• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.93-104
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• 2021

The worldwide coronavirus pandemic has brought to light the importance of having a reliable supply of masks for each person. This study aims to understand the effect of personal awareness (including community, others', and safety awareness) on consumption conformity and the repurchase intention of masks. The research method used the SPSS 22.0 and AMOS 22.0 statistical systems to analyze descriptive statistics in terms of reliability, validity, structural equation modeling, and moderated regression analysis. A total of 272 Chinese participants were recruited via an online survey website (www.sojump.com) from May 1 to May 14, 2020. Findings indicated that mask users' awareness can be categorized into three distinct types: community, others', and safety awareness. The more community and safety awareness is perceived, the higher the level of consumption conformity. In contrast, others' has no statistical effect on consumption conformity or repurchase intention. The positive influence of consumption conformity on the repurchase intention of masks is also weaker than price perception. However, another moderating variable, mask quality, has no moderating effect. The results of this study can help mask manufacturers and distributors retain their customers, resulting in reasonable protective measures while maintaining market order. Theoretical and managerial implications for mask suppliers are also provided.

• Journal of Fashion Business
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• v.15 no.6
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• pp.134-147
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• 2011

This research was motivated to provide the Korean apparel companies doing business in China with some basic data useful to the development of their apparel commodities. As a result of selecting the standard or 'A' somatotype based on the body measurement data of the Chinese women in their early 20's and then, analyzing the correlated distribution and the most frequent intervals, it was found that 'height 160,' 'bust circumference 84' and 'waist circumference 66' were most prevalent. It was found that their average body measurements almost coincided with the standard '160A-84/66.' As discussed above, the researcher selected 13 women corresponding to '160A-84/66' in reference to 2008 body measurement data, and chose 6 women among them secondarily. Then, the researcher comparatively analyzed the direct measurement data and the 3D measurement ones, while analyzing the vertical/horizontal sagittal and Median plane section drawings, it was found that Subject 4 showed the most common somatotype data, while her upper body bent backwards reflected the population most properly.

• Journal of Fashion Business
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• v.12 no.2
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• pp.87-99
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• 2008

This study aims to classify lower trunk body types of Chinese men in their middle age (30s and 40s) and suggest the standard for them to design slacks pattern. Mollison's relation deviations were used to analyze the direct measurement items in this research compared to those of Size Korea 2004. Though Korean middle-aged men were higher in most items than Chinese counterparts, all items except mid-thigh circumference and side hip length were merely within the range of ${\pm}1\sigma$. According to the results of size classification by absolute values, factor analysis extracted to 2 factors(horizontal size of lower body and vertical size of lower body), and cluster analysis brought about 3 types(type1: tall and thin trunk (36.9%), type 2 : normal height and thick trunk(45.5%), and type 3 : short and normal trunk(17.6%) with some significant differences among them. Also, the results of shape classification by index values, they were extracted 4 factors (waist-hip flatness, waist-hip cross section, vertical waist-groin and hip-surface length) by factor analysis and revealed 3 types(type 1: different waist-hip width, thick, long waist, long upper hip, and short hip-surface length(27.8%), type 2 : different waist-hip width, flat, short upper hip, high hip and groin, and average hip-surface length(29.4%), and type 3: small waist-hip width, thick, average upper hip, and short hip-surface length (42.8%)) with significant differences among them by cluster analysis. The results of standard body types by shape-size combination, 19subjects(10.16%) under these values are regarded as standard body types. Significance was not seen in all items in the t-test results between the total group and the standard group. The latter had lower variation coefficients and smaller individual differences than the former. However, in-depth research is required for generalization since this research is limited to a small number of subjects in Ningbo of Zhejiang.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.6
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• pp.986-1003
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• 2021

This study was conducted to develop a basic pants pattern reflecting the average body shape of Chinese women in their 20s by using a virtual fitting method. A formula for the research pattern was derived by applying the measured value based on the drafting method of existing patterns. The final pattern was presented through two actual fitting processes. The suitability of the final pattern was then verified through a functional evaluation and an appearance evaluation based on an actual fitting and a virtual fitting. As a result of the evaluations, the final pattern reflected the body shape of Chinese women in their 20s and was evaluated as a higher quality pattern compared to existing patterns. The final pattern was based on the omphalion waist circumference. Ease amounts were set to be the omphalion waist circumference + 1.0 cm, hip circumference + 2.0 cm, and the pants length was set to 94 cm.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Journal of the Korean Society of Costume
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• v.64 no.4
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• pp.131-149
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• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• East Asian Journal of Business Economics (EAJBE)
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• v.11 no.3
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• pp.47-58
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• 2023

Purpose - This study investigates which product characteristics influence customers' purchase intention for brand extension products of the fashion brands. Furthermore, this study suggests brand awareness as a moderator which strengthens the positive effects of the product characteristics on the consumers' purchase intention towards brand extension products of the fashion brands. Research design, data, and methodology - Two hundred and twenty-three Chinese consumers were randomly solicited to participate in this study. Email, website (www.wenjuanxing.com), social media (WeChat) were utilized to conduct the survey and collect data. Result - The findings obtained through hierarchical regression analysis indicate that product uniqueness, product scarcity and product popularity have significant effects on purchase intention for brand extension products of the fashion brands. In addition, brand awareness moderates the relationship between product characteristics (uniqueness and scarcity) and purchase intention positively. Conclusion -The results indicate that brand extension products of the fashion brands could attract more consumers by focusing on designing unique products and using limited release and celebrity publicity strategy. Additionally, the present research posits the crucial significance of brand awareness, thereby making a noteworthy contribution to the integrated marketing approach for fashion brand marketers.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.891-909
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• 2008

The purpose of this study was to examines the changes in Chinese women's clothing resulted from the introduction of Western culture in the first hal# of the 20th century in terms of Chinese view of the world and their attitude towards European culture. The clothes are divided into four types according to their characteristics : traditional Chinese type, China-Europe adjustment type, China-Europe blend type and European type. As for the research method, both literature and visual data are examined. The traditional Chinese type showed changes only in the width and length retaining the features of the traditional qipao until the 1910s. The China-Europe adjustment type used the same flat pattern making of traditional Chinese dress while imitating only the appearances of European one-piece, two-piece and three-piece dresses. It also was presented with European accessaries and hair-styles. The China-Europe blend type, starting to appear with the introduction of the three-dimensional pattern making from the Europe in the 1930s, showed a perfect mixture of European and traditional Chinese costumes in the early 1940s when the Chinese learned and adapted the European pattern making. The European type was the most modernized designs using a variety of European-style details and constructions as the traditional clothing started to have unrestricted European-style changes. Great significance can be found in the fact that the Chinese modified their garments by themselves using the pattern mating they learned from the Europe.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.82-83
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• 2004

• Journal of Fashion Business
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• v.11 no.3
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• pp.87-96
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• 2007

The purpose of this study is to analyse the characteristics of style, color and items of street fashion in Harbin. This kind of study will contribute to the understanding the preference of fashion in northeastern area, thereby, affording a fundamental resources for the strategic establishments of design and marketing in Korean brand launching into China. The results of this study are as follows. The preferred fashion style is casual one, rather than formal one. The order of preference in casual wear is character, jean and sports casual. In the view of color, preference in top color is, white, black, brown and pink. In the bottom, it is blue, white, black and brown. In one-piece, it is white, blue and brown. Throughout all items, the most frequently founded color is white, which might be ascribed to the seasonal influence of summer. The Chinese specific preference of color could not be observed. In aspect of items, the one-piece takes the proportions of more than half of the all the items. The typical details of one-piece dress are irregular hemline and asymmetrical line. While knee length takes proportion of 70%, in item of skirt, the full length is 46.8% in frequency for pants. In one-piece, knee length is 80% amounted as first rank, followed by midi and mini.