• Journal of Global Scholars of Marketing Science
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• v.16 no.3
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• pp.39-60
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• 2006

The purpose of this study is to investigate the effect of two different characteristics of music(tempo) and advertising photograph(type) in a fashion store on consumers' emotional responses and approach behavior and to suggest competitive in-store atmospheric strategies. To test the conceptual model, this study used a video simulation method. Researchers selected a fashion casual wear retail store for young people and videotaped to provide realistic store settings. Two different levels of background music(fast, slow) and advertising photograph(sexy, cheerful) were inserted into the video clip generating four stimuli. Including a stimulus for the control group, 5 video clips were created. A total of 289 subjects answered the questionnaire after viewing a two-minute video clips. The results are as follows: First, advertising photograph in a store had a significant effect on consumers' in-store emotional state, whereas musical tempo did not. Second, the effect of in-store consumers' emotional state on behavioral reponses were investigated. Results showed that consumers' positive emotional state lead to consumers' approach behavior. The results of this study indicated that background music and advertising photograph in a fashion store affected consumers' in-store emotional state, and ultimately these affected consumers' positive approach behavior. Thus retailer should try to create a pleasant store environment using effective store atmospheric factors like background music and advertising photograph.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.1
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• pp.73-84
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• 2020

Recently, there has been a change in consumer culture. The paradigm is changing from a consumption model that used to emphasize rationality to an ethical consumption model that focuses on sustainability. Such a change in consumption patterns has also been seen in the cosmetics industry, but studies to empirically assess this trend are incomplete. Therefore, the purpose of this study is to empirically identify the impact of ethical consumption proprieties on attitudes and purchasing intentions for ethical cosmetics. To achieve the aim of this study, 506 adult women residing in Korea were selected as subjects and surveyed. To identify the demographic characteristics of the study participants, a technical statistical analysis and frequency analysis were conducted. To check the validity and reliability of the measuring tools, an exploratory factor analysis was performed, and the Cronbach's α factor was calculated. The analysis method was analyzed using the SPSS 25.0 and the Amos 25.0 statistical analysis programs. The results of this study are as follows. First, ethical spending tendencies had a positive impact on attitudes toward ethical cosmetics. Specifically, interest in ethical issues, altruism, and business ethics perception have had a positive impact on attitudes toward ethical cosmetics. However, consumer effectiveness had no significant impact on attitudes toward ethical cosmetics. Second, attitudes toward ethical cosmetics had a positive effect on purchasing intentions. This study found that for the spread of ethical cosmetics and ethical consumption trends varied according to the age and that attitudes toward ethical cosmetics and differences in purchasing intentions should be kept in mind. It also showed that attitudes toward ethical cosmetics affect purchasing intentions. The results of this study suggested that the analysis of adult women, the main consumers of cosmetics, by age was meaningful for finding the factors for growth in the macroscopic ethical cosmetics industry and that the industry could raise its ethical awareness. If such tasks are systematically established, ethical cosmetics are thought to be able to actively solve social problems and lead a mature cosmetics industry.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.1
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• pp.135-141
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• 2018

In this paper, we describe design and implementation of optimal smart home control system. Recent developments in technologies such as sensors and communication have enabled the Internet of Things to control a wide range of objects, such as light bulbs, socket-outlet, or clothing. Many businesses rely on the launch of collaborative services between them. However, traditional IoT systems often support a single protocol, although data is transmitted across multiple protocols for end-to-end devices. In addition, depending on the manufacturer of the Internet of things, there is a dedicated application and it has a high degree of complexity in registering and controlling different IoT devices for the internet of things. ARIoT system, special marking points and edge extraction techniques are used to detect objects, but there are relatively low deviations depending on the sampling data. The proposed system implements an IoT gateway of object based on OneM2M to compensate for existing problems. It supports diverse protocols of end to end devices and supported them with a single application. In addition, devices were learned by using deep learning in the artificial intelligence field and improved object recognition of existing systems by inference and detection, reducing the deviation of recognition rates.

• Journal of Korean Home Economics Education Association
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• v.23 no.2
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• pp.17-35
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• 2011

The purpose of this study was to determine the possibility of character education in the middle school home economics program: by extracting learning factors that can cultivate gratitude disposition from the eighth grade in the unit of 'clothing life' of middle school HE text, developing five teaching-learning lesson plans and learning materials, and applying them in classrooms to see any changes in gratitude disposition standards before and after its application. Five teaching-learning lesson plans for the cultivation of gratitude disposition were developed, and completed after three experts in home economics verified their validity and revised them. From June 1, 2010 to June 30, 2010, five classes were to 210 grade students at a Gyeongbuk Junior School, and dispositions were investigated before and after the classes. Gratitude disposition standards used GQ-6, like McCullough, and for before-and-after-inspection comparison, t-test and analysis of open-ended questionnaires were carried out. The results proved the instruction effective. Before the class for the cultivation of gratitude disposition, students had a gratitude disposition average of 2.87(out of 5). After the class, the average was 3.35, which shows that students had improved considerably. Also, in analysis of a open-ended questionnaire, it was said that the class had been provided the opportunity to think about the value of nature and neighbors and that the class content reminded them about appreciation. In conclusion, for the character education in other areas of middle school home economics, teaching-learning lesson plans development must be attained to further this character education program.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.201-217
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• 2014

There is likely to be a fit problem when women aged in their 30s-40s purchase down-age clothing from brands that target women in their 20s. To identify the part of the lower body that causes the fit problem, the sizes and types of lower body of women in their 30s-40s were compared with those of women in their 20s. The data for this study was from the 2010 Size Korea survey of body measurements of 1675 female adults in their 20s-40s. To examine differences in the average sizes of the lower body between women in their 20s and 30s-40s, descriptive statistics and t-tests were conducted. Factor and cluster analysis were used to classify body types by age groups. On the whole, compared to women in their 30s-40s, women in their 20s were found to be higher for all height items and smaller for size, thickness and width items. The result of the Glycemic index analysis showed that the body type of women in their 20s was generally larger than that of women in their 30s-40s. In addition, women in their 20s had a large drop value compared to those in their 30s-40s, whereas flatness of body cross section was bigger in the group of women in their 30s-40s. Four factors related to the lower body type of female adults in their 20s-40s were identified in the factor analysis, and three categories of body type were identified by cluster analysis. A Type 1 individual had abdominal obesity and chubby lower limbs, Type 2 had short legs and slightly chubby lower limbs, and Type 3 had long legs and a skinny lower body. A significant number of women in their 30s-40s were included in the Type 1 group, which was the least common category for women in their 20s.

• Journal of the Korean Society of Costume
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• v.19
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• pp.209-240
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• 1992

The costume of any nation is an attribute of a culture. This study concerns chinese and Mongolian costume's 'collar' form according to the observation of some reports about import folk materials and the pictures of the genuine objects, the author has investigated and rearranged them focusing on 13th Century's. 1. Traditional OverCoat or National costume on the poing of won dynasty in china such as Jacket, Coat, Mantle for making classical matching color, lacing, pearl pieces, and all costume shall be properly decorated and disigned. The example, Chinese Women's Gown and Double Jacket, on top of alignment of plaid, focus shall be placed on chinese classical form and color-matching, such as flowers and bireds, butterflies, made wishing ornaments, which shall be either hand painted or embroidered on collars, fronts, sleeves openings, and lower portion of gown. 2. Mongolian Costume, the stone status of a person, are seen at the territory of the Republic of Mongolia was a powerful country of Asia. So during the Mongolian Empire a lot of Missions from many countries came to kharakorom for establishing official relations between Mongolia and a country represented by mission. In particularly, the costume of mongols on the point of Chinggis khan Empire which the upper clothes in cluded ; a several kinds of the Caftan as compared with in Korea as to material (Silk caftan, Cotton Caftan, Fur Caftan) with closing to the right due to overlapping and Stand-up-Shawl Collars will pancho style & Round or V Neckline. 3. As compared with in Korea it is said that this a sort of Simui was brought in prior to the middle of Koryeo dynasty. Korean Simui system was complied with chinese system through confucian domestic behaviour. This was respected for court dress of confucian scholars, as it was, Chumri can ordinary dress of schloars) and Hakchangui ( a uniform of confucian student). Generally its form or shape of the outer lapels of Korean jacket were used together Squar-Tray-Collar. In late Yi-dynasty the inside collar length was longer than the outside collar length and the width of the collar was gradually narrow. And so the Traditional costume's outer collar of Jacket and OverCoat became small while the width and length of breast-tie became large. The same thing as the form of the collar on these days had been appeared by the design method or adjust one's dress. Therefore the form of collar in the china and Mongolian Traditional OverCoat & National Costume is fix arranged according to Stand up Collar, Without Collar, Clothing to the Right, Central opening, Horizontal Row of Button with Round or V Neckline and so on.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.107-122
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• 2012

The purpose of this study is to investigate the changes and developments that occurred as a result of the exchanges of gyeong-geum(經錦), a warp-faced compound weave of East Asia, and wie-geum(緯錦), a weft-faced compound weave of West Asia. In order to maximize the efficiency of this research, topics were narrowed down to the weaving skills and patterns, and the period was limited to the Tang dynasty. The systematic characteristics and differences of gyeong-geum and wie-geum were compared and contrasted through different works of literature. Then the excavated remains of geum-textiles were analyzed and the characteristics of the geum-textiles were defined in chronological order. The origin of wie-geum is traced back to the time when West Asia started to imitate the weaving style of the East Asian gyeong-geum. When combined with the weaving skills of the West Asian, gyeong-geum, which broke through the West and developed into the weft-faced compound twill silk, or samite. The exchange of geum-textiles took place as the techniques of gastric filament woven geum-textiles returned to the East. Along with the pearl roundel motifs of Sassanian Persia, mythical animals and western motifs of hunter patterns were used for the patterns of wie-geumin during the early Tang dynasty. This tendency is related to pa-sa-geum(波斯錦), ho-geum(胡錦), beon-geum(番錦) according to the recorded literature. The 8th and 9th century are periods when the West Asian Persian style was abandoned and the East Asian style, samite, was established. Not only did S twist silk threads replace Z twists, but also the repetition of patterns unfolded along with the weft and the warp. As this tendency was strengthened after the 9th century, the expression of patterns became more vividly colorful and showed both elements of naturalism and realism. The characteristics of the Bosangwha(寶相花) pattern in the Tang period were established with the rampantly repeated rosettes with birds often holding auspicious branches, that fly amid floral compositions.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.600-613
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• 2011

The purpose of this study is to provide Torso pattern for Korean middle-aged women using 3D human body scan data. 155 women in their 40's or 50's were measured by Martin's anthropometry. Merging the data of 914 middle aged women provided by Korean agency for technology and standards, total of 1,069 subjects' data were analyzed. For data analysis, ANOVA, factor analysis and cluster analysis were done using SPSS PC+. And representative subject of each cluster was selected and they participated in 3D scanning and Torso pattern suggested for middle-aged women Torso pattern which investing the amount of ease according to each group for diffuse front interscye 30%, armscye circumference 30%, back interscye 40% using 3D human body scan data. The results of this study are as follows. Firstly, as a result of the factor analysis, the first factor was 'obesity index of body', The second factor was 'verticality size of body', The third factor was 'verticality length of upper bodice', The fourth factor was 'drop value to represent silhouette', and the fifth factor was 'physique of upper bodice'. And, middle-aged women type were classified 3 types according to the cluster analysis. Type 1(Y-type) was the long upper Torso with wide shoulder. Type 2(H-type) was flat-body type with comparatively thin upper bodice and thin lower bodice. And type 3(A-type) was the obese type with comparatively thin upper bodice and fat lower bodice. Secondly, using CAD program, point filtering was performed and approximated surface model was made. It used that generated surface smoothing corrected for abnormally extruded points and scattered points based on the curvature information. And 3D surfaces were flatted onto the plane by the internal tools of CAD program. Difference ratios of outline length and area between 3D curves and 2D plane were 0.42% and 0.54%, respectively. Third, wearing test by the sensory evaluation showed that distinct difference almost every category. The movement functionality test shows that, in all the tests which reveal significant differences, especially, 'comparison pattern A' experienced inconvenience to neck width and neck depth.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• Journal of Fashion Business
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• v.15 no.5
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• pp.178-194
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• 2011

Due to the population growth of the old aged, Korea is also entering into an aging society. But a research on the pattern design to the old aged is much to be desired. The purpose of this research is to design skirt pattern fitted for each body type by categorizing the lower body type of the old aged woman. For the way of research, categorized the body type by using the female measuring size from the 65 years old to 99 years old which has been measured by the Korean body size research as an assay data, and base on this data, a suitable skirt pattern for each body type of the old aged woman was designed by practicing the exterior evaluation. The data analysis was done with the statistical treatment in SPSS 12.0, and the results are as follows. The lower body type of the old aged woman were divided into the type 1. The circumference article is the biggest compared to the height article regarding to the lower body type of the old aged woman. The type 2. The height article and the circumference and thickness articles are the poorest. The type 3. The height article is the biggest and the hip width and calf circumference are thicker than the waist width. The type 4. The height article is the lowest and the waist width is thicker instead the hip and leg are thinner. In type 1, The pattern was modified by increasing 1cm a length of the dart and raising up 1.2cm at the cross point between side line and waist line. In type 2, the basic pattern was used, and in type 3, using the outline of the basic pattern however, increased 1cm a length of the dart and modified the amounts of dart by handling the art in curve, and modified the waist line to be more three-dimensional curves by raising up 1 cm at the cross point between waist line and side line and falling down 0.5cm at the cross point between the back center line and the waist line. In type 4, modified the amounts of front and back dart to 1.25cm, and raised up 0.8cm at the cross point between side line and waist line, and modified the waist line and the side seam line in a gentle curve by reducing circumference of the skirt tail to 1cm from the side seam line.