• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.3_4 s.141
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• pp.403-413
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• 2005

The purpose of this study is to interpret the elegant dressing visualized in modem fashion on the basis of the concept of elegance in dress and its aesthetic characteristics from the holistic viewpoint. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding, considering from the documentary study. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. The aesthetic values of elegance consist of luxury, nobility, refinement, femininity, harmony. To grasp the trends of elegant styles since 1990s, contents analysis of the articles related to elegance in Vogue has been done. As a result, they have been classified into four groups of elegant styles which are Classic, Elaborate Couture, Soft Minimalism, Kitsch Elegance. Classic Elegance and Elaborate Couture Elegance represent traditional ones with conservative viewpoint. Soft Minimalism Elegance is a modem version of elegance. According to postmodernism as a open system, even kitsch has been refined to keep accompany with elegance fur aristocratic taste of high class. As a result of this study, in fashion from the 16th century to the first half of 16th century, elegance has been one of the significant aesthetic categories, resulting from the absolute domination of taste of high society. However in the end of 20th century it seems to start to fade in fashion trends such as mass fashion, youth culture, casual fashion etc. Rather, it can be thought that elegance has been expressed as one of the aesthetic values in dress, by virtue of its value of high class as well as its conservative stability.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.15-28
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• 2010

The purpose of this study was to investigate how gender role attitudes affect clothing involvement and clothing consumption behaviors in young female generation by changing the traditional sex role stereotype. For the research, the survey was conducted for a month from June 15 to July 15, 2009. Data was collected a total of 368 questionnaires from 20's female university students and analyzed 301 questionnaires with SPSS 12.0. The results were as follows. First, the results of factor analysis on gender role attitudes confirmed the multifactorial theory of gender schema: modern masculinity, conservative gender roles, modern feminity based on emotion, gender role openness, and traditional feminity. Second, gender role attitude of female university students was a little conservative but flexible to accommodate masculinity and active in the emotion expression. Third, gender role attitudes had important effects on clothing involvement which was identified into 4 different factors; fashion involvement, clothing interest, performance risk, and social psychological risk. Fourth, gender role attitudes were related with clothing consumption behaviors as like shopping orientation, on-going information search behavior and brand loyalty because of needs for innovation, exhibition and differentiation. Therefore, it was concluded that not only 'androgynous' from modern feminity based on emotion but also 'masculinity' was applied to important fashion marketing strategic tools by statically affecting female consumer's clothing involvement and clothing behaviors.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.118-131
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• 2013

The purpose of this study is to take a look at the fashion frame of Korean women in their twenties and thirties to sort the actual fashion image and the ideal fashion image according to the fashion frame of Korean women in their twenties and thirties, and also to find out the standards and features that divide such a classification. For this study, we used the Q method, which is valued as an effective way to assess subjectivity. This helps to objectively classify the perception the fashion images of and the response to them as well. The analyzed materials were divided into two actual fashion frames and two ideal fashion frames, and classified them into 12 fashion image types in total, that is, six actual fashion images and six ideal fashion images, and we named each type of the fashion images and analyzed the features of each fashion image type through the in-depth Q workshop in which 14 professionals participated. The results of this study are as follows: First, the actual fashion frames of Korean women in their twenties and thirties was largely divided into 'Fashion Gold Girl', the fashion frame of mainstream and 'Indi-idol', the fashion frame of subcultures, and this was further divided into six fashion image types: 'Basic Casual', 'Vintage Performer', 'Easy Chic', 'Ladies' Look', 'City Office Girl' and 'Club Mania'. Second, the ideal fashion frame of Korean women in their twenties and thirties was divided into 'Urban Refinement', the fashion frame of the mainstream and 'Mismatched Style', the fashion frame of subcultures. It was also divided into six fashion image types: Power Fashion', 'Fashion Conservative', 'Semi-culture', 'Fashion Otaku', 'Sweet Darling' and 'Fashion Panic'. Third, The characteristics of the fashion images' colors are recognizable according to the type of fashion images.

• International Journal of Costume and Fashion
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• v.17 no.1
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• pp.29-39
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• 2017

This study seeks to understand the consumer meanings of wearing classic styles. A qualitative research method was adopted, and 16 participants in the United States were interviewed and asked to define a classic fashion or style and why they wear one. Grounded theory was used for the research. The findings revealed three themes: (1) A classic style represents conservatism in style; (2) Style pragmatism refers to the positive attributes of wearing a classic style; and (3) consumers expect to continue to wear that classic style in the future. Those who are fashion-forward also expect to wear classic clothing in the future as they grow older. For people who do not follow fashion, classic is also a safe choice. The implications of these findings are discussed.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.79-94
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• 2016

The purpose of this study is to explore the process of how modern fashion establishes new consumption cultures by analyzing the different types of fashion toys that have appeared in modern fashion, and identifying inherent meanings of the said toys. The range of this study was limited to four collections (New York, London, Milano, Paris) from 2000 to 2015. In addition to these collections, advertisement campaign and cooperative examples as well as examples of fashion toys that appeared in public interest activities and collections were included. The selected materials were classified into different types of fashion toy usage. From the results of analyzing fashion toys appearing in modern fashion, the four following characteristics. After analyzing the use of fashion toys in modern fashion, four characteristics were found. First, fashion toys were found to be a means to maximize the visual effects of the collection stage. Second, fashion toys utilized as a fashion object were key elements in transforming neo-pop into modern fashion, and constructing high fashion. Third, the fact that people's fashion and fashion toys share contemporary fashion means that customers are shared through the integration of diverse media. This leads to creation of new benefits. Fourth, fashion toys are meaningful because the products reflect contemporary culture, and extend the scope of fashion and art, as it can be considered fashion as well as art. In conclusion, fashion toys were meaningful in that high fashion broke from conservative values, and swiftly introduced contemporary culture codes. It derived a point of effective contact to present a new way of consumption and extended the scope of fashion.

• Journal of Fashion Business
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• v.18 no.1
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• pp.132-148
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• 2014

The objective of this research is to provide data for the power dressing of female politicians when analyzing the fashion styling of Margaret Thatcher. The method is based on considering Margaret Thatcher's life and political career, together with the power dressing of politicians from domestic and foreign literature, advanced research and internet. In addition, 133 clothing photos of Margaret Thatcher's costumes are collected from the internet and several web-sites. The fashion styling being displayed from 4 May 1979 to 28 November 1990 are classified with the 1st term, 2nd term, 3rd term depending on the prime minister. We then analyze items, colors, patterns and fashion accessories. And also observe the power dressing through Thatcher's fashion styling. The results of this study are as follows: Margaret Thatcher expresses authority through blue clothes which symbolizes conservatism at conservative parties, black clothes at formal parties, two or three piece of various colors at international conferences. She also has simple and impressive styles emphasizing accessories such as ribbons or pearls necklaces and earrings, brooches, and handbags. Margaret Thatcher fulfills the styling power dressing of a strong and feminine figure by using items symbolizing authority as a powerful woman.

• Journal of the Korean Home Economics Association
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• v.40 no.11
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• pp.157-170
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• 2002

This study is an attempt to establish an aesthetic and fashion sense of the heroine's image and fashion according to the social environment which is related to fashion transformation. Also, this study modem society's need for specific social occupational roles through fashion and clothing in cinema. first, individual people are estimating their social position and ability by his/her fashion style. Modem fashion styles are changing into various, complicated, gorgeous and attractive styles; however, the needs of professional women's clothing styles are fairly conservative. Second, classical, closed, and unobtrusive fashion styles are appearing in modem cinema's clothing depending on professional women's expertise in fashion styles. Third, changes of styles are varied by their colors and clothing design. Colors had not changed very much during the last 30 years; however, in the 1980's, white and grey colors, in the 1990's black and achromatic colors, and in the beginning of this century dark green and brown and also diverse colors have been used. But the brightness is so light and expressed by a quiet and cold style. Furthermore, the inner images are judged by their forms which is determined by how people choose their clothing styles. Consequently, women's clothing styles easily appear as a result of their preconceived ideas formed by their professional knowledge and ability.

• Journal of Fashion Business
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• v.23 no.5
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• pp.1-18
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• 2019

The purpose of this study is to analyze the Muslim fashion that has recently appeared in the global fashion collection to see how the global fashion brand expresses Muslim's traditional costumes so as to provide references in design development to prepare for the larger Muslim fashion market in the future. In order to analyze Muslim fashion, keywords related to Muslims such as "Muslim," "Islamic fashion" and "hijab" were searched on Google, Samsung Design Net and Vogue websites, and a total of 370 fashion photos were selected for the final data, which was judged to reflect Muslim fashion styles after a review by four clothing experts. Muslim fashion styles have the following characteristics: Above all, the use of veils was most noticeable, with many T-shaped loose long tunic dresses. The hijab, which had the highest proportion of veils, was used to produce various images with wide range of materials and colors. Achromatic colors were the most common, but more than three colors were used to create an exotic image. There have also been cases of using direct religious images such as arabesque patterns and mosques and Muslim priests. As a final, Muslim fashion styles were studied follow: first, a unique style using a veil. Second, conservative style with minimal exposure, third, restrained long-and-lose fit style, fourth, exotic style by elaborate pattern. The domestic fashion industry is also expected to generate economic demand if it is designed with reference to such collection trends along with market research on Muslim consumers.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.1
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• pp.82-92
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• 1997

The purpose of this study is to segment an infant's wear market on the base of housewife's fashion life-style for satisfaction of varied needs and high efficiency of marketing activity. This study was used 183 questionnaires (20∼30 generation housewife in Seoul) for statistical analysis. This study was used factor analysis and cluster analysis to group same respondents and frequency analysis, x2_analysis, ANOVA, duncan-test to analyze characteristics of demographics, clothing purchase pattern for each segmented group. The respondents were divided into 4 groups of differnt housewife's fashion life-style matte tons according to the results of analysis. The findings of the research on each groups are summarized as follows: 1) Subdividing market was classified such as a fashion-seeking/shoping-oriented group, personality-seeking group, practical/planning group, traditional conservative group. 2) According to characteristics of demographics in Subdividing market, there were significant difference in their school career, family monthly income, existence of job. 3) According to clothing purchase pattern in Subdividing market, there were significant difference in housewife's fashion life-style. But there were only partly significant difference in characteristics of demographics. In this study, housewife's fashion life-style segmentation in infant's wear market has purpose that marketing managers are given these infornations and various wants of consumers can be satisfied.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.105-114
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• 2021

This study aims to evaluate the differences in visual images due to the variations in the silhouette and jacket type of men's suits. Six samples were used for this study: 3 examples had variations in the silhouette while 2 variations were in the jacket type. They were evaluated using a 7-point rating scale and a survey was conducted among 80 fashion students. The data was analyzed by Factor Analysis, ANOVA, Scheffé Test, and the MCA method. This study's results are as follows: 1) According to Factor Analysis, the components of visual evaluation by the silhouette and the jacket type of men's suit were classified into: attractiveness, masculinity, practicality, and naturalness. Among these factors, attractiveness and masculinity were evaluated to be the most important factors. 2) Men's suits with a single-breasted jacket had a simple and practical images in fitted and boxy silhouettes. Double-breasted jacket suits showed sexy, refined, and chic images in the fitted and slim silhouettes, and expressed an adult, profound, and conservative images in the boxy and fitted silhouettes. 3) The silhouette and the jacket type of men's suit interacted with masculinity and the practicality. Fitted and slim silhouette suits had different images that looked adult, profound, and conservative depending on the jacket type, but the boxy silhouette suit did not show the same effect. 4) According to the MCA on the attractiveness and the naturalness, the jacket type affected the visual image of men's suit more than the silhouette. Double-breasted jacket suits had more sexy, refined, and chic image than the single-breasted jacket suits. Men's suits with a single-breasted jacket had a more comfortable and natural image than those with a double breasted jacket.