Worldwide interest in Chinese culture is on the increase in the global era since the opening & reform of China. Interest in the cultural elements of the ethnic minorities who have long tradition is increasing accordingly escaping from the Han ethn... Worldwide interest in Chinese culture is on the increase in the global era since the opening & reform of China. Interest in the cultural elements of the ethnic minorities who have long tradition is increasing accordingly escaping from the Han ethnics-centered culture up to now. Efforts are being made to find fresh ideas from worldwide remaining ethnic cultures also in the fashion industry of fierce global competition. Especially, patterns, materials, colors and costume styles which can be found in various cultures are making very good design sources. In this respect, refined products preferred by the world are being created by applying Chinese multi-cultural traditional elements creatively to the new trends in fashion industry. Nevertheless, the cases are not many yet that are using the Tibetan cultural contents. The economic development plan has been unbalanced resulting in the development around the eastern coastal area only and the development of the western area such as Tibet is actually lagging behind. However, the Tibetan area is globally known not only as its mysterious natural environment but also as a global center of Buddhist culture already and its tourist industry is very active as a cultural treasure house in a different level from Chinese economic development. The modern clothing industry in the Tibetan area has seldom been developed but the splendid Tibetan traditional culture has the highest value, so the interest in fashion design area is on the gradual increase. Therefore, this study considered the analysis on the global modern designs where unique costume design elements were used and in particular, it analysed the famous design elements among the Tibetan costume designs appeared after 2000. Tibet has emerged in the fashion world since 1997, but it appeared on the collection stage for the first time in 2005. Theoretical study and case study were adopted together based on literature in this study. Most of all, analysis of the Tibetan environment, religious culture and costume culture was made through theoretical background and design elements were grasped that can utilize the analysis in a modern way. In the case study, the modern global fashion designs were analysed using the Tibetan traditional culture referring to the collection photographs collected from Vogue costume site(vogue) from 2005 through 2017. In this case study, modernistically interpreted designs were analysed by year whose design ideas were deducted by the inspiration made from the Tibetan traditional culture. First, the number of designs was very small using the Tibetan cultural elements in the global design brands from 2005 to 2012 and most of them used the patterns, materials and items. The designs have increased where the Tibetan design elements were applied since 2013 and the used elements were various such as not only the patterns and colors mainly but also materials, items, modeling and techniques. That is, the global brands used single Tibetan culture before 2013 but since 2013, the Tibetan culture was applied in a various way. Second, looking at the global designs using the Tibetan culture by season, 7 designs were found out of 25 brands in S/S collection and 18 designs in F/W collection. Seven designs in S/S collection adopted colors, patterns, shapes and items mainly. Edging for braiding the Tibetan women's hair was mainly used as the items and it was found that 2 designs were inspired by the Tibetan culture modeling and by the Tibetan monk's costume shapes as well. Main colors were the combination of colors used in the Tibetan traditional belt(Scalack). Scarlet color of the Buddhist monk's robe was also used. Geometric patterns were used. The Tibetan cultures were found in 16 designs in F/W collection. Various elements were found in the designs where patterns, colors and shapes were mainly used. The lucky omen pattern of Thangka was mainly used. In addition, the color combination of the scarlet color of the Tibetan monk's robe or the colors of the Tibetan unique natural scenery was used in 3 designs. In case of shape application, the modeling of the monk's robe was used many times, and 1 design adopted the shapes of shoes and 2 designs used the shapes of hats. Third, looking at the modern fashion designs using the Tibetan cultural elements, cases of using colors were the most and among them, the lucky omen pattern or geometric pattern was also used a lot. In case of the colors, the scarlet color of the monk's robe was the most popular. Two brands used the scarlet color images in a collection and introduced the color combination of the Tibetan unique natural colors in 3 designs. The shapes were used in 10 designs and items were used in 8 designs. Even though Tibet had unique materials, there were no cases using the Tibetan materials directly. As this study, the modern fashion design has deducted the design elements corresponding to the trends by interpreting the diversity of patterns, contrast of colors, difference of materials and variability of shapes through each collection. The Tibetan colors and patterns were mostly used and geometric lucky omen pattern was the most popular in the patterns. However, it should be noted when using the lucky omen pattern that it is related with religious faith. In the reflection of shapes, the monk's robe showing one shoulder in a unique way was used a lot as a feminine image. It is revealed that modern fashion designs are created by apprehending the characteristics of the Tibetan costumes in using the Tibetan design elements. The purpose of this study is to analyse the fashion design which is the most intuitive and expressive culture symbol and to provide an opportunity to introduce and recognize the Tibetan culture in a more public way through the analysis. Moreover, it was intended to enhance the comprehension on how the global brands are understanding and have used the Tibetan costumes as well as the traditional costumes for the globalization of the Tibetan costumes. It is hoped that the study on this field will be carried out actively through this study. ，韩语论文，韩语毕业论文 |
