• Asia Marketing Journal
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• v.15 no.1
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• pp.57-81
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• 2013

The purpose of this paper is to seek ways to improve the competitiveness of Korea's fashion industry by utilizing the source of competitiveness of Japan's fashion industry, which represents the world's leading countries in terms of fashion, so that Korea can better enter the global fashion market. The study shall first compare the competitiveness of the Japanese and Korean fashion industries by utilizing the generalized double diamond model; second, provide an understanding of what the Japanese fashion industry can offer to Korean fashion industry and companies - that is, understand what the Japanese fashion industry's competitive edge is; and third, study the kind of global competitiveness that Korea's fashion industry must achieve. To adopt a generalized double diamond model to compare the competitiveness of the Korean and Japanese fashion industries, we selected 31 sub-variables to act as determinants of the model. That is, we extracted 31sub-variables by doing research of literature to analyze national competitiveness of the fashion industries. To measure these 31 sub-variables, secondary data was gathered. We collected data related to each sub-variable from various sources of Korea and Japan. And to calculate the competitiveness index, we took three steps with reference to previous studies. We found that status of the fashion industry of the two countries as it stands. That is, Japan is an advanced country of which fashion industry is domestic market-oriented while Korea is a small open economy that mainly focuses on the foreign market. Out of 31 proxy variables, Korea's fashion industry shows higher measurements relating to production and export than Japan, but Japan's fashion industry reports higher measurements than Korea in the fields of R&D, design and brand power, the rate of value added, the efficiency of companies and globalization. In order for Korea's fashion industry to achieve competitiveness in the global market, it should pursue the following development direction. First, it is very difficult for Korea to follow the footsteps of the U.S. and Japanese fashion industries that are able to take advantage of economies of scale, because Korea is smaller than those countries. Therefore, in the case of small economies such as Singapore, strengthening of international activities will practically improve domestic determinants that Korea should improve its domestic diamond by enhancing the current competitiveness of its international diamond. In other words, Korea needs to further endeavor to develop and expand global resources and markets as well as improve its competitiveness in terms of R&D, design and brand power, the rate of value-added, and the efficiency of companies. As the Korean fashion industry shows relatively advanced level of information technology and the fashion education system, it has considerable potential to grow. Korea is expected to have a huge growth potential since it has relatively higher level of information technology, fashion education system and activities than those of Japan in both the domestic diamond and international diamond. In particular, a better environment is laid out before Korea to gain competitiveness in the fashion industry due to the recently growing influence of the Korean Wave that Korea is expected to grow as a leader in the Asian market as well as in the global market.

• Journal of Fashion Business
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• v.16 no.4
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• pp.13-28
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• 2012

The objective of this research is to examine the fashion styles of Choe Seung-Hee (1911-1969), modern woman and dancer of Korea, through her life and activities. From such theoretical and empirical studies, three aesthetic characteristics of South Korea's modern woman Choe Seung-Hee's fashion styles could be deduced. Based on the three deduced styles of modern elegance, futuristic avant-garde and mystical Asian aesthetics, "Pearl of Asia" was selected as the main theme. The result is that the fashion styles of Choe Seung-Hee is not simply that of an individual modern woman and a dancer who lived in the early 20th century but is a meaningful symbol of Korea's modern women.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.581-588
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• 1997

Since 1950 postmodernism shows strong influences in literature, architektuTe, art, clothing and other social and cultural fields. It's main conceptswere individual, pluralistic, unconven- tional and deconstruction of social values. The purpose of thisstudy was to review the influence of postmodernism to German clothing for youth. To achieve this purpose, raga- zinesfor youth ("BKAVO") from 1959 to 1994 surveyed including a number of interviews. The characterizations of postmodernism in fashion are as follows: Sport Clothing has an effect on Oaily Clothing. Exotic phenomenon from south america, africa, asia shows strong in fashion. Subculture(Rocker, Hippie, Punker) is as anti-culture sylnbolically expressed in young fashion which is diffrent from mother-fashion. This appeard in Germany in the 50s, 60san6 70s. However, sub-culture-look in the 80s and 90s is presented only in outer style. It does'nt show any symbolic meanings. "Bricolage" ("mix and match") -concept was appeard in 60s and 70s only in fashion of subculture group. This concept generalized in standard fashion in 80s and 90s.andard fashion in 80s and 90s.

• Journal of the Korean Society of Clothing and Textiles
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• v.2 no.1
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• pp.117-124
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• 1978

The costume, considered as a manner of clothing, represents the distinctive character of a country, of an epoch, of a personage; and always it mirrors the vicissitudes of human civilization. It is interesting to study the costume of ancient Western Asia, its civilization and culture were transmitted to Egypt and Greece. The results obtained are as follows: 1. Loin clothes, tunics, wraps were in Western Asia. 2. Sleeves and Trousers has been the great contribution to costume. 3. The Art of dyeing, weaving, and embroidering were well known. 4. Tassels and Fringes were used in Western Asia. 5. Egypt and Greece were affected by Western Asia.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.15-31
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• 2005

Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.2
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• pp.63-75
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• 2004

The traditional Ukrain costume has been gradually developed and influenced by the climate and political, economical environments. The national costumes has represented the beliefs and understanding of people about the beauty and harmony of the world. Eastern Europe and Northern Asia are considered as the origins of the Korean traditional costume, and the artifacts ranged from over the Black Sea to ‘Skitai’ and Northern Asia to ‘Noinoola’ support this hypothesis. This study is investigate the formative characteristics of Ukrain national costume especially of the nineteenth century and the early twentieth century. In Ukrain, Men wear ‘Rubaha’ (shirts style's upper garment-in Ukrain Sarochka) and trousers, women wear ‘Rubaha’ with vest and a skirt and a head gear were worn. Ukrain is consisted with three group - 1) Dnipro region-included the Kiev region in the center of Ukrain, 2) Polissia region in the northwest of Ukra in and 3) Hutsul-Zakarpattia region in the west of Ukrain. These three groups have there own different formative characteristics of Ukrain traditional costume.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of Fashion Business
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• v.25 no.2
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• pp.63-79
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• 2021

In order to expand the overseas market of the Korean fashion industry, it is necessary to investigate the fashion-related purchases and fashion consciousness of Muslim women, who are increasingly attracting attention as global fashion consumers. Therefore a survey was conducted to identify the fashion design preferences and fashion consciousness of Malaysian Muslim women. A total of 245 responses were collected and analyzed. The survey included questions on demographic characteristics, fashion product purchases, design preferences and environmental awareness. The data were analyzed through frequency, average and standard deviation. The analysis showed that the majority of respondents were young Malaysian Muslim women in their 20s and 30s. They preferred a modern, Sophisticated, and sporty image, and their preference for unpatterned fabrics was high. When choosing fashion products, these women seek to both pursue fashion trends and comply with Islamic laws. When the women buy clothes, they consider practicality and design elements. The women also collected fashion trend information through SNS and the Internet, and ues this information to purchase fashion products through the Internet and shopping malls. This study was based on a practical survey of local consumers. Therefore, it is expected that the results can be used as data for fashion-related studies and to expand overseas markets to reach Muslim women in Southeast Asia.

• East Asian Journal of Business Economics (EAJBE)
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• v.11 no.2
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• pp.29-38
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• 2023

Purpose - The current study aims to learn how fashion consumers now feel about environmental issues. The significance of "green fashion product creation" in resolving environmental issues is explored. It also examines how customers' environmental consciousness has evolved due to the introduction of green fashion products. Research design, data, and methodology - The study methods, procedures, and results of the 16 publications included in this literature review were critically examined. The data sources, analyses, and key findings presented in each publication were compared and contrasted. To better understand how to raise environmental consciousness among customers. Result - The investigation indicates a total of four results why eco-friendly product should be developed to attract potential green consumers. Four solutions are as follows; (1) Encourages Sustainable Consumption Behavior, (2) Increases Consumer Environmental Awareness, (3) Improves Corporate Social Responsibility, and (4) Enhances Competitive Advantage. Conclusion - Promoting sustainability in the fashion sector requires full visibility throughout the supply chain. Companies in the fashion industry would serve their customers better if they were more forthcoming about the resources, methods, and circumstances that went into making their wares. Consumers may accomplish this by including instructions on the packaging or posting them on the business's website.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.183-199
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• 2006

This study aims to estimate the nationality of two envoys by examining their dresses and appearances depicted on the wall painting of Afrasiab's Palace in Samarkand with the concentration on the history of the international exchange between three states and the countries in Central Asia. The international exchange between three states and the countries in Central Asia are examined with the concentration on the literature review. And what are related to the dresses during the period of the three states are examined with the concentration on the literature review and the wall painting of Goguryeo tomb. The followings results were identified. The dresses of envoys were comprised of Jowugwan, the soft hat shaped like a peaked hat, the upper garment reaching a hip line with Jikryeong Gyoim and Tongsu, narrow trousers, black belt with a hook, front-pointed shoes and big sword with a round ring. The items of dressing are very similar to those during the Goguryeo period as observed on the wall paintings and excavated articles from the tombs from the Goguryeo period and literature. The next examination is estimated that Goguryeo had the official relationship with the countries in Central Asia before the invasion of Tang in mid-7 century when the wall painting, in our estimation, was produced, and to this end, Goguryeo sent the envoys to those countries. The envoys on the wall painting were estimated to be from Goguryeo as discussed above.