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This article introduces the idea of cultural reinvention for cultural textile products. Fundamentally, the term ‘cultural products’ consists of culture and product. Culture means a symbol of a particular time and society. Cultural products can be thought of as artefacts produced by and for a specific cultural group. However, commercial needs and de...
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... they are made to wrap bedding, they are called yibul bo (yibul means 'bedding'). Those for wrapping fabrics are chon bo (chon means 'fabrics') and those for enclosing clothing are called opbo (ot means 'clothes' - when it is followed by the word bo it pronounces as op and is thus referred to as opbo) (Figure 2). Especially, jogak bo is the most popular wrapping cloth used exclusively by ordinary people. ...
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Woven system is still highly preferred for formation of fabrics, mainly for apparel purposes. Warping is an inevitable process for preparing warp for weaving process. Mainly, there are two systems of warping viz. direct and indirect (or Sectional). Both systems have their own application areas and are used for making different varieties of fabrics....
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... "Jogakbo; evsel artık/atık kumaş parçalarından bir çeşit kırkyama dikişine benzer biçimde birleştirilen bojagi örnekleridir" (Victoria and Albert Museum, 2020). Farklı kaynaklar incelendiğinde bu dikiş tekniğine kendine özgü anlamına gelen Jogakbo adı verildiğinden bahsedilmektedir (Jeon, 2011;Shin et al., 2011). Jogakbo, renkli kumaş parçalarının bir araya gelmesi ile oluşan bir tür bojagi olarak da tanımlanabilmektedir (Mee-Yoo, 2016). ...
... Geleneksel bir bojagi-jogakbo; farklı renk ve desenlerin kombinasyonları kullanılarak uzun bir yaşamın doğa ile uyumunu temsil eden yin-yang/denge prensibine uygun biçimde gerçekleştirilirler (Jeon, 2011). Bojagi-jogakbolar üst sınıf tarafından kullanılan Gung-Bo ve halk tarafından kullanılan Min-Bo olmak üzere iki şekilde tasarlanmış ve üretilmiştir (Roberts & Huh, 1998;Shin et al., 2011). Ancak küçük boyutlardaki artık/atık kumaşlar ile yapıldığı için halk tarafından zamanla daha fazla kullanılan bir teknik haline gelerek günümüze de taşınan evrensel bir tasarım ve üretim biçimine dönüşmüştür. ...
Bu çalışmada Kore kültüründe geleneksel bir tekstil tekniği olan Bojagi-Jogakbo tekniği; evsel organik atıklarla renklendirilmiş atık doğal kumaşlar kullanılarak yeniden yorumlanmıştır. Böylelikle hem boyar madde hem de malzeme açısından sürdürülebilir bir bakış açısı gerçekleştirilmeye çalışılmıştır. Çalışmada kullanılan evsel atıklara ilave olarak görsel renk çeşitliliğini sağlamak için son tüketim tarihi geçmiş atık kapsamına giren gıda kapsamındaki bitkiler de kullanılmıştır. Evsel organik atıkların kullanıldığı doğal boyama ile renklendirilen atık kumaşlar Uzak Doğu kırkyama çeşitlerinden biri olan Bojagi tekniği ile birleştirilerek bojagilerin bir çeşidi olan Jogakbo’lar tasarlanmıştır. Tasarım uygulamalarında kullanılan kumaşlar 70 gr/m2- 160 gr/m2 arasında değişen farklı boyutlardaki %100 ipek, %100 keten, %100 yünlü atık parçalardan oluşmaktadır. Boyarmadde olarak nar kabuğu, muz kabuğu, soğan kabuğu, enginar kabuğu, ıspanak olmak üzere evsel organik atıkların yanında sumak ve hibisküs çiçeği kullanılmıştır. 100C’de 60 dakikada özütü alınan boyar madde ile yine aynı koşularda boyamalar yapılmıştır. 0.2 gr/L.mordan oranı ile ön, aynı anda ve ard mordanlamalar yapılarak renk gamı elde edilmeye çalışılmıştır. Sonuç olarak; doğal boyama ve bojagi tekniği kullanılarak geri kazanım, tekrar kullanım, ileri dönüşüm vb. sürdürülebilir tekstiller için öne sürülen birçok kavramın bir arada uygulanabileceği ortaya konmuştur.
... Nevertheless, the importance of adapting to local traditional cultures in product design is gradually being realized; thus, culturally innovative products are receiving increasing attention (Fernandes 1995;Inglehart and Baker 2000). Cultures have been exploited in improving products to increase their users' satisfaction; this cultural value-adding process enhances the products' core value Shin et al. 2011). Some multinational companies such as Sony, LEGO and Whirlpool in their designs have started to show sensitivity to certain cultural specifics (Ono 2002;Deserti and Rizzo 2013). ...
Increasing attention is being given to traditional culture-orientated product design. While Chinese design students lack a deep understanding of traditional Chinese culture and its applications, little in-depth research has investigated this issue. Thus, how educators should guide and improve their students’ cultural design in the context of current Chinese design education and practices remains unclear. This study explores these design students’ cognition and application of different levels of Chinese cultural design elements to provide new insights for improving and adapting cultural design teaching practices. This study comprised three related stages. In stage 1, we extracted three levels of 15 representative cultural design elements from Chinese culture based on cultural hierarchy theory. In stage 2, we examined the students’ cognition about different levels of cultural elements using two questionnaire surveys. In stage 3, we further compared the differences in the application of cultural elements between experts and students to explore the students’ cultural application ability. The results showed that different design students have differing cognition of Chinese culture, which can be divided into two categories: i.e., cognitive deficiency or sufficiency. Compared with experts, students lack application experience and ability in the design elements of inner ‘intangible’ and middle ‘behavioural’ levels, because of their insufficient understanding of these two cultural design levels. These findings may reveal deficiencies in Chinese design students’ cognition and application, and provide targeted cultural teaching guidance.
... culture into the design elements of product design enhances a product's core value, resulting in what may be seen as culturally innovative products [1]- [3]. Cultural product design focuses on rethinking and reviewing the cultural elements, and then integrates these in a new product to satisfy target users [4]. ...
Cross-cultural design requires designers to understand other foreign cultures, selecting suitable cultural elements, and finally incorporate them into product design. Traditionally, this process is time-consuming and relies to a significant extent on designers’ cultural awareness and design skills. This article proposes a new tool for designers to select and integrate cultural elements in the cross-cultural design process. The proposed approach utilizes state-of-the-art deep learning techniques, which begins by automatically selecting the most suitable style image from all cultural image candidates. Then, the deep-learning-based style transfer technique is introduced to automatically produce a design image that has the same content as the uploaded design content image, and also has the cultural style of the selected style image. To the best of our knowledge, this is the first work that extends deep learning techniques to facilitate cross-cultural design. The tool received positive feedback in a usability evaluation. The empirical results show that our approach can effectively increase designers’ cultural awareness in respect of four cultural element dimensions (color, material, pattern and form). It is an innovative and efficient tool to help designers with idea generation and fast prototyping, although some participants argued that the tool would only assist designers, rather than replace humans.
... Mainly heritage festivals are the attraction for people and their perception or motivation about the festival celebration that plays an important role in finding out the significance. A significant number of related articles (Chen & Tao, 2017;Cole & Illum, 2006;Fu et al., 2018;Gan, 2016;Khalid & Chowdhury, 2018;Mahmud, 2015;Packer & Ballantyne, 2011;Shin et al., 2011;Su & Wall, 2011;Wang, 2007;Zakaria, 2016) on heritage contexts could be found about psychological and motivational values, interpretation, and the approaches to aspect research across various contexts. ...
A unique phenomenon in Bangladeshi cultural heritage is the tendency to wear traditional costumes at the festivals. This research examines the influence of wearing traditional Bangladeshi costumes for the festival observance. Based on the theoretical background of Bangladeshi festival heritage, five factors were derived: togetherness, tolerance, simplicity, aestheticism, and cultural revival. This research empirically analyzed 310 participant’s data who attended UNESCO (United Nations Economic and Social Council)–recognized world intangible cultural heritage festival, “Pohela Boishakh” (first day of Bengali New Year) held in Bangladesh. Exploratory factor analysis showed that all five factors are statically significant for the impact of heritage festivals. Multiple regression analysis revealed four factors out of five statistically significant for festival importance, and all factors are significant for the tendency of wearing traditional costumes at the heritage festival.
... According to Widyastuti [20], in a capitalist society, this is common, because the commoditization of culture can affect anyone and make culture a market object and is designed to meet consumer culture . In general, the distribution of cultural products includes a series of activities to carry out cultural commoditization, create values, deliver messages, and promote products to customers effectively [21]. ...
The purpose of this research is to examine the potential of Gunung Malang Sub-village (Dusun) in Lombok to become a Tourist Village. The researchers tried to examine the factors that must be done both in terms of production, marketing, and the obstacles that exist to become a Tourist Village. This research uses a qualitative methodology, which includes in-depth interview with seven cultural practitioners in Dusun Gunung Malang. The researchers also conducted an ethnography study, where one of the researchers stayed there for one month to make observations and gain an understanding of the phenomenon. The results showed that a series of follow-up actions were needed to increase production, marketing and overcome obstacles to making Dusun Gunung Malang as a tourist village.
... Also, a website for popularization/globalization of Korean bojagi was developed to communicate with the study's target consumers. Three potential target markets that can be applied to future Korean cultural products were identified by Shin, et al (2011); the young trendy generation group, the tourist group and the designer business market group. The young trendy generation group (Korean/ Western) was selected as the primary target consumer group due to their expected interest and familiarity with the interactive components of the mass customization aspect of the design tool. ...
This paper introduces the idea of design reinvention applied to traditional cultural textile products to facilitate the design of a contemporary offering that meets the needs of a specific market segment. The focus of this study is to develop a new design tool which will facilitate the translation of traditional Korean bojagi aesthetics into design concepts for modern fashion textiles relevant to young consumers. In order to apply the concept of design reinvention to the traditional bojagi, a new bojagi textile design tool and a bojagi website were developed. Using the tool, some of the applications were tested by fashion industry experts in the UK whose market are young global consumers. The findings resulting from the interviews suggested that the fashion bojagi samples could be successfully commercialized for the contemporary fashion market.
... With intense competition in the global product market, the connections between culture and design have become increasingly important (Shin et al., 2011). Product design based on traditional culture increases the customer demand for the product and promotes the speed of product innovation. ...
... This work is part of a broader study to investigate cultural reinvention for product design with particular emphasis on Korean culture. Cultural reinvention means to present something in a new form or a new image embodied with cultural meanings but based on an existing cultural product [28]. Specifically, the bojagi (a traditional Korean textile product) is being studied. ...
Colour perception and preference have often been considered to be culturally linked. In this study, samples of young Korean and UK consumers have been tested to examine their colour preferences and also what they considered to be successful fashion colours. The traditional Korean colours (in various degrees of saturation) have been used for the test and, in the case of the Korean participants, they were also asked which colours they considered to the more traditional. Though there were some differences between the young Korean and young UK participants, the degree of similarly in choice and preference was quite marked. It is suggested that this may be due to exposure to global media and internet products in the modern environment. Also it was found that the reliability of both test groups was high.
Design guidelines for traditional cultural artefacts play an important role in Culturally Inspired Design (CID) activities and design education. In this paper, a comparative study was performed to assess the impact of present‐day design guidelines for traditional Chinese cultural artefacts on novice designers in a CID process. In all, 42 novice designers enrolled in a cultural product design course participated in this study, under two different design conditions: an unaided condition and a guideline‐aided condition. Each condition includes three stages: identification stage, translation stage and implementation stage. In the unaided condition, each participant was asked to finish an investigative report on traditional cultural artefacts without any guidance and then carry out a detailed cultural product design. These results were then compared with those of the participants in the guideline‐aided condition, who received a design guideline for traditional cultural artefacts. The results were assessed by expert raters against six design metrics: breadth, depth, quantity, variety, novelty and quality. They revealed that the design guideline for traditional cultural artefacts in a CID process promoted the analysis of cultural features and increased the novelty and quality of design outcomes but resulted in decreased variety. We propose that the design guideline for traditional cultural artefacts may be useful as part of the design process and as a pedagogical tool in cultural creative design, but the best moment at which to introduce the design guideline should be further examined.
Cultural products that adhere to the Doctrine of the Mean in Confucian philosophy have high commercial and cultural value. However, they are challenging to design and are seldom studied owing to the intangibility of the concept of culture. In this paper, we explore the applicability of this doctrine to product design, propose a design process in this vein, and use a chair as a case study to illustrate it. The doctrine is interpreted through five factors from three perspectives and is then converted into design elements based on which designers created the prototype of a chair. The results verified the effectiveness of the proposed method and the viability of design for infusing products with this aspect of Confucian culture. This extraction of design elements from similar and fused culture provides a novel method for designers to create cultural products.
