• 한국의류산업학회지
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• 제10권4호
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• pp.526-536
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• 2008

This study is to analyze and examine the relations of lifestyle, fashion behavior, and make-up behavior of post digital generation and to provide the basic data which help to establish and perform the distinctive marketing strategies targeting the post digital generation. Subjects were 1,460 male and female undergraduates who attend colleges or universities in Seoul, Busan, and Daegu. Average, standard deviation, MANOVA, and ANOVA were conducted using SPSS 12.0 statistic program. The results were as follows: The higher points the group got in all the subfactors regarding information seeking pursuit and sensation intention fascination pursuit, the higher points the group had in the subfactors of fashion behavior and make-up behavior. The group with higher fashionenjoyment pursuit appeared to seek after more brand price choice behavior, internet shopping purchasing behavior, fashion information source seeking behavior, and impulse buying behavior in the subfactors of fashion behavior as well as more self-satisfaction appearance orientation and fashion information buying orientation in the subfactors of make-up behavior. With the group in pursuit of more multi activities, not only were brand price choice behavior and fashion information source seeking behavior in the subfactors of fashion behavior sought after more, but self-satisfaction appearance orientation and fashion information buying orientation in the subfactors of make-up behavior were pursued more as well. The more interpersonal relations the group had, the more self-satisfaction appearance orientation and fashion information buying orientation in the subfactors of make-up behavior as well as the more brand price choice behavior, fashion information source seeking behavior, impulse buying behavior, other-regarding behavior and independent buying behavior in the subfactors of fashion behavior the group had.

• 복식
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• 제61권2호
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• pp.47-59
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• 2011

This study provides a systematic investigation about objective personal image consulting, tool development and image-making research by analyzing the status of the Korean image-consulting industry and education. For the research, we carried out literature surveys of books on image consulting and previous research reports. In particular, we surveyed image consulting businesses that have internet web sites, and educational institutes. The results of the survey are as follows: First, domestic image consulting businesses in Korea are investigated about 93 private companies and 4 associations. They do the image making, color consulting, and education for individuals and business. Second, professional image consulting education is carried out not only in the 93 private companies, but also in the continuing and professional studies for adults of 10 universities. Furthermore, more then 90 universities have specific academic programs related to the image consulting such as facial management, beauty coordination, cosmetology, stylists, fashion events, broadcasting stylists, and so on. Third, a typical image consulting job is the personal shoppers who assists VIP customers in department stores. Professionals and politicians have personal fashion stylists for their image making. Today, the job has expanded to public fashion therapist. Fourth, the contents of an image consulting education have appeared in similar industries and educations. These contents include fashion styles, personal color analysis, make-up, facial expressions, gestures, perfumes, accessories, etc. This study is based on research on the current Korean image-consulting industry, and will enable follow-up details to be implemented. using the basis of this study for a strategic self-image formation system.

• 복식
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• 제59권1호
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• pp.14-28
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• 2009

Exoticism, by definition, is 'the charm of the unfamiliar', usually because of associations with a distant country. In the western-centric world, exoticism implies non-western or oriental style. The purpose of this study was to identify Koreans' perception of "Exoticism", and to compare the perception of exotic fashion image according to gender and education differences. Empirical study was composed of two parts focusing on gender and education effects respectively. For the first part, data were collected by self-administered questionnaires distributed to 280 respondents at 2 universities and 2 high schools during August and September 2005. The sample was consisted of 140 male and 140 female. A measurement, including 24 image adjectives to evaluate 16 fashion stimuli, was developed. Data were analyzed by descriptive statistics, correlations, t-test, and MDS. There was no difference in the perception of exotic fashion image according to gender. Both gender groups perceived exotic image as western image and non-exotic image as oriental image. Thus it could be said that Koreans perceive western-based fashion as foreign and exotic. This finding implies the relativity of "Exoticism." In the second part, the measurement and the analysis methods were the same with the first part. The respondents were consisted of 70 fashion majored female students and 70 non-fashion majored female students. There was considerable difference between fashion and non-fashion major groups in their perception of exotic fashion image. Whereas non-fashion major group perceived exotic image as western image and non-exotic image as oriental image, fashion major group perceived exotic image as both western and oriental image. This result suggested that fashion major group have western-centered conception as well as general perception character of Korean.

• 대한가정학회지
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• 제45권1호
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• pp.1-7
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• 2007

This study investigated the concept of fashion as art by examining whether or not university students, rather than professional art critics, consider fashion to be art. The survey subjects were 146 university students, randomly chosen from textiles and clothing-related classes offered in 4 different universities in Seoul. A survey with the following 3 questions was conducted between September 2005 and June 2006: 1. What is art? 2. Is fashion art? 3. Explain the reason why fashion is, or is not, art. Morris Weitz's open concept of art is applied to discuss whether fashion can be classified as art. According to Weitz, there are no universal commonalities among arts. Therefore, art can be defined based on similarities among preexisting art forms and movements. As a result, respondents mentioned the following as characteristics of art: expressiveness, creativity, influence on viewers' emotion, tendency to make life bountiful, particular behaviors or objects, something valuable, formalities, etc. These answers parallel the features of art discussed by professional art critics. In addition, 12 of the 146 respondents considered fashion was not art, 20 placed it on the border while the remaining 114 affirmed a positive relation. Respondents who considered fashion to be art or placed it on the border listed the similar features mentioned in the answers to the first question as similarities between fashion and art. On the other hand, features of fashion such as commercial, whimsical, impermanent and utilitarian properties were answered as dissimilarities between fashion and art. However, these dissimilarities do not serve as obstacles for considering fashion as art, since Weitz's open concept of art does not assume the existence of universal traits of art. Therefore, referring to Weitz's open concept of art, fashion can be considered as art, since reasonable similarities between fashion and art were designated by the majority of respondents.

• 복식
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• 제65권2호
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• pp.125-143
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• 2015

This study is to propose an 'education-training-certificate of qualification' design of fashion accessories production, which can be applied to education in universities and individuals. It is based on the National Competency Standards (NCS), which was developed through the '2013 National Competency Standards Development Project' for the fashion accessories production. FGI (Focus Group Interviews), which is a research methodology, is carried out on target groups of educational experts and specialists in the field of fashion accessories production. Through this, five courses were suggested; first, 'fashion accessories design' course was proposed for the education and training of 'design development' and 'development of raw materials'. Secondly, 'fashion product production' course was proposed for the education and training of 'production of samples'. Thirdly, 'fashion product manufacture and planning' course was proposed for the competency element units: 'calculation of cost', 'determination of mass production model and price', 'planning of the main manufacturing process' and 'ordering of raw materials'. Lastly, 'mass production of fashion products' course and the 'field practice of fashion product manufacture' course were proposed for the competency element units: 'planning for mass production', 'preparation for mass production', 'mass production' and 'inspection of completed products'. In addition, a new certificate of 'technician of fashion accessory production' was proposed in order to test qualified skills for the fashion accessories production. The test is composed of a written examination of short-answer questions, technical drawing and production.

• International Journal of Costume and Fashion
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• 제16권1호
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• pp.1-16
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• 2016

The purpose of this study was to explore fashion design and merchandising students' perception of creativity and the copyright protection of apparel design. A survey with open-ended questions was developed and distributed to a total of 100 fashion major students with specializations in apparel design and merchandising from three different universities located in a northwestern state of the United States. A majority of respondents showed their awareness that copying apparel design is ethically wrong and counterfeiting is legally wrong. They were able to distinguish between copying and interpreting and were aware that incorporating limited elements from inspirations was ethically acceptable. However, many of the students look for design inspiration from secondary sources, such as existing designers' works which they observe over the Internet, magazines, fashion shows, and store shopping, which may pose them to the temptation to copy such ideas. Although fashion copyright protection law has yet to become enacted, a majority of respondents support passage of fashion copyright protection law. The results give support to the needs for addressing the creative problem-solving processes and ethical decision-making jointly within apparel design and merchandising curriculum.

• 한국의류학회지
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• 제30권9_10호
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• pp.1413-1422
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• 2006

Technologies such as television shopping channels and the internet expand consumers' impulse purchasing opportunities. The interest in national differences of consumer behavior was growing and highlighted the importance of understanding the national context of consumer behavior in an increasing globalized marketplace. The purposes of this study were to examine the effects of fashion involvement and hedonic consumption on impulse buying for Korean and American young consumers, and to compare the differences between two groups. A questionnaire was developed from literatures reviewed. Data were obtained from students attending universities in Korea(N=413) and the U.S.(N=290). Using structural equation modeling, the results indicated that the proposed model of this study was appropriate to explain the effects of fashion involvement and hedonic consumption on impulse buying for Korean and American young consumers. The model showed that fashion involvement and hedonic consumption played important roles in triggering impulse buying for two groups. In addition, American consumers were more likely to influence fashion involvement and hedonic consumption on impulse buying than Korean consumers. The results provided some insights into globalized retail marketing theory supporting the national aspects of impulse buying. Future research and managerial implications are addressed.

• 한국의류산업학회지
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• 제12권3호
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• pp.265-271
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• 2010

This study aims at academically organizing fashion coordination methods for interview image-making, which have been attempted through seminars in companies and universities, through empirical studies including previous studies and surveys conducted by groups of experts. The methods of this study include theoretical considerations through literature and empirical considerations such as one-to-one interviews and surveys of groups of experts in the areas of fashion and interview. Through these methods, this study examined elements of image-making characteristics of fashion for an interview, which are required for an interview, by investigating and analyzing interview image-making. As a result of the examination, the characteristics of proper clothes for an interview are as follows; Items of clothes: tailored, tuxedo, Chanel, Eton, blazer jackets, button-down and dress shirts, shirt waist, bow, Gibson blouses, tight, A-line, gored, pleats, flared skirts and straight, boot-cut and ankle pants. Color: achromatic colors including white, gray, black, navy, pink and yellow. Patterns: solid, stripe, and basket check.

• 복식
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• 제57권5호
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• pp.123-139
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• 2007

Since the late 1980's, the number of research papers published in the Journal of the Korean Society of Costume(JKSC) has increased. The JKSC is usually known for its focus on issues relevant to the aesthetics of dress, fashion design, and the history of Western or Oriental dress. The main goal of this paper is to link the academic importance of the fashion marketing field to the expansion of the journal and society. First, we defined the scope of the fashion marketing field, based on a literature review and general practices of other competitive societies and journals. First, we reviewed the curricula of the fashion marketing field from 49 universities in Korea. Next, we examined the research topics and methodology of 271 papers in the fashion marketing field published in JKSC since its first issue in 1977. By comparing the findings from the curricula and research, we drew conclusions for the fashion marketing field of the journal and society. We found that the approximately 80% of the fashion marketing courses provided at the undergraduate level are related to merchandise planning and selling processes from the company perspective. However, in more than 85% of the research papers, consumer characteristics and decision-making processes were the main focus and were used as key variables. These findings imply that more various methodological approaches are required for the research to enrich the theoretical background which, in turn, can support curricular development in fashion marketing field. The fashion marketing field in JKSC and society should make the most of accumulated knowledge in product design, symbolic aspects of fashion, and the qualitative approach in the research topics of the JKSC and society.

• 한국의상디자인학회지
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• 제18권3호
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• pp.245-260
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• 2016

This study explored cases of 3D printing utilization in domestic and overseas fashion industries, and presented utilization strategies for fashion design departments in universities in future by grasping characteristics of newly appearing distribution types through 3D printing. Cases of producing costumes using 3D printing in fashion industry comprised a bikini using the material of Nylon12 that continuum fashion demonstrated, innovative 3D costumes by Iris Van Herpen, Tweed Suit using the material that Chanel manufactured with 3D printing technology, but they were limited to experimental fashion works due to limitations of 3D printer material and printing size. On the other hand, in fashion accessories, with jewelry and shoes at the head of the list, MCM and Kipling also demonstrated bags using this technology, and Elvis Pompilio and Gabriela Ligenza demonstrated 3D printing hat products as well. Except the above, as in glasses and neckties utilizing 3D printing, owing to reduced limitations of time, size and material, 3D printing was found to be utilized in fashion accessories other than costumes. Recently there has been a new consumption and distribution structure coming up focusing on 3D printing technology. That is, in overseas countries, content platforms sharing products modeled by oneself has rapidly appeared, and in our country as well, funnypoly, a 3D content platform appeared in 2015. The appearance of these new types of distribution structures means that the common people can produce design contents, and we believe that it may bring about a change in the traditional way of distribution structure. To walk in step with this change, it is believed that it is necessary for fashion design departments to raise college faculty members who can educate 3D printing, develop curriculum to educate 3D printing, and develop experiential programs connected with middle and high schools.