• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.24-34
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• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• Journal of Fashion Business
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• v.2 no.4
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• pp.93-101
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• 1998

Knit products which had been limited only to underwear, recently became popularized, fashionized and highly classified covering even outer garments such as sportswear like golfwear, woman's dress, and man' s suit. As fashion cycle is getting shorter and the more a nation advanced prefers knit to woven fabrics knit industry has a very bright prospect, particularly woman's knit which is sensitive to fashion can be said as a fashion product with high value added. This study is to grasp the physical properties of stitch which are fundamental to the development of knit products. For this purpose, 2/20s of 100% wool were woven by the author of this study to basic plain stitch, rib stitch, varied transfer stitch, and float stitch on a SEMASEIKI cross knitter 7G to test the physical properties, and the result was as follows; 1. As for the relation between knit stitch and rate of extension recovery, rate of extension recovery was higher in the course direction than in the wale direction of three stitches except transfer stitch; rib stitch showed the highest rate of extension recovery in the course direction while float stitch showed the highest rate of extension recovery in the wale direction. 2. As for the relation between knit stitch and bursting strength elastic rib stitch showed higher bursting strength to indicate elasticity is an important factor of bursting strength and float stitch showed higher bursting strength too to indicate that the floating yarn on the surface plays a role of support. 3. As for the relation between knit stitch and air permeability perforated transfer stitch showed the lowest air permeability to prove that the size of perforation affects on the air permeability a great deal. 4. As for the relation between knit stitch and warmth retaining rib stitch through two lined needle bar showed the highest degree. The reason the warmth of perforated transfer stitch didn't decrease much was because the perforation wasn't big enough and content of air increased from the unevenness of the perforated parts through stitch variation. Based upon this result, each stitch can be characteristically summarized as follows; plain stitch showed a stable condition of knit cloth in four kinds of physical property test. And rib stitch is proper to tighten the edge of sleeve or clothe making use of its excellent extension recovery and to make socks for the highest bursting strength and warmth retaining. In the case of transfer stitch, seasonable designs can be taken by controlling the size of loop. Considering the pleasantness, underwear should be made of stitches with good air permeability float stitch was revealed to have color and pattern effects and a great bursting strength. This study has limitations in the aspect that it dealed with a small part of various knit stitches and the items of physical property test were not enough. The author of this study hopes that further studies would make deeper understandings about knit stitch based on more varied stitches and physical property tests ultimately to contribute to the development of fashionable designs proper to maximize the usage, function and originality.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.892-901
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• 2007

This research is the initial step for establishing a convertible body sizing table applicable to the Korean and American female apparel industry. All 3D female measurement data of the two countries were obtained from Size Korea Project and SizeUSA Project. The sample subjects used in this study were 1,988 Korean and 6,306 American females. Thirty-four(34) variables were chosen as the principal measurements in making garments. The conclusion of this research was as follow: First, it was determined that American women were larger and longer than Korean women in all measurement except shoulder slope measurement. Second, according to the differences analysis of the each age group in Korean Females, all measurements except hip girth had significant differences among the age groups. In case of American females, all measurements except arm length(shoulder to wrist) had significant differences among the age groups. Third, in the comparison of differences between the age groups of the two countries' women, some dimensions varied significantly with age, while others did not show any statistical significance among the age groups. Fourth, according to the t-tests of same age groups between Korean & American female measurements, American female measurements were larger and longer than Korean in all measurements except crotch length total, shoulder slope, hip girth-bust girth and hip girth-waist girth.

• KDI Journal of Economic Policy
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• v.12 no.1
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• pp.69-91
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• 1990

A major change in tariff rates was made in January 1989 in Korea. The benchmark tariff rate, which applies to about two thirds of all commodity items, was lowered to 15 percent from 20 percent. In addition, the variation in tariff rates among different types of commodities was reduced. This paper examines the economic impact of the tariff reform using a multisectoral general equilibrium model of the Korean economy which was introduced by Lee and Chang(1988), and by Lee(1988). More specifically, this paper attempts to find the changes in imports, exports, domestic production, consumption, prices, and employment in 31 different sectors of the economy induced by the reform in tariff rates. The policy simulations are made according to three different methods. First, tariff changes in industries are calculated strictly according to the change in legal tariff rates, which tend to over-estimate the size of the tariff reduction given the tariff-drawback system and tariff exemption applied to various import items. Second, tariff changes in industries are obtained by dividing the estimated tariff revenues of each industry by the estimated imports for that industry, which are often called actual tariff rates. According to the first method, the import-weighted average tariff rate is lowered from 15.2% to 10.2%, while the second method changes the average tariff rate from 6.2% to 4.2%. In the third method, the tariff-drawback system is internalized in the model. This paper reports the results of the policy simulation according to all three methods, comparing them with one another. It is argued that the second method yields the most realistic estimate of the changes in macro-economic variables, while the third method is useful in delineating the differences in impact across industries. The findings, according to the second method, show that the tariff reform induces more imports in most sectors. Garments, leather products, and wood products are those industries in which imports increase by more than 5 percent. On the other hand, imports in agricultural, mining and service sectors are least affected. Domestic production increases in all sectors except the following: leather products, non-metalic products, chemicals, paper and paper products, and wood-product industries. The increase in production and employment is largest in export industries, followed by service industries. An impact on macroeconomic variables is also simulated. The tariff reform increases nominal GNP by 0.26 percent, lowers the consumer price index by 0.49 percent, increases employment by 0.24 percent, and worsens the trade balance by 480 million US dollars, through a rise in exports of 540 million US dollars and a rise in imports of 1.02 billion US dollars.

• Journal of Distribution Science
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• v.9 no.3
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• pp.5-14
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• 2011

One of the new roles of modern retail stores is to supply consumers with a memorable experience. In Korea, enhancing a store's environment so that customers remember a unique shopping experience is recognized as a sound strategy for strengthening the store's competitiveness. Motivated by this incentive, awareness of the experience-store concept is starting to increase in various categories of the retail industry. However, many experience stores, except in a few cases, have yet to derive a significant profit, explaining why Korean consumers are somewhat unfamiliar with, yet fascinated by, the experience stores that now exist in the country. Consumer satisfaction directly, and indirectly, affects a company's future profit and potential financial gain; customer satisfaction also affects loyalty. Therefore, knowing the significant factors that increase satisfaction and loyalty is essential for any company, in any field, to be able to effectively differentiate itself from the competition. Intrigued by increased competition opportunities, most Korean companies have adopted experience-store marketing strategies. When establishing the most effective processes for increasing sales and achieving a sustainable competitive advantage of a new concept, companies should consider certain factors that influence consumers' ability to accept new concepts and ideas. The Technology Acceptance Model (TAM) is a theory that models how people accept new concepts. TAM proposes the following two factors that influence a person's decisions about how, and when, he or she will use a new product: "perceived usefulness" and "perceived ease of use." Much of the existing research has suggested that a person's character also affects the process for accepting new ideas. Such personal character attributes as individual preferences, self-confidence, and a person's values, traits, and/or skills affect the process for willingly consenting to try something new. It will be meaningful to establish how the TAM theory's components, as well as personal character, affect individuals accepting the experience-store concept. To that end, as it pertains to an experience store, the first goal of the study is to examine the influence of innovative factors (perceived usefulness and perceived ease of use) on satisfaction and loyalty. The second objective is to define the moderate effect of consumers' personal characteristics on the model. The proposed model was tested on 149 respondents who were engaged in leisure sports activities and bought sports outdoor garments and equipment. According to the study's findings, the satisfaction and loyalty of an experience store can be explained by perceived usefulness and perceived ease of use, with the study's results demonstrating the stronger of the two factors being "perceived ease of use." The study failed to explain the effects of a person's character on the model. In conclusion, when the companies that operate the experience stores execute their marketing and promotion strategies, they should stress the stores' "ease of use" product components. Additionally, it can be extrapolated from the study data that since the experience-store idea is still relatively unfamiliar to Korean consumers, most customers are not yet able to evaluate, nor take a position regarding, their respective attitudes toward experience stores.

• Asia Marketing Journal
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• v.15 no.1
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.