• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.99-110
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• 1999

In order to help the marketers of the men\`s casual wear brands establish the marketing strategies to their target consumers, it is the purpose of this study to investigate on the variables affecting the casual wear purchase behavior of men in twenties, thirties and forties, and to clarify the differences of casual wear purchase behavior according to their age, The subjects were 429 men in their twenties, thirties and forties living in Seoul and data were analyzed by frequency, percentage, mean and standard deviation, x², ANOVA and Duncan\`s test. The results were as follows : (1) Significant differences were found among men in twenties, thirties and forties according to the self-image. Men in forties favored the conservative and not-noticeable image of casual wear, however, men in twenties and thirties favored those of the active, sexy, and distinctive image. (2) Significant differences were found among men in twenties, thirties and forties according to the importance of the store attributes such as convenience of transportation and parking place, clothing in vogue, and various merchandise. Men in thirties and forties put more importance on convenience of transportation and parking place. Men in forties put more importance on various merchandise than men in twenties and thirties. (3) Significant differences were found among men in twenties, thirties and forties according to general purchase behavior of casual wear. * Differences of the use of information according to age Majority of the men consulted the T.V., radio and people in their boundaries * Differences of the clothing purchase frequency according to age Men in twenties buy more clothing than other age groups. Men in twenties buy the clothing every one month and every three months and men in thirties and forties buy the clothing every three months and every six months. * Differences of the shopping day according to age Majority of the men buy the clothing on Saturday and Sunday. However men in twenties buy the clothing more on weekdays than other age groups. * Differences of the shopping place according There were not significant differences among three different age groups and majority of the men found out to utilize the department store. * Differences of the influence of the partners according to age Men in twenties found out to rely on their own decisions but men in thirties and forties found out to depend on their wives(loves). * Differences of the selection standards of casual wear according to age There were not significant differences according to age and adult males found out to select the casual wear by design, quality price in sequence.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.4
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• pp.651-658
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• 2008

Conjoint analysis estimates how much each of the attributes is valued on the basis of the choices consumers make among product concepts that are varied in systematic ways. The purposes of this research were to evaluate the relative importance of each fabric constituent characteristic for the consumer's utility or preference, to compare with the relative importance between the trained and the untrained panelists, and to identify the combinations of the constituent characteristic of knit fabric which offer consumers greater utility. Conjoint analysis was conducted using data taken from 54 trained and 54 untrained panelists, who rated preference for 12 different knit fabrics. The stitch length had a greater effect on knit fabric preference than the mixture ratio of fiber. There was no difference on effect of knit constituent characteristics for preference between the trained and the untrained panelists. Total, trained and untrained group preferred a knit fabric that had a higher acrylic mixture ratio and a short stitch length.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.10
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• pp.1629-1639
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• 2008

The purpose of this study is to research the similarity and difference of color application in the culture of Korea and Japan. The subject of this research is the costume color of Changgeuk and Kabuki. This survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone, and 3D color analysis by extracted color data. And representative color according to Obangsaek is proposed. The results of this study are as follows: 1. High chroma red in Kabuki costume is more used as symbolic color(passion and luxurious) in order to show character's personality than that in Changguek costume. 2. Low chroma YR color(no-dyeing color) in Changgeuk costume much more used because of Korean white robe preference and eco-friendly thinking. But high chroma yellow is restrictive color for symbolic color of emperor in Korea and Japan. 3. Blue is most frequently used in both costumes because blue is encouraging color by the theory of exponents of the five elements doctrine. 4. White in Korean Changguek costume is more used for white robe preference thinking, but black in Kabuki costume is much more used for symbol of power in Japan. The similarity of Korean and Japanese cultural color is to use much Obangsaek, less Ogansaek by the theory of exponents of the five elements doctrine, but the difference of Korean and Japanese cultural color is to use color differently according to preference thinking system.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.4
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• pp.584-598
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• 2018

This study classified respondents by consumption value and analyzed differences in the purchase behavior of men's suits among consumption value groups. Frequency analysis, factor analysis, cluster analysis, and analysis of variance were conducted in order to analyze research problems. Factor analysis results showed that male consumption values included safety-oriented value, individuality-oriented value, others-oriented value, pleasure-oriented value, aesthetic-oriented value, low price-oriented value, community-oriented value, utility-oriented value, innovation-oriented value, and self-expression oriented value. The study divided respondents into personal satisfaction pursuit group, beauty & functionality pursuit group, individuality pursuit group, and others-oriented & low cost preference group according to consumption value. There were significant differences in selection criteria for men's suit (product image, physical properties of product, and brand name), selection reasons of brand (fashion & ostentation, individuality, and refinement), store attributes (store environment/salesperson service, reputation/additional service, and product assortment/shopping convenience).

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.61-77
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• 2013

The purpose of this study is to analyze the concept and characteristics of parody, and consider how parody was reflected in Thom Browne's collection centering on the expressive method. Thus, this study will attempt to shed new light on the creative possibility and artistic value of parody in men's fashion design. The methods are as follows. The ideas, characteristics and expressive methods that represent parody was considered by referencing various related books, papers, art critiques, etc. Based on this theoretical study, a case of Thom Browne's collection (Thom Browne menswear: 2004 S/S-2012 F/W) was observed to find types of parody, attributes and significance. Photo material was collected through websites such as www.thombrowne.com, www.style.com, etc. The type and characteristics of parody expressed in Thom Browne's collection was considered in the following aspects: imitative parody, critical parody and pastiche parody. Through such consideration, it was possible to realize the fashion designs that adapt Thom Browne's parody are very deliberate and calculative. The designs convey exaggeration, destruction of form, emphasis on discontinuity, transition into attraction, aesthetics of unfamiliarity, characteristic aspects of irrationality and contradiction. Through the study, it was possible to see Thom Browne's collection with parody adaptation shaping new creativity and broadening formative aspects in fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.6
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.120-131
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• 2009

The purpose of this study was to suggest the repositioning strategy for Korean character/career women's wear brands by comparing them with masstige brands. The subjects were 240 Women in their twenties and early forties in Seoul and the metropolitan area. The data had been collected by self-administered questionnaire and analyzed by frequency and biplot. The results of the study were as follows: (1) The brand preference was 'Time'(33.3%), 'Michaa'(12.5%), and then 'Mine'(8.8%) in sequence; (2) For brand differentiation, the attributes of 'store image', 'comfortableness', 'brand reputation', and 'promotion' were found out to be important in sequence; (3) The national character/career brands were favored by theirs 'store image', 'quality', and 'design', while imported masstige brands were favored by theirs 'comfortableness', 'brand reputation', 'promotion', and 'perceived price'; (4) Among brands, 'Time' had been highly evaluated, but comparatively showed weakness on 'perceived price', 'comfortableness', and 'promotion'.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.8
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• pp.1099-1110
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• 1998

The perceived quality is a concept considered from the consumer's perspective. So it is differ from the objective determination of product quality. Thus the consumer perception of quality is a subjective judgement of an individual and an overall feeling on the characteristics which includes the product's reliability, performance and so on. In terms of product perception, consumers utilize the product cues in evaluating the product's quality before the purchase and the cues reflecting the quality can be classifisied into intrinsic and extrinsic ones. When the quality perception is limited to the purchase situation, purchase decision dependent on surrogate indicators such as price, are inclined to increase due to the lack of information. Therefore in this study the perceived quality of apparel is controled to the purchase situation in order to examine the consumer's reaction to the price cues and for the convenience of the exploratory investigation. As a result of the empirical study, consumers show differences in quality and value perceptions to the product with the same price depending on the perception whether the price is high or low. The apparel quality evaluation process goes through the steps of "product attributes - perceived quality - perceived value - purchase intention".

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.3
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• pp.566-573
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• 2016

Sustainability in fashion cannot ignore fashion attributes required for the design of rapidly changing and innovative products. This study examines "Re-Birth Design" development and provides a means to apply academic and industry perspectives to the investigation of Re-Birth fashion product development. This study defines "Re-Birth Design" as stock that has been designed and launched through distribution channels, subsequently returned unused, then improved and reborn into a new product for redistribution. This study analyzed specific cases. We selected 100 designs for Re-Birth from 11 brands of "K" fashion company in Korea, to be successfully sold in 2014. These cases are used in the analysis and are categorized into design types. As a result of the analysis, "Re-Birth Design" had five levels: Level 1. Changes in supplementary materials such as adding or removing decoration, Level 2. Changes in patterns or materials (changes within the product), Level 3. Partial changes in design (leading to a new design), Level 4. Complete deconstruction and rebirth of the design, and Level 5. Complete deconstruction followed by the use of the design source for a new product that is not a garment. This study analyzed products owned by brands, as well as successful cases of Re-Birth designs that reused existing resources, reduced energy consumption, and increased environmental and economic efficiency by recreating new products that could be resold.