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【The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of Design War, it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of style fashion designers since the 1980s, 1 could see that designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of very Korean does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of very Korean we must create fashions completely and modern at the same time.n and modern at the same time.】
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