for how designers really work. The purpose of this research is to advance the diffusion of Chinese culture and enhance the diversity and caliber of human culture in the setting of the new period. It also recommends an innovative strategy for "new Chinese style" fashion design.

키워드

  • #신중국풍
  • # 패션디자인
  • # 근거이론


  • #new Chinese style
  • # fashion design
  • # grounded theory

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43. Strauss, A. L., Corbin, J., Basics of qualitative research: Grounded theory procedures and techniques, Newbury Park, CA: Sage, 1998
44. Strauss, A. L., Corbin, J， Basics of Ｑualitative Ｒesearch: Ｔechniques and Ｐrocedures for　Developing　Grounded theory，　Sage　Publications, Inc, 2007
45. Saunders, M., Lewis, P., Thornhill, A., Research methods for business students(7th ed.), England: Pearson Education Limited, 2016
46. Tylor, E. B., Primitive culture: Researches into the development of mythology, philosophy, religion, art, and custom, London: John Murray, 1871

[Dissertation]

1. 김은희, 「지속 가능한 지역관광경쟁력 형성을 위한 관광의 포용적 성장 현상연구: 근거이 론을 중심으로」, 경희대학교, 박사학위논문, 2019
2. 김영선, 「지역주민의 전시컨벤션센터 정체성 인식에 관한 연구 : Glaser의 근거이론 방법론 적용」, 경희대학교 대학원, 박사학위논문, 2020
3. 송양，「중국의 전통문화에서 나타난 디자인 정체성에 관한 연구」，한양대학교 대학원， 박사학위논문, 2021
4. 셰쓰쓰, 「현대 패션에 나타난 뉴 차이나 스타일에 관한 연구」,건국대학교 대학원, 박사학 위논문, 2020
5. 이은성, 「컨벤션센터 브랜드 이미지 형성 과정: 근거이론을 중심으로」, 경희대학교, 박사 학위논문, 2010
6. 여월， 「개혁개방 이후 중국 패션산업의 현황 연구」，홍익대학교, 석사학위논문, 2011
7. 윤희숙, 「노인 요양 공동생활가정 입소 노인의 시설 생활 적응과정에 관한 근거이론 연 구」, 경희대학교, 박사학위논문, 2015
8. 하수정, 「현대패션에 나타난 오리엔탈이미지 비교 분석: 동 서양 패션디자이너를 중심으 로」, 홍익대학교 대학원, 석사학위논문, 2004
9. 한혜실, 「근거이론 접근에 의한 여성의 불임경험 연구」, 이화여자대학교 대학원, 박사학 위논문，2003
10. 陳霞, 「當代中國風格服飾探究」，西安美術學院，博士學位論文，2015
11. 馬豔, 「‘中國風’研究——中國傳統服飾形制在現代服裝設計中的應用」, 碩士學位論文, 江 南大學, 2010.
12. 徐啟賢，「文化產品設計模式之構建」，國立臺灣藝術大學，博士學位論文，2014
13. 徐莺音，「中國意象“中國風”與民族服飾的時裝化」，複旦大學，碩士學位論文，2006
14. 袁宣萍，「17-18世紀歐洲的中國風設計」， 蘇州大學， 博士學位論文，2005
15. 楊淑慧, 「中國服飾文化的國際傳播——2016年維密秀中國風研究」, 西北大學，碩士學位論文， 2017
16. Au, Sau Chuen Joe, A Comparative Analysis of Design Theories of Contemporary European and Japanese Fashion Designers, Doctor of Philosophy, Hong Kong Polytechnic University, 2003
17. Ja-Young Hwang, Fashion designers' decision-making process: The influence of cultural values and personal experiencein the creative design process, Doctor of Philosophy, Iowa State University, 2013
18. Kim, C. Effects of acculturation, leisure benefits, and leisure constraints on acculturative stress and self-esteem among Korean immigrants, Doctor of Philosophy, Texas A&M University, 1999
19. Natascha Radclyffe-Thomas，Concepts of creativity operating within a UK art and design college(FE/HE) with reference to Confucian heritage cultures: perceptions of key stakeholders, Doctor of Education, Durham University, 2011
20. Raithatha, Y., Understanding the economic impact terrorism has on the destination decision making: Northern Irish tourists, Masters of Marketing, Dublin Business School, 2017

[Academic Journal]

1. 김선영, “매화꽃을 모티브로 한 패션 문화 상품 디자인 개발”, 『복식문화연구』, 2009, Vol.17(6)
2. 김소선, "근거이론 연구방법의 이론과 실제”, 『간호학탐구』, 2003, Vol.12(1)
3. 서봉하, "아시안 룩의 탈중심화 현상과 그 기법에 대한 연구”, 『服飾』, 2011, Vol.61(1)
4. 신상철, "미술 시장과 새로운 취향의 형성 관계:18세기 로코코 미술에 나타난 쉬느와즈리 (Chinoiserie)양식”, 『美術史學』, 2011, Vol.25
5. 신주영, 김민자，"18세기 로코코 패션에 나타난 시누아즈리(chinoiserie)”, 『服飾』, 2006, Vol.56(1)
6. 이은성, 김철원, "컨벤션센터 이미지 형성 과정-근거이론을 중심으로”, 『관광학연구』, 2011, Vol.35(2)
7. 오춘자, "아시아 Kaftan 양식에 관한 연구”, 『한국복식학회』, 1997, Vol.35
8. 유근준,"대상관계의 변화과정에 관한 질적 연구”，『한국심리학회지 상담 및 심리치료』, 2010, Vol.22(3)
9. 양베이, "문화 지향의 '신중국풍' 패션디자인의 이론적 프레임워크에 관한 연구", 『한국디자인문화학회』, 2021,,Vol.27(3), pp.327-340
10. 장주영, "문화융합의 시대에 ʻ문화지향의 디자인' 을 위한 교차문화적 디자인 방법론의 이 론적 프레임워크에 관한 연구”, 『한국 과학예술 융합 학회』, 2020, Vol.38(3)
11. 정흥숙, 김영삼, "현대 패션에 나타난 동양모드에 관한 연구”, 『생활과학논집』, 2005, Vol.21
12. 艾媒咨询，2020-2021年中国国潮经济发展专题研究报告，『国际品牌观察』，2021，Vol(17)
13. 卞向陽，李林臻，“新時代中國服飾中的‘新國風’時尚”，『美術觀察』, 2021, Vol.02
14. 包銘新，"歐洲紡織品和服裝的中國風”,『中國紡織大學學報』，1987, Vol.13(1)
15. 孫濤，"東西方服裝設計師運用中國服飾元素的差異性分析”,『東華大學學報(社會科學版)』, 2005,
Vol.5(3)
16. 王革非，季勇，"我國女性傳統婚服的文脈與趨勢”, 『紡織導報』, 2015, Vol.1
17. 王馨子，"人工智能背景下中國婚禮服設計模式探究”，『絲綢』，2021，Vol.58(3)
18. 王巧, 宋柳葉, 王伊千, 李正, "新中式針織服裝設計特征及其路徑”, 『毛紡科技』, 2019Vol.47(11)
19. 肖明超，"2020中國消費趨勢報告”，『經營者(汽車商業評論)』, 2020, Vol.01
20. 徐威, “生活方式與文化商品設計之探析”, 『藝術與設計(理論)』, 2019, Vol.2(03)
21. 余衛華，“西方時尚中的新中國風”，絲綢，2010，Vol.11(11)
22. 周星, 楊娜, 張夢玥, “從‘漢服’到‘華服’: 當代中國人對‘民族服裝’的構建與訴求”, 『貴州大學學報(藝術版)』, 2019, Vol.33(5)
23. 張春豔，李鳳英． "中國當代婚姻儀式及消費習俗的變遷”, 『文化學刊』, 2009, Vol.6
24. The General Office of the State Council, "關于實施中華優秀傳統文化傳承發展工程的意 見”，『師資建設』, 2017, Vol.30(02)
25. A Kozlowski, M Bardecki, C Searcy，Environmental impacts in the fashion industry: A life-cycle and stakeholder framework， Journal of Corporate Citizenship, 2012
26. A. Mary Posonia, Sai Vaishnavi. R, Deepika. P, Principle Component Evaluation for Analyzing the Design Trends in Fashion Industry, Test Engineering and Management, 2019, Vol.81
27. A Kozlowski, M Bardecki, C Searcy, Tools for Sustainable Fashion Design: An Analysis of Their Fitness for Purpose, Sustainability, 2019, Vol.11(13)
28. Ashby, M., & Johnson, K., The art of materials selection, Materials Today, 2003, Vol.6(12)
29. Babchuk, W. a., Grounded Theory as a “Family of Methods”: A Genealogical Analysis to Guide Research, US-China Education Review, 2011, Vol.3
30. Esra Gonen, Tim Brown, Change by Design: How Design Thinking Transforms Organizations and InspiresInnovation, Markets, Globalization & Development Review, 2019, Vol.4(2)
31. Fusch, P., & Ness, L., Are we there yet? Data saturation in qualitative research, Thequalitative report, 2015，Vol.20(9)
32. Jang, Namkyung， Fashion Designer Competency Modeling, Fashion & Textile Research Journal，2018，Vol.20(04)
33. Kenny, M., Fourie, R., Tracing the History of Grounded Theory Methodology: From Formation to Fragmentation, The Qualitative Report, 2014, Vol.19(52)
34. Kenny, M., Fourie, R., The Qualitative Report Contrasting Classic, Straussian, and Constructivist Grounded Theory: Methodological and Philosophical Conflicts, The Qualitative Report, 2015, Vol.20(8)
35. Leong, B. D., Clark, H.，Culture-based knowledge towards new design thinking and practice: A dialogue, Design Issues, 2003，Vol.19(3)
36. Lin, R. T., Transforming Taiwan aboriginal cultural features into modern product design: A case study of a cross-cultural product design model, International Journal of Design, 2007, Vol.1(2)
37. Lamb,J.M., Kallal, M.J.， A Concept Framework for Apparel Design, Clothing and Textiles Research Journal, 1992, Vol.10(2)
38. Low, J., A pragmatic definition of the concept of theoretical saturation, Sociological Focus, 2019, Vol.52(2)
39. Lee AJC de Wet, Both sides of the coin : a teaching strategy to facilitate an alignment of the creative design purpose of a fashion designer and the requirements of the consumer, Journal of Family Ecology and Consumer Sciences, 2016, Vol.44(1)
40. Lee, Jee Hyun, Ahn, Jiwon, Theoretical Competence Model of Fashion Designers in Co-Designed Fashion Systems, Fashion Practice， 2018，Vol.10(03)
41. Melnikovas, A., Towards an explicit research methodology: Adapting research onion model for futures studies, Journal of Futures Studies, 2018, Vol.23(2)
42. Moalosi, R., Popovic, V., Hudson, A., & Kumar, K., Product analysis in relation to the socio-cultural perspective of Botswana. Proceedings of the International Conference on Design Education: Tradition and Modernity. India: National Institute of Design-Ahmedabad, 2005
43. Mullen, P., & Reynolds, R., The potential of grounded theory for health educationresearch: linking theory and practice. Health Education Monographs, 1978, Vol.6(3)
44. Marshall, M., Sampling for qualitative research, Family Practice, 1996, Vol.13(06)
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47. Na, Y.，"Fashion design styles recommended by consumers’ sensibility and emotion”, Human Factors and Ergonomics in Manufacturing, 2009, Vol.19(2)
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51. Rech, S.R.& Maciel, D., A proposal for a prospective method based on grounded theory， The Value of Design Research，11Th European Academy of Design Conference, 2015
52. Service, Robert W., Birmingham, AL, Book Review: Basics of Qualitative Research: Techniques and Procedures for Developing Ground Theory(3rd ed), Organizational Research Methods, 2009, Vol.12(3)
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[Article]

1. 鄭芋，“‘國潮’是風還是潮”，中國文化報，2019.11.23., 第 004 版

[Website]

1. "中國文化產業發展報告(2021)”，https://baijiahao.baidu.com/s?id=1690775015575240958, 2021.09.02.
2. “2021年中國消費趨勢報告”, https://mp.weixin.qq.com/s/bfq0bmDcZrWx2bMandbsoQ, 2021.09.03
3. "國潮研究報告(2019)”，https://max.book118.com/html/2020/0819/5222241202002332.shtm, 2021.09.12.
4. “티 셔츠”， https://item.taobao.com/item.htm?spm=a230r.1.14.16.4b767cccmvUS94&id=669047280635&ns=1&abbucket=4#detail，2022.5.26.
5. “캐주얼웨어”， https://item.jd.com/10043573298609.html#crumb-wrap，2022.5.26.
6. “캐주얼웨어”， https://item.jd.com/10042907187147.html，2022.5.26
7. “중국식 혼례복”， https://ailuohuayi.tmall.com/?spm=a1z10.3-b-s.1997427721.d4918089.6cae4316bAXIxr, 2021.04.28.
8. “중국실크박물관”， https://www.chinasilkmuseum.com/zggd/info_21.aspx?itemid=1870, 2022,06,06
9. “中國華服日”, http://www.xinhuanet.com/photo/2021-04/17/c_1127342404_3.htm, 2021.04.30.
10. “中國華服日”, https://new.qq.com/omn/20220402/20220402A06JR200.html，2021.04.30
11. “Online Etymology Dictionary”, https://www.etymonline.com/search?q=culture, 2021.10.30
12. “Robe à la Française”, https://www.metmuseum.org/art/collection/search/81606?sortBy=Relevance&ft=Jean+Pillement&offset=40&rpp=40&pos=54, 2022.01.15
13.“Robe de Style”, https://www.metmuseum.org/art/collection/search/97118, 2022.01.16
14.“Cape”,https://www.metmuseum.org/art/collection/search/79091?sortBy=Relevance&ft=16th+century+French+robe&offset=80&rpp=40&pos=94. 2022.01.07
15. http://designhistorylab.com
16. “Evening ensemble”, https://www.metmuseum.org/art/collection/search/82104?sortBy=Relevance&ft=Gr%c3%a9s&offset=280&rpp=40&pos=308, 2022.01.16
17. “Embroidered panel with chinoiserie scenes”, https://www.metmuseum.org/art/collection/search/229067, 2022.01.15.
18.“Textile”, https://www.metmuseum.org/art/collection/search/467649, 2022.01.07
19. “Textile”, https://www.metmuseum.org/art/collection/search/468140, 2022.01.07
20. “Ensemble”, https://www.metmuseum.org/art/collection/search/80047 , 2022.01.16
21. “Evening ensemble”, https://www.metmuseum.org/art/collection/search/82466, 2022.01.16
22. “Dress”, https://www.metmuseum.org/art/collection/search/141918, 2022.01.16.
23. https://item.jd.com/10028168952159.html，2022.05.30
24.“Ensemble”,https://www.metmuseum.org/art/collection/search/80046?sortBy=Relevance&ft=Jean+Paul+Gaultier&offset=80&rpp=40&pos=85, 2022.06.05.
25.“Dress”,https://www.metmuseum.org/art/collection/search/82461?sortBy=Relevance&ft=Chinoiserie&offset=40&rpp=40&pos=74, 2022.06.05.
26. "Robe de Style", https://www.metmuseum.org/art/collection/search/81462, 2022.06.05.
27. "Chair seat”, https://www.metmuseum.org/art/collection/search/227464，2022.06.05
28. “中國李寧2021秋冬潮流發布”， https://baijiahao.baidu.com/s?id=1696477835717362052&wfr=spider&for=pc, 2022.06.05. 29. “개량한후”, https://item.jd.com/10028168952159.html，2022.06.05

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