The purpose of this study was to examine the characteristics of conspicuous kids fashion and its intrinsic meaning as the popular trends of luxury product consumption expand into the area of kids' fashion. For methodologies, literature study was conducted along with empirical study. The literature study was based on various literatures and preceding studies, including books. The empirical materials used the internet photos, overseas kids fashion magazines, and free newspapers available on the basis of membership targeting the upper class. Conspicuous kids fashion refers to imported luxury kids brands, which signify higher status of the wearer due to the high prices and high quality. These brands were thrust into limelight amid the Wanna-Be Phenomenon, which resulted from the emergence of kids' fashion icons. Imported luxury brands launched the products in the form of brand line extensions. It promoted exhibition of vicarious consumption to show off the wealth and social prestige of parents. It came into prominence due to emotional consumption among kitty moms. Moreover, this study examined the intrinsic meaning of conspicuous kids fashion. The results showed components of conspicuous kids fashion, which was classified into the emphasis on outward appearance, consumption for vicarious satisfaction, inheritance of cultural capital, and network configuration.

Consumption of faux fur is a part of ethical consumption, and is valuable in terms of protecting and caring for animals. The purpose of this study is to understand the meaning of consuming faux fur (i.e., characteristics of faux fur consumption and how consumers relate faux fur with ethical issues) from the perspective of consumer culture theory. Data were collected through semi-structured in-depth interviews with those who have purchased faux fur. Two overarching themes emerged in regards to consuming faux fur, altruistic and egoistic orientation. Regarding the altruistic orientation, participants were sympathetic to animals, and considered consumption as part of practicing social responsibility and ethics. Participants had concerns for animal rights and conflicts with others who consumed actual fur. They viewed faux fur as an alternative to actual fur. Regarding egoistic orientation, participants isolated themselves from ethical issues in order to be free from guilt. Despite the preference for actual fur, they compromised between their desire and social criticism. Furthermore, their intention was to pretend as if they were wearing actual fur or move onto a completely different style, and had a negative outlook on social change regarding the adoption of faux fur. The findings contribute to a better understanding of consumer culture of consuming faux fur. Further research on diverse aspects of ethical consumption is warranted.

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).

The objectives of this study are to identify the self-image and preferred fashion styles that Korean career women seek in different daily situations, and to propose a positioning map in accords with the findings. The study conducted a survey and in-depth interviews. The study used twenty items of self-image adjectives extracted from existing studies, and eighteen fashion style stimuli collected by examining women's wear brands. The study surveyed 329 career women. Their daily situation was classified into five situations; external meeting and presentation, ordinary work, wedding and family gathering, blind date or date, and meeting with friends and acquaintances. The analysis results of this study showed that self-image and fashion style preferences are relevant to daily situation. The image most sought in external meetings and presentation was the 'Elegant' image, and the image most sought in meetings with friends and acquaintances was the 'active' image. Women on dates or blind dates sought the 'feminine' image the most, however they preferred to avoid this image during external meetings and presentations. Among fashion styles, the 'elegant/classic' style was most preferred, and the 'sexy/avant-garde' style had the lowest preference among all the styles. 'Mannish' was preferred in ordinary work and meeting with friends and acquaintances, however, it was shown as having the lowest preference level in blind dates or dates. The 'romantic/natural' style was highly preferred in meeting with friends and acquaintances, however it had a low level of preference for external meetings and presentations. This study has significance in providing practical information to utilize in fashion industry by identifying the relationship between self-image and preferred fashion style sought by career women according to daily situation, and using the results to propose a positioning map.

The purpose of this study is to delve into the identity of the New-Hanbok style in modern fashion, and to survey its formative characteristics and internal values from the perspective of vernacular design. Arguments can be summed up as follows. The study historically examines the changes in Hanbok and concludes that the social and cultural backgrounds and factors that caused the advent of the New Hanbok are (1) the change and expansion of the basic social, cultural, and popular perception toward the Korean image, (2) the rapid spread of a subculture centering on the younger generation, and (3) the voluntary and systematic activities of nonprofit clubs, communities and private organizations. This is the cycle of the spread of Hanbok, which shows the subcultural selection and development process of upward propagation. Furthermore, the public, in addition to holding fast to an independent attitude regarding their choices, also show that they tolerate diversity. As a perspective of analyzing the New Hanbok style, the study suggests the characteristics of the vernacular design perspective as (1) a spontaneous indigenous nature (2) living everydayness (3) and the subcultural-ness of the era. From such a perspective, the study examines the formative characteristics of the basic costume configuration of the New Hanbok style including jeogori, traditional Korean skirts, Cheollik one-pieces, and Trompe l'oeil one-pieces, and draws out the meanings contained in the New Hanbok style, which are (1) spontaneous indigenous nature and directivity toward tradition, (2) living everydayness and modernity, and (3) open subcultural-ness.

The purpose of this study is not only to trace the examples of 'Chesanja' from the texts and artifacts, but also to restore the terminology of the lost traditional Joseon embroidery technique. 'Chesanja' came on Mongolia and Yuan period affected embroidery techniques of the neighboring countries. Therefore, this study will focus on investigate the process of changing 'Chesanja' into Guya(Goya) through ${\ll}Barktonsa{\gg}$ the foreign language transcriptions of the Chosun dynasty, and examine the generation, fashion, and destruction of this technique with the social technical usage. Around the 16th century of the Joseon Dynasty, 'Chesanja' had been actively used as a decorative techniques to dairy products as well as a Buddhist memorial goods embroidered. Accor- dingly, in the "Beonnyeok-Baktongsa"(1515) appeared together written records with 'Chesanja' 'Gwiyeo[귀여]' the Eonhae(Korean annotation) only had emerged in the Joseon Dynasty. It was still a technique to decorate the edges of royal pillow in the mid-17th century. And we have checked from the text "Baktongsaeonhae"(1677) also. Despite this by the mid-18th century, the term in "Baktongsa-sinseok"(1765) and "Baktongsa-sinseok-eonhae"(1765) had disappeared. This phenomenon suggests the possibility that the production and utilization of 'Chesanja' required the sophisticated process for the ruling class had been declined with the custom of embroidery based on the gradation by colorful threads as the preferred technique. Therefore, 'Chesanja' and 'Gwiyeo'[귀여] disappeared from the records but they can be found in the artifacts of the royal family of 19th century. So Chesanja is calls Guya(Goya) and exists as unique technic only in the royal family.

The purpose of this study is to examine the expression techniques and methods of Upcycling fashion brands and designers who have focused on Upcycling, and have found success. The study used collected literatures, press releases, and Internet searches using the word, 'Upcycling' in order to investigate the design characteristics and to set up criteria to classify the material expression techniques found in Upcycling fashion design. The results are as follows: Firstly, according to the result of analyzing the product images of Upcycling fashion design, the most frequently used expression methods are deconstruction and reorganization, $d{\acute{e}}paysement$, and assemblage/collage. Deconstruction and reorganization is used to make most of the Upcycling fashion design products using recycled materials. It is one of the ways to create new value that transcends the value of the previous item. Secondly, Upcycling fashion design's expression techniques generally attempt to use recycling material diversely to complement the recycling material that is limited in some way to the purpose of clothing. In this process, we can find expression techniques used to bring out) the characteristics of Upcycling fashion design. Patching, adding, cutting, folding, or weaving is the technique mainly employed.

The present study observes collaboration methods in which 3D printing was a part of the fashion manufacturing process, expression methods of such cases, and their ripple effects. As a result, the three types of collaborations between fashion designers and other industry fields, fashion brands and 3D printing companies, and fashion designers and artists. Case analysis results and ripple effects found according to each collaboration method were as follows. First, in collaborations found were between fashion designers and other industry fields, 3D printed fashion works with futuristic images were seen through the fusion of future industries, which claim to support cutting edge digital technology, and creative fashion design. As they were mainly collaborations between automobile industries with cutting edge images or digital related industries and fashion designers, they were expressed as a new form of experimental clothing, and were used as strategies to improve future corporate images of the high tech industry. Second, in collaborations between fashion brands and 3D printing technology businesses, the sporting good brands and the shoe industry attempted to let their products be known through the promotion of functional material or ergonomic technology. While they emphasize practicality by mainly using flexible material, they were mainly proposed as functional sporting goods for famous players or as shoe accessories, so methods are still used for public distribution as brand promoting marketing strategies. Third, with collaborations between fashion designers and artists, creative pieces were shown through the grafting of 3D printing technology, the artistry of artists, and the experimentation of fashion designers. In particular, the innovative value of fashion as art was created through the union of the artistic 3D modeling technology support of artists and the creativity of designers. Like this, 3D printing fashion can graft the cutting edge nature of fashion to other industry fields through collaborations, enhancing pacesetting images, and in the fashion field, it can improve possibilities for innovations in the fashion industry through the support of 3D printing technology businesses and artists, raising expectations towards future human living.

Retro fashion can be defined as re-applied and re-created fashion style where a certain period or a specific style in the past would be recalled. As a unique cultural phenomenon, the 'retro' style has affected not only our daily lives, but also the fashion industry. The purpose of this study is to explore the relationship between the nostalgia and consumer purchase behaviors of retro fashion products in Korea. The data was collected using a self-administered online survey of 224 respondents. The results show that the sub-elements of nostalgia include personal and historical nostalgia. The personal nostalgia positively influences consumers' purchase intention of retro fashion products, whereas historical nostalgia negatively affects retro purchase intention. Interestingly, the moderating effects of self-connection and age of respondents on the relationship between nostalgia and retro purchase intention was identified. The findings highlight the potential role of retro fashion on modern society, as it can overturn any concerns people may have about the gloomy future and the harsh reality.

The female leadership styles in the 21st century have been established as a major axis. Especially, the fashion of female politicians being exposed to the public during political activities has become a main element of a measure displaying visually female leadership styles in the 21st century and image making as well. Consequently, this study conducted qualitative research through the interview method to figure out regular voters' thoughts in depth about images being required for female political leaders and the fashion maximizing those images, and drew the detailed design elements. Suggesting the clothes design reflecting those elements for female political leaders by 3D virtual clothing works emerging as a new market creating profits related to fashion. The images which female political leaders have to have and were extracted through the interviews in this study, showed as feminine, strong leader, honest, and intelligent images, and also it was shown that female political leaders displaying proper images depending on the circumstances and using those images in politics rather than sticking to a fashion identity were favored by interviewees. The present study intends to contribute to being used as basic data of various research and fashion items of virtual reality and establishment of successful fashion strategy for female political leaders.

Lady Han, Gongshin-buin(恭愼夫人韓氏: 1410~1483) was Gongnyeo of Ming emperor and sister of Han Hwak(韓確:1400~1456). The aim of this study is to analyze the characteristic of costume presents for Lady Han, and to investigate a part of Joseon women's attire in the 15th century. Most of the presents for Lady Han were native products of Joseon to help alleviate her homsickness, but surviving relics are very rare. The costume-related presents included daily accessories and fabrics such as natural ornaments, embroidered pouch, needle case, wig, wooden comb, portable knife with multi-blades, various colored plain silk [綿紬] and ramie. Also, preceding research analysis of costume relic were combined with study of presents for Lady Han's. The most salient costume of Joseon women in the 15th century was the symmetric collared jacket. In addition, ornamented jeogori, pouch with pine nut stitch, chima, jangot, jangsam, black veil[羅兀] made with ra or jeung, glass beads, paintings of Ming and Joseon can be references. Illustrations show 6 representative type of Joseon women's full attires in the 15th century are as follows. First, is a combination of 'symmetric collared jacket with peacock rank badge, jeoksam, chima, underwear' and 'hoa-a, janga-a, embroidered pouch, needle case, knife with multi-blades: presents for Lady Han'. Second, formal wear focusing on symmetric collared Jacket of cloud pattern. Third, formal wear focusing on multicolor ornamented jeogori. Fourth, town wear with jangot and neoul. Fifth, formal wear with jangsam. Sixth, daily wear focusing on banbi with symmetric squre collar. Accessories and underwear shown in another illustration were same as the first illustration. Results of this study can be used as content for making historically accutate costumes as well as costume education.

Due to the paradigm shift in fashion industry, its contribution to social activities and social enterprises' practice of ethical fashion has been on the rise lately. The surveillance and regulations of international community have increased in light of the betterment of working conditions and protection of the rights, and corporate social responsibility has been emphasized through consumers' interest in ethical consumption. In this regard, the fashion social enterprises' responsible and ethical management can both boost the trust in business and value-added. The study aims to propose feasible methods by exploring ways to induce support from central and local governments, which will lead to the activation of future fashion social enterprises and paradigms shift of consumers's perception and value. The sustainability of social enterprises requires management line or policies that consider social, environmental, economic, and political aspects of virtuous cycle, differentiated internally or externally. Fashion social enterprises also need ethic management and social responsibility management that are distinctive from general fashion enterprises. Thus, they will not be sustainable or differentiated unless entrepreneurial faith and role is not clear. Education and continuous promotion including upcycling are critical to build consumer base as they can make consumers spend ethically and recognize social enterprises. In addition, social education and public relations need to take place in order to internalize consumer pattern. The goal of sustainable corporate social activity is to change the awareness and become social investment that returns some profits to the society as members in line with reviewing corporate image. This can lead to establishing the foundation of securing a big comsumer market and winning the trust of the consumer's through corporate social responsibility and investment.