• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.844-857
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• 2016

The purpose of this study was to figure out the meaning and value of DIY shown in the fashion industry today, to analyze the types and characteristics of DIY applied to the products of domestic and global fashion brands, and to provide implications for brand marketing strategies. This study was based on qualitative research which was media contents analysis and brand case study on fashion DIY. The results were as follows: First, the concept of DIY involved the Semi-DIY way that meant individuals participated in not every step of design and making process but a part of them such as design process. Also, it was means for customization. Second, the value of DIY consisted of individual value, experiential value, enjoyable value, self-actualizaion value, social value, economic value and ethical value. Third, fashion DIY was classified into seven types: DIY choosing and assembling design components of a product, DIY modifying a design with trimming, DIY making a product by using DIY Kits, DIY modifying a design after making a product by using DIY Kits, DIY choosing design components, DIY designing, and DIY all making and designing. DIY could be applied as a key marketing strategy for mass customization to meet the value of individual consumer.

• Journal of Fashion Business
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• v.27 no.2
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• pp.108-123
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• 2023

Recent increase of eco-conscious trends and pleasure from Do It Yourself (DIY) activities have led to a surge in sales of package products bundling together clothing patterns and raw materials. However, a well-structured market system is yet to be established. We surveyed 460 women with sewing as a hobby who had purchased these DIY clothing pattern packages. The survey revealed that majority of respondents had their hobby for over five years. Choosing the right fabric to match clothing patterns presented a common challenge. Most participants owned a sewing machine and an overlocker, with price being the primary concern when purchasing a package. For guidance during the sewing process, participants preferred print materials featuring real-life images. Those with less sewing experience leaned towards video tutorials. Items of interest or those commonly created included blouses, shirts, and dresses. Desire for further learning in sewing and pattern-making was prominent, with a clear preference for online classes. Several strategies are recommended to enhance the appeal of DIY clothing package products, including broadening range of packages that incorporate fabric, offering supplementary educational resources to improve users' skills, implementing affordable pricing structures, supplying comprehensive creation guidelines, and making available design modification guides. These considerations could significantly boost customer satisfaction. This research intends to lay groundwork for understanding DIY clothing creation market, ultimately fostering production of highly desirable products. Insights of this study will prove instrumental in refining product development and devising effective marketing tactics, leading to a more rewarding consumer experience.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.43-56
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• 2019

The purpose of this study is to analyze the phenomenon of 'play' in contemporary fashion creation from an interactive point of view and to analyze cases in the contemporary fashion design creation process. The research method was a combined literature review and a case study. As a result of the research, we have derived the creations of interactive fashion design from the viewpoint can be categorized as 'play as creativity', 'mimesis', and 'deviance'. First, creativity can be seen in DIY products, customized products, and clothing that reflects the consumer's way of wearing. By actively intervening in the products and expressing their creativity in the product, it can be considered as a DIY creation. Second, mimesis in the creation of a fashion design that occurs when consumers imitate the designs of the famous fashion designers. Often similarity and difference are generated, while sometimes objects are newly constructed. Third, deviance means that an item is reborn with a completely different intention from the original shape and function by the intervention of the 'hacker' consumer. For example, the logo and the design of a luxury brand are transformed to satirize its legitimacy. In this paper, we analyzed the cases of fashion design creation as an interactive play and investigated their characteristics and tendencies.

• Journal of Fashion Business
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• v.16 no.1
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• pp.26-40
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• 2012

The purpose of this study is to examine the fashion lifestyle variable of global consumers and to compare among US, Chinese and EU consumers. The data were collected in US(n=749), China(n=702) and EU(n=1083) from 2008 to 2010. For analysis, factor analysis, reliability analysis, K-means cluster analysis and chi-square analysis of SPSS 18.0 are used. The research results are as follow: First, it is shown that significant lifestyle factors of global fashion consumers are "adventure seeking", "fashion-oriented", "conspicuous consumption", "leadership", "brand-oriented", and "DIY". As a result of the cluster analysis of lifestyle types, four cross-national market segments are identified. These segments can be labeled as follows: "conservative fashion-oriented group", "passive consumer group", "neutral consumer group", "active fashion-oriented group". Second, findings also reveal that fashion lifestyle segments had meaningful differences between nationality and by year. Third, the US consumers tended to have conservative fashion-oriented lifestyle in 2008, however global consumers were changed to have active fashion lifestyle in 2010. This research will be useful to global brands in planning marketing strategies by offering specific information for global consumer fashion lifestyle.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.93-104
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• 2008

The purposes of this study are to examine the concept of customized fashion product design as a new industrial paradigm reflecting individual customers' needs in modern society, and to grasp its sociocultural meaning. It is thought that this study will be helpful to investigate the cultural thinking of contemporaries represented through the consumption. For this, the documentary study and practical case study have been executed. As modern fashion business becomes more consumer-oriented due to the industrial paradigm shift, there appeared the prosumer as both consumer and producer. The type of customized fashion product design can be classified as 1) the traditional custom-made design in haute couture and classic tailoring 2) the tailor-made design in the prestige line of ready to wear 3) DIY custom design 4) mass customized design of customer involvement. The traditional custom-made design in haute couture and classic tailoring and the tailor-made design in the prestige line of ready to wear is to provide the distinguished product which has the best quality as well as the excellent beauty for VIP consumer. The DIY custom design is for creative consumer searching for the fun of craftsmanship to take part in producing personally. The mass customized design of customer involvement is to personalize product by selecting design module in mass production. Ultimately the sociocultural meaning of the customized fashion product design can be interpreted as (1)endowing special meaning to personal identity (2)distinguishing the privilege by rarefied authenticity (3)returning to analog sensibility 4)pursuing creative fun 5)thinking in a user-centered way.

• Journal of Fashion Business
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• v.26 no.4
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• pp.32-51
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• 2022

This study analyzed the characteristics and expression techniques of men's fashion bags and their aesthetic and formative values in modern men's fashion from the perspective of neo-deconstructivism. The study subjects were men's fashion bags appearing in four collections in Paris, Milan, London, and New York in the 2019 S/S-2021 S/S season. As a research method, the characteristics and expression techniques of the new disintegration of men's fashion bags were analyzed and categorized through prior research and literature research. The results of the study are as follows: First, the neoclassical characteristics of men's fashion bags caused 'Re-creation' to appear as the dissolution of the design principle and structure of the bag, and it was derived as 'decomposition of form' and 'decomposition of dress method'. Second, the 'Inclusive Diversity' of modern men's fashion bags of neo-deconstructivism appears in the form of gender demarcation and dissonance coordination. Third, 'Playfulness' in men's fashion bags involves the pursuit of fun through unconventional changes in the shape, size, and design of the bag, and it sometimes provides a fresh, new play experience through unpredictable design elements. Fourth, the 'Pursuit of new values' in male's fashion bags was a characteristic wherein the boundary between DIY attire and daily clothes and high fashion by the individual selection of consumers was blurred. This work is meaningful in that it conducted a basic study of men's fashion bags by examining the modern men's fashion bag from the perspective of the philosophical trend of neo-deconstructivism and categorizing its characteristics.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.58-75
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• 2013

Steampunk is a term generally used for one of the S. F. subgenre in literature, arts, fashion styles, and lifestyles. This study clarifies formative characteristics as well as the meanings of steampunk fashion style based on its attributes in movies and animations. Attributes of the steampunk are blending time, blending technology, and introspection against science development. In order to have an objective research, this study researched frequency of the fashion item, color, accessory of the collected fashion image, and after interpreted that consequence. Men's steampunk fashion was composed of men's basic outfit such as shirts, vest, jacket, pants, and coats of the 19th century. Black color took up the largest proportion for color. In accessory, top hat, goggle, and steam-powered weapons, in order, were most commonly used. Women's steampunk fashion was composed of shirts and long one-piece dresses, long skirt simply applied 19th victorian style fashion. Yellow, brown, and black color took up the largest proportion of fashion color. In accessory, top hat, belt trimming, corset, and boots, in order, were most commonly used. It is the characteristics of the steampunk fashion that represents retro-future fashion, as it features steam-powered mechanic esthetics, a kind of DIY subculture and transcending division of nationality, class, and gender.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.689-697
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• 2014

This study aims to analyze the representation forms of bloggers' personal style on the fashion blogs and enlighten their values which can be actively applied to design and marketing in fashion industry. Image representation of fashion bloggers is reflected by the characteristics in the digital environment, which are the creative manipulation of expression and the production of virtual and fantastic images by taking advantage of the composite medium such as images, music, videos, articles, etc. Also real time updates in blog indicate the latest trends in terms of the representation of image as the actual currency. The study conducted case studies of 5 women's personal fashion blogs through the verification of a variety of global fashion media and blog ranking sites: Style Bubble, Style Rookie, The Cherry Blossom Girl, The Blond Salad, and Fashion Toast. Research findings are as follows. First, the application of creative design elements is indicated as symbolic items, self-made designs, DIY, and various mix and match emphasizing design elements such as color, patterns, proportion, etc. Second, the virtual representation is very highlighted on the story telling applied by film like production or digital effect. Third, the commercial application with mainly sponsored wardrobe and designer collaboration indicates promoting a updated trend as well as a specific brand or designer to make their business profits.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.30-44
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• 2020

Bootleg fashion emerged from the fashion industry after 2010, and has been used across a range of different genres. However, it has yet to be theoretically established; therefore, this study will explain bootleg fashion as a new genre, which will help in the planning and designing of products within domestic fashion brands. The purpose of this study was to examine the characteristics and internal meaning of bootleg fashion as a recently emerged fashion phenomenon that borrows from other brands without permission. The research methodology included a theoretical literature review of fashion sites and related materials and empirical research using case analysis. Results of the analysis of both characteristics and internal meaning of bootleg fashion suggest the following characteristics: "unauthorized use of symbolic elements," "disorganization of boundaries between fashion," "multiplicity through globalization," and "newness through deconstruction and recombination." Internal meanings derived from the analysis were "parody through symbol," which is seen as "a parody and homage resulting from the unauthorized use of a brand," while "decomposition through disorganization" is seen as a break-up of the boundaries between different fashions from a mainstream-oriented perspective. A juxtaposition of elements was demonstrated by "playfulness through transformation," which showed that such fashion cannot coexist with positional transposition. Finally, "spread as a cultural phenomenon" was derived through the diffusion through digital media with DIY culture. As such, bootleg fashion has been reborn as an innovative fashion genre, breaking the taboo of the illegitimate from the past and demonstrating new endeavors.

• Fashion & Textile Research Journal
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• v.11 no.4
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• pp.527-536
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• 2009

The purpose of this study is to consider the characteristics of fashion paradigm on contemporary fashion in pursuit of social change towards 'slowness'. As for the research methodology, literature survey has been undertaken. The results of this study can be summarized as followings. First, eco-friendly ethics towards sustainability is in taking action. The concept of 'cradle-to-cradle' is realized through reuse, recycle, organic material, and no use of chemical. Second, local diversity is revolving quality and longevity. Good quality of fashion made by artisans and specificity in local area is to be kept last. Third, people are recast in roles from simple consumers to self-made producers of their clothes. Users of clothes are more active and skilled role in practice of handmade, reform, DIY, and open-source design. In Conclusion, the fashion paradigm of 'slowness' is about designing, producing, consuming and living better to combine ideas for sense of nature's time, culture's time and people's time.