The purpose of this study was to identify the differences in shopping orientation and clothing benefit sought of a group of consumers according to the preference for fast-fashion. Data were collected from a questionnaire conducted on 416 female adults. The results were as follows. First. the factor analysis used to identify shopping orientation involved the following five factors: hedonic. economic. convenient. brand-oriented. and relation-oriented. The dimensions of the clothing benefit sought consisted of fashion. social status. practicality. figure flaw compensation. and sex appeal. Second. the differences in shopping orientation and clothing benefit sought according to the preference for fast-fashion were identified using a t-test. The consumer group preferring fast-fashion exhibited a hedonic. convenient shopping orientation. and the non-preferring group exhibited an economic. brand-oriented shopping orientation. The consumer group preferring fast-fashion pursued fashion and sex appeal clothing benefits. and the non-preferring group pursued social status and practicality clothing benefits.

The purpose of this study is to develop highly valued fashion cultural items using Korean face and human images to enhance global competition. The methods of this study include: historical study on the face/human images which appear on the dress; design by stage according to Lamb & Kallal's apparel design process; development of products using digital textile printing technology; and case study by objective evaluation through Grant's alpha-beta model. The procedure and the results of this study are as follows: First, in the problem identification stage, the need to develop fashion cultural products of Korean face/human images which are symbolic, aesthetic, and functional was recognized in order to enhance global competition. Second, in the preliminary idea stage, the fashion cultural products and the components that meet the above 3 standards for design were determined and first design was drawn up. The source of the design was extrapolated from face/human images, which appeared on the murals of the ancient Korea, the portraits and custom paintings from the Chosun Dynasty. From these images, a total of 7 design series of T-shirts with an "ULGUL" logo, scarves, and artwalls were developed using "obangsaek" which are five Korean traditional colors including red, blue, black. white, and yellow on cottons and silks. Third, in the design refinement stage, based on the preference survey, more varying design methods were used to develop 25 new designs. Fourth, in prototype development stage, based on the preference survey conducted on fashion professionals and general public from the previous stage, which showed preference for T-shirts and scarves, 3 designs on T-shirts and 2 designs on scarves were printed and produced using the DTP (Digital Textile Printing). Fifth, in the evaluation stage, Grant's alpha-beta model was used to perform comparative evaluation on the symbolic, aesthetic, and functional criteria of the new designs over the existing ones. The new designs received excellent results in all three criteria and a special recognition was given to symbolism of the new designs.

In present modern society, media contributes more to the constructing of personal identities than any other medium. Music video, a postmodernism branch among a variety of media, offers a complex experience of sounds combined with visual images. In particular. fashion in music video helps conveying contexts effectively and functions as a medium of immediate communication by visual effect. Considering the socio-cultural effects of music video. gender identity represented in fashion in it can be of great importance. Therefore, this study is geared to the reconsidering of gender identity represented through costumes in music video by analyzing fashions in it. Gender identity in socio-cultural category is classified as masculinity, femininity, and the third sex. By examining fashions based on the classification. this study will help to create new design concepts and to understand gender identity in fashion. The results of this study are as follows: First. masculinity in music video fashion was categorized into stereotyped masculinity, sexual masculinity. and metro sexual masculinity. Second, femininity in music video fashion was categorized into stereotyped femininity. sexual femininity, and contra sexual femininity. Third, the third sex in music video fashion was categorized into transvestism, masculinization of female, and feminization of male. This phenomenon is presented into music videos through females in male attire and males in female attire. Through this research, gender identity represented in fashion of music video was demonstrated, and the importance of the relationship between representation of identity through fashion and socio-cultural environment was reconfirmed.

In the history of fashion, the category of knitted items was traditionally associated with ordinary clothing products like undergarments and socks. However, in a mere century Chanel has changed that idea by bringing into fashion consciousness items such as sports sweaters, jerseys, and suits, and so it has been necessary to upgrade this notion. As the needs of the times and new inventions have an inseparable relationship, knit fashion was also born with a close relationship with the zeitgeist of the time - the feminine movement, the rise of sports fashion and the world war - adapting itself up to the present time through continuous changes. Most brands are elevating knit from a mere decoration into a collection piece in a large number of collections every year. The number of brands that cannot exist without knit is increasing, such as Sonia Rykiel, Missoni, and so on. This essay is written with the purpose to study the birth, growth and future potential of knit items. The first stage concentrates on the age of knit's appearance (1910s-1930s). Contingent upon the collection of further data, this essay will be continued through the second stage (the 1960s - 1970s) and the third stage (after the 1980s).

China became the largest costume industry and export country since 1994. The fashion market in China has been changed from seller's market to buyer's market. During this period, brand has taken an important part. The fashion industry in China is developing on outlook, function, materials and categories. I want to do this brief research on the ten years of China Fashion Week to review the development of China Fashion Week, which is the symbol of China fashion industry. I hope it can be reference for being comprehended by Chinese and other foreign countries. In 1997, China Fashion Week was called Fashion Design exhibition. The title was modified to be China Fashion Week in 2000. In 2003. the title was developed to China Fashion Week (Spring/Summer Collection) and China Fashion Week (Autumn/Winter Collection). In the past ten years, there have been 300 fashion collections, with 600 fashion designers who joined in the competitions, and thousands of models, reporters and photographers, who took part in China Fashion Week. Recently 200 login fashion brands, 300 fashion designers, more than 500 reporters and 50 model management companies have made a relationship with China Fashion Week. The first moment of China Fashion Week- "famous designer project": paying attention to the relationship between the level of fashion designers and the style of brands. Quite a good deal of fashion design became more practical. The second moment of China Fashion Week- "improving Chinese fashion brands ": fashion show was not a kind of stage art but the business dealing for brand during that period. The situation of China Fashion Week now: Chinese Haute Couture is showed wonderfully during China Fashion Week. Fashion contest became the character of China Fashion Week. The contests were for adult fashion designers, new designers, models, and photographers. According to the development between different countries on fashion, the international communication of China Fashion Week became more and more popular and wide. Fashion designers from France, Italy, New York, Korea and Japan had fashion shows in China Fashion Week. The Chinese top fashion designers were showing their work during Paris, Milan and New York fashion shows.

These days there are plenty of studies that predict a future with rapid technological development. The development of new technology also has greatly changed the fashion industry. Materials were developed with a variety of techniques, and recently as the exterior and property of materials have been brought into focus, regarding images as a trend of fashion. The purpose of this study is to consider the kinds and characteristics of diverse future materials developed by high technological advancement and to present a new course for future materials by analyzing the formative characteristics of future fashion with future materials. The methods of this work are an examination by reference to theoretical study about the conceptions of futurism in fashion and a visual analysis of the materials in picture data. Another topic of study was the positive source of future fashion that actually applies to these materials. The study makes an analysis of future characteristics expressed in modern fashion, looking at the background and developmental course of futurism. It considers the conception, types and characteristics of diverse new flexible materials such as metal, non-woven fabric, Styrofoam, rubber, glass fiber and polished fiber. With all of these works, we would like to express the course for the development of coming future fashion and the potential of an appropriate union between sensitivity and science.