• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.7
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• pp.1137-1148
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• 2008

The purposes of this study were to investigate the differences in clothing consumption behaviors among female consumer groups in their twenties and to understand the type of consumer group pursuing fast fashion. Questionnaire survey was conducted to 230 female consumers residing in Seoul and Kyung Gi area from June 18 to 29 in 2007, and 178 were used for data analysis. Data analysis were conducted with SPSS 12 program on the reliability test, factor analysis, cluster analysis, correlation analysis, ANOVA, Duncan's multiple range test. Factors analyses were employed for the attitude toward fashion and shopping, and shopping motives. Four factors were formulated for the attitude toward fashion: interest in fashion, fashion-orientation, fashion leadership and fashion conformity. Six factors for the attitude toward shopping were found: information searching, shopping enjoyment, store patronage, impulse buying, brand-orientation and convenience. Buying motives for fashion goods were classified into 3 factors: for matching & occasion, to-be-in-fashion and for necessity. Four clusters were identified based on the attitude toward fashion: the fashion-interested, the fashion-indifferent, fashion leaders and the individuality-oriented. Among the groups, significant differences were found in information searching, shopping enjoyment and store patronage. Fashion leaders tended to spend more for expensive and up-to-dated fashion items, and for higher quantity than other groups. Consequently fashion leaders showed attractive customer characteristics for the fast fashion companies.

• Journal of Korean Home Economics Education Association
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• v.33 no.3
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• pp.173-187
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• 2021

The purpose of this research was to develop instructions for making upcycled clothing accessories related to the 'clothing management and recycling' unit of middle school home economics applying the design thinking technique. Teaching and learning process plans were developed according to the ADDIE model which includes the following process: analysis, design, development, implementation, and evaluation. The design thinking process includes understanding the related knowledge, sympathizing, problem identification(sharing perspectives) and idea development, making prototypes, testing, and making the actual product. Thirteen home economics teachers served as critics. Student feedbacks were collected to evaluate whether the course objectives were attained after the implementation. As a result, teaching and learning process plans, course materials, and evaluation rubrics for ten class sessions were developed. Student feedbacks confirmed the attainment of following five course objectives: improvement of ethical responsibilities through the exploration of various clothing recycling techniques, practice of creative and eco-friendly clothing culture, acquisition of the skills to use sewing tools safely, improvement of abilities to think, sympathize, and communicate, and exploration of aesthetic activities and fashion careers.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.315-326
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• 2017

The purpose of this study is to investigate the design methods and characteristics of papercraft fashion from 2001 to 2015. The study has been conducted through theoretical research and case study. Overall, types of papercraft expressions are classified into the following four categories: narrative papercraft fashion, organic papercraft fashion, variable papercraft fashion, and recycling papercraft fashion. The characteristics and aspects of each type of papercraft is described below. First, narrative papercraft fashion expresses as factual description of the natural environment. These works convey fantastic image by showing fairy tale animals or plants using paper folding or cutting. Second, organic papercraft fashion creates a futuristic shape by expressing organic parts in nature. Also, it often depicts future-oriented images by repeatedly representing organic shapes using uniform patterns in nature. Third, variable papercraft fashion expresses a variety of changing shapes through a flexible design based on the style of wearing. This variation may be accomplished through changeable dress connected to human gestures. Variable papercraft represents play-fulness, which conveys enjoyment to the wearer and the audience. Fourth, recycling papercraft fashion uses paper materials of the past, and recreates them into artworks through handicraft techniques. Recycling papercraft conveys high value added fashion by dissolving the material into pulp.