• Journal of Fashion Business
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• v.24 no.2
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• pp.1-16
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• 2020

Hijab as a symbol of women's oppression due to the opening and reform of Islamic State group, is becoming more diverse as younger generation begins to dress more freely than ever before, spreading the perception that it is a fashion item. In response, this research conducted a theoretical review about the history of hijab, various forms of hijab, and characteristics of hijab using relevant literature, media reports, and fashion media articles. As an empirical study, image-oriented photo data shared by Tehran Street Fashion from 2015 to November 2019 were analyzed separately by fashion majors into color, pattern, and hijab-making forms. According to the analysis, six different fashion images were categorized as romantic feminine, modern chic, natural elegant, classic formal, sporty casual and gorgeous ethnic. For Muslim women in the past, hijab was worn as a repressive and closed sense by the religious system. However, in modern times, it is a way to express one's style and ideas as a fashion item. It is also and a means to express one's thoughts and beliefs. Through aesthetic consideration of Hijab as a fashion item, it was found that it was a medium for freedom of expression and a medium for beauty and individuality.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.4
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• pp.538-548
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• 2000

A study analyzes the eclectic trend shown in Andy Warhol look to explain the pluralistic aspect which is expressed in the late 20th century's fashion. Eclecticism is a trial to dismantle the barriers between pure art and popular art, high culture and low culture. This pursues harmonious accommodation and coexistence of all areas without being confined in the conventional lofty taste or high art. This thesis studies the characteristic aspects of the eclectic trend by classifying this trend into sell culture, mass media and fashion around the Andy Warhol look. The sexual eclectic trend in Warhol look is bisexual one shown in clubland and the world of modeling and supplies fashion with abundant expression and ambiguity. Warhol established cultural eclecticism by compounding high cultural factors and low cultural factors. broke up the boundary between street fashion and high fashion and escaped from the fixed idea on materials and design. Also he generalized and democratized specialty or nobility conventional paintings had possessed through introducing repetition and mediocrity and fully utilized every kind of mass media, Hollywood movie stars and daily necessaries in producing works. Andy Warhol who asserted‘Business Art’that was the mixed form of artistry and commercialism had creative and futuristic taste and proposed the direction to develop current fashion and art where the concept of economy is importantly brought into relief.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.2
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• pp.295-309
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• 2020

In 2019, Japan announced trade regulations against Korean products; consequently, the sales of Japanese products in Korea dropped due to a Korean consumers' boycott. This study measured the Korean consumers' political consumption behavior toward Japanese fashion products. Unstructured text data from online media sources and consumer posted sources such as blog and SNS were collected. Text mining techniques and semantic network analysis were used to process unstructured data. This study used text mining techniques and semantic network analysis to process data. The results identified boycotting Japanese fashion products and buycotting alternative products and Korean brands due to consumers' political consumption. Two brand cases were investigated in detail. Online text data before and after the political action were compared and significant changes in consumption as well as emotional expressions were identified. Product related industry sectors were identified in terms of the political consumption of fashion: liquor, automobile and tourism industry sectors were closely linked to the fashion sector in terms of boycotting. More "boycott" and "buycott" fashion brands (reflected in consumer attitudes and feelings) were detected in consumer driven texts than in media driven sources.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.11
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• pp.1444-1453
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• 2005

In this study, I tried to analyze the characteristics of modem punk fashion by applying characteristics of modem cultural phenomena. The method of this study is the qualitative study: I analyzed collections from 1996 to 2003 by suggesting an analysis frame based on bibliological studies and applying internet photo materials to the analysis frame. As a result, modem punk fashion has the following characteristics. First, it tends to promote things that are entirely different from the previous expression methods by using the overlapping of texts combined with things that are heterogeneous. Second, the scope of its decoration has been expanded with the aid of the expression method, in which the objects that had not been used as decoration previously have been transformed into media. Third, the appearance of non-mainstream group who has suggested the anti-mainstream thought that violates the uniformed beauty of punk group has expanded the scope of classes that accept the punk fashion. Lastly, clothes, wigs and accessories have been commercialized through the permanent modification that used to signify resistance and disgust such as the expression methods of image replicas using tattoo, piercing, and transformation of hair. In doing so, punk fashion has been generalized and popularized. Such modem punk fashion reflects the change of society such as social transformation that is occupied by images thanks to its complexity and pluralism and the development of public media.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.43-57
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• 2013

The purpose of this research is to systemize the fashion digital storytelling by analyzing the communication method and its elements, and extracting the characteristics and processes of digital storytelling. Based on the previous study on the characteristics and types of storytelling the following things have been researched: 1) the process of digital storytelling in the communication process, 2) the concept and the feature of the academia of digital storytelling 3) storytelling in the document research. On the groundwork of the document research, we were able to sort out the various types, and formed a system of the features in the fashion digital storytelling cases, mainly in the four collections (Milan, Paris, London, New York) from 2000's to recent years of 2010. The types of fashion digital storytelling are episode type, narrative type, and creative type. The characteristics of each of the types are as follows. Firstly, the episode type communicates through the digital media based on the information or fact of the fashion designer brand. Secondly, narrative type communicates with the consumers using previous literature or an existing idea of the original cultural form that is rearranged in digital story expressed by the digital media. Lastly, creative type makes the designer's and consumer's susceptibility and creativity communicate through the newly made story, which expresses the unique originality of the designer. It seems that the cases and studies of using the fashion digital storytelling will increase because of its short history and lack of the case study. Fashion designer brands will show their brand image using the digital storytelling because they are able to better express originality, creativity and imagination of the fashion designer, which were factors that could not be conveyed through fashion alone.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.994-1014
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• 2018

The objective of this study was to evaluate the characteristics of the fashion narrative from the commercial and artistic viewpoints by identifying and evaluating the attributes of the fashion narrative and analyzing the fashion narrative focusing on various cases according to fashion media. Louis Vuitton, a brand of the Louis Vuitton $Mo{\ddot{e}}t$ Hennessy (LVMH) group that operates the entire fashion community platform, is recognized as an influential luxury company with enormous capital and capabilities. This study targeted Louis Vuitton to examine the fashion narrative. The common results of Louis Vuitton's fashion narrative according to the communication platform are as follows. First, it emphasizes well-designed craftsmanship and artistry to convey the value and meaning of the brand. Second, it expresses the lifestyle of the bourgeoisie using traveling for finding life purpose, nature, and freedom as common denominators. Louis Vuitton connects, shares, and engages with customers by crossing the communication platform and trying multi-sensory changes based on the fashion narrative of the 'artification' message encompassing craftsmanship, innovation, and travel. The fashion narrative of Louis Vuitton applies tools (e.g., design, direction, stage, and props) differently according to the nature of media. In other words, the fashion narrative in the form of transmedia storytelling is a marketing communication strategy that indicates the representation means and direction of a brand's goals by remediating the brand narrative in various ways through the communication platform.

• Journal of the Korean Home Economics Association
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• v.43 no.6 s.208
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• pp.37-46
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• 2005

Advertising is the most powerful marketing communication tool. Fashion magazines are a popular media for fashion advertising because of their multi-color visual printing. In this study, the interest in and attitude toward fashion advertising were investigated with high school girls in Seoul, along with their interrelation with buying experience and post-purchase satisfaction. The consciousness of the endorser and the fashion of celebrities both increased with rising interest in fashion advertisement. However, the brand orientation showed no relationship with the interest in fashion advertisement. The interest in fashion advertisement was useful to explain buying experience with limited variance. The correlation between brand orientation and buying experience increased with rising interest in fashion advertisement, indicating that those with little interest in fashion advertisement showed strong dependence on brand loyalty. Those with more interest in fashion advertisement counted distinctive aspects of fashion advertisement more seriously. Affective aspects of fashion advertisement showed a correlation with buying experience and post-purchase satisfaction.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.68-68
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• 2003

Recently, street fashion has been regularly introduced in many fashion media because both consumers and marketers began to recognize the importance of street fashion as a meaningful and objective fashion information source. As the globalization proceeds in fashion field,' the street fashion informations in major cities which has led world fashion trends become more influential on domestic fashion, but little concern has been paid on it. This study classified women's street fashion in 4 major world fashion cities such as Paris, London, New York, Tokyo and identified style characteristics of each group. For data collection, 795 front-view photos were selected from the two fashion trade publication 'STREET' and 'VIEW' which has introduced street fashion photos in those cities from 1996. Classification process went on three stages: sorting, naming and grouping. 49 undergraduate students were divided into 12 teams and about 80 photos were given to each team to sort into several sub-groups by overall images or common style characteristics. Then each sub-group was named according to common images or characteristics. Final groups came out after grouping each sub-group with a similar or same title together. For each group, common style characteristics were analyzed.

• International Journal of Contents
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• v.17 no.4
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• pp.101-118
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• 2021

The prevalence of We-Media short videos has attracted emerging independent fashion designers (EIFD), a new force in the fashion industry directing their brand promotion to We-Media for amassing online followers. However, compared to famous content generators, EIFDs' creative, design-based visual appeal has not provided them with the significant edge. The former's success is admittedly supported by the platform backstage algorithm. Yet, the content is the cornerstone for building relationship between the sender and the reception. The authentic perception of the content is one of the basic appeals for which the audience chooses to follow the source. Therefore, with the EIFD short video as the research content, this study is established from the audience's perspective to understand the different dimensions of their authentic perceptions of EIFDs short video. The study was conducted mainly in the form of the Q method. The collection of 52 Q samples were realized through the Focus Group Interview and literature review on multidimensional authenticity. Thirty-six subjects participated in the sorting of the Q-sets. Finally, four dimensions of audience authenticity perceptions of EIFDs were derived: 'ingenuity', 'relevant', 'transparent', and 'experiential'. The corresponding short video content design strategies are suggested for effective communication of EIFDs and their personal brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.5
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• pp.822-838
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• 2023

Reselling, an activity of purchasing high-scarcity products and selling them back at high prices, has gained popularity among those in their 20s and 30s in recent years. This study examines the resell activity process of the MZ generation using the online second-hand platform and its inherent meaning. Interviews with 15 participants in their 20s and 30s showed that respondents have four purchase stages: being influenced by social media, collecting and comparing information using various social media, purchasing efforts, and post-purchase behavior. The research derived three inherent meanings of resell activities: (1) means of self-presentation and differentiation, (2) confirmation of investment skills and aptitude to lead fashion trends, and (3) pleasure of consumption. Respondents indicated meeting self-satisfaction through public selfies on social media. In addition, they emphasized the empirical pleasure during the buying journey by collecting product information, comparing prices, and negotiating with buyers. Our findings confirm the spread of resell activities from minority groups to enthusiastic youth. This study is significant for focusing on fashion products that attract attention in the resell market and examining the respondents' consumption experiences from various perspectives.