• Journal of Korean Home Economics Education Association
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• v.7 no.1
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• pp.107-120
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• 1995

This study aims at seeking how to activate and operate vocational home economics curriculum efficiently. We collected data from school district offices in the nation and questionaries to 37 high school teachers in charge of vocational home economics, 30 teachers in charge of vocational course, 305 students of vocational school, and 135 students on vocational course for the recognition of and request for vocational home economics curriculum. Collected data were analysed by frequency, percentage, and X(sup)2, and SPSS/PC(sup)+ program are used for the statistical analysis. Followings are the outcomes of this study. 1. The number of classes in which vocational home economics is operated has been on the rise since 1986. As for curriculum of vocational high school, 79 classes for clothing, tourism, and childhood education are being operated in 8 schools. 2. Teachers acknowledge vocational training should keep complete and sustaining education and that it should aim ar conduction education which enables students to acquire technical knowledge and to seek a gob. Both teachers and students admit vocational home economics should be carried out so that vocational training can be combined with general education. 3. Teachers put more emphasis on its major field than that general field. As for laboratory classes, teachers complained about the financial lack, while students need for field practice for the purpose of opening the way for combing theory with practice and proposing for scientific study of industrial sites. As for the contents, students considered the technical course size appropriate and they though it is desirable that the ratio of practical class should be increased by more than 60% of that of the current class ratio.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.745-755
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• 2014

The purpose of this study was to observe school education system, higher education, and fashion education in Germany to find a good model for an desirable future education to lead a creative students in Korea, thereby reshaping curriculum. We also analysed the curriculum of the fashion design offered in Hochschule Pforzheim and Berlin University of Art. We used secondary data collection by literature reviews of articles and web sites on the internet. Results of this study are as follows: German school and education system oriented with differentiation even though there are variety of them. Students can select their education system, considering work field and their own life & humanities. Various fashion education institutions were found to have their own education concept to enhance creativity with different system. Our results of analysis of the fashion design program of Hochschule Pforzheim and Berlin University of Art show their creativity education in their curriculums with module basis. Two universities have a differentiate education direction for the same aim to do creative design study and research. We realized that students learn and get the knowledge and apply to the field with a long term internship, communication skill and presentation development courses. Project based modules enable students to be creative, and active human. Strong design basis, and humanities disciplines will support people to creative design works. These two universities offer a good model of program to build up self education drive, academic and practical ways of training, and project based, internship, etc.

• Journal of the Korean Society of Costume
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• v.62 no.7
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• pp.79-96
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• 2012

Creativity is a rising topic in the current society. The emphasis on creativity is valued as a key factor for success in all areas including but not limited to politics, economy, culture, arts and design. The field of Fashion design is probably one of the few areas that talk about creativity as a necessary quality to survive. The purpose of this study is to introduce TRIZ(Teoriya Reshniya Izobretatelsskikh Sadatch) as a theoretical tool to generate creativity in fashion design. TRIZ is a creative method of problem solving based on data analysis of outcomes invented by engineering. The fundamental concept of TRIZ has been researched through documentary studies, and practical case studies of product designs are used. Fashion design cases from Comme des Garcons by Rei Kawakubo are used to apply TRIZ in fashion design. Rei Kawakubo's design philosophy has been studied through fashion writings and visual sources in books, exhibition catalog, www. style. com and online shopping mall sites. This study has selected four principles among forty inventive theories of TRIZ: segmentation; asymmetry; consolidation; and preliminary action to apply to Rei Kawakubo's fashion design. As a result, TRIZ can be applicable to fashion design as a creative thinking methodology. By using the four principles of TRIZ, this study shows how Rei Kawakubo's design enhanced its efficiency and aesthetics of the products and was distinguished from existing items. It is meaningful to demonstrate a possibility of adopting engineering based creative methodology in fashion design to widen the perspective and to raise a question for the need of interdisciplinary creative methodology with traditional aesthetic approach in fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.137-144
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• 2006

Though old generation criticizes on costume play that it is accepted by young generation without any criticism, it is gaining popularity and is settled with unique Korean characteristics. The study is to understand the characteristics of costume play and investigate on the attitude of costume players enjoying it. For this study, a survey was conducted on costume players who order tailor-made costumes or rent them by using references, existing papers and internet sites. The results are as follows. 1.37% of costume players live in Seoul and Gyeonggi area, 37% in Gyeongsang-do and Busan with 21% in other areas. Two areas shows higher rate than any other regions, as Seoul Comic and Busan Comic are held regularly and there are faster exchange with Japanese culture in these areas with enough money 2. Among costume players, female accounts for 73.7% with 26.3% male. It shows that female likes costume play more than male. It is because woman responds actively to what she likes than man does. The number of male is steadily increasing. By age, high school student is 40%, middle school student is 36%, older than 20 is 16% with 3% of elementary school student. 3.61% of them like the reproduction of character costumes, 14.7% like Pancos and another 14.7% likethe reproduction of character costumes and creation. 69.5% participates in costume play both in groups and individuals, 26.3% in groups and 4.2% in individuals. 45.3% participates in comic more than 8 times in a yew, 43.2%, 1-2 times and 11.6%, 3-4 times. Mostly they want $50,000{\sim}80,000$ won costume. 4. on the criticism of old generation that costume play is nothing but the imitation of Japanese culture, 87.4% of the respondents answered 'absolutely not' They think costume play is one of their favorite cultures. 5. on the parents response to costumeplay, 87% of the respondents answered 'Ethey understand', 13% said 'they cannot understand and dissent'. The respondents said costume play didn't affect their school records with 25% respondents who said they got better grades.

• Journal of Fashion Business
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• v.8 no.5
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• pp.41-59
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• 2004

The purpose of this study is to analyze consumers' purchase behavior for the counterfeits of fashion luxury brands. The research method of the study used a naturalistic approach. The first participant observation was carried out in the internet sites in order to collect the data on the purchase behavior for counterfeits; and the second participant observation was applied in the Dongdaemun shopping mall, Namdaemun shopping mall and Itaewon shopping mall; finally 6 informants were selected and then an interview was held with them. The results of the study are as follows; 1. The reasons for the first purchase of counterfeits are variously shown according to life stages, and the repetitive purchase behavior is influenced by the degree of satisfaction for the first purchase. The information collection for counterfeits is widely made through various media, and especially the information collection is active and positive in the case of planned purchase but it is passive and negative in the case of unplanned purchase. 2. The most important criteria in purchasing counterfeits is the degree of similarity with luxury brands and other criteria include price, design, utility etc. The majority of purchase items is not clothing but miscellaneous goods which are more similar in terms of design and quality. The purchase of counterfeits is made by impulse purchase but the purchase of luxury brands is made by planned purchase. 3. The rationalization mechanism for the purchase of counterfeits is observed in all informants, which is a sort of defence mechanism for avoiding a guilty conscience to buy illegal goods.

• Journal of Fashion Business
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• v.16 no.4
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• pp.29-45
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• 2012

The purpose of this study is for providing not only the latest design technique trend for zero waste fashion, but information about creative fashion design education through eco-fashion industry trend in globally and domestic which is focusing on eco-fashion labelling. The research were processed with literature related eco, sustainable, green fashion books, former articles, newspapers, and web sites. The results as follows; The certification about eco-fashion product is moving to 'Life Cycle Assessment' from focused on primary process like material, finishing, dyeing. Especially simplicity of process means reducing the wastes. And fabric wastage for adult outwear was estimated 15% percent of total fabric used in general design studios. Three cases for Zero waste fashion were as follows; First, Jigsaw puzzle by Timo Rissane and Mark Liu were different zero waste methods, but the result was same. Rissene's method was based on traditional cutting like 'cut and sew' but traditional cutting can lead to design that have an abundance of fabric and drape. Jigsaw of Rissene was approached with description a pattern-cutting technique in which all piece interlock with each other generating no waste from design production. Another Jigsaw by Liu was related with innovative textile design. DTP makes the possibilities for zero waste garment production almost endless. The dress intricately cut from 10 pieces, wastes none of the fabric required to make it. Second, Subtraction Cutting by Julian Roberts provides unexpected fluid, organic forms and zero waste fabric. Utilizing Roberts plug(tunnel) technique enables any part of the garment that is removed for fit or aesthetics to be reincorporated into the design of garment. Third was 'Bio Couture' by Suzanne Lee. She has created garments from cellulose bacteria which grow in a bathtub using only green methods addressing in such as way ecological issues and exploring the future of fashion design in conjunction with technology.

• Journal of Fashion Business
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• v.21 no.2
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• pp.30-44
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• 2017

The purposes of this study were to (a) identify dimensions of relational benefits in the social commerce market, (b) predict the effects of relational benefits on satisfaction, repurchase intention, and word of mouth (WOM) intention, (c) examine the mediating effects of satisfaction, and (d) compare the differences in the effects of relational benefits on satisfaction, repurchase intention, and WOM intention between the two groups of market mavenism. For collecting data, a self-administered questionnaire was undertaken by an online research agency. A total of 490 usable responses were obtained from consumers who have used social commerce sites. The sample included a slightly higher number of females (50.8%) than males and age was ranged from 20 years to 40 years. An exploratory factor analysis generated four factors of relational benefits such as confidence, convenience, special treatment, and information. Multiple regression models showed that confidence, convenience, and special treatment benefits were significant predictors of satisfaction and repurchase intention; the confidence and convenience benefits were significant for WOM intention. Satisfaction significantly mediated the relationship between relational benefits and repurchase intention, and the relationship between relational benefits and WOM intention. The group with high level of market mavenism more highly perceived the relational benefits than the other groups. Confidence benefit had a significant effect on repurchase intention regardless of the level of market mavenism, while convenience benefit had a significant effect on repurchase intention in the non-market maven group. This study discussed the managerial implications for customer relationship management in the social commerce marketplace.

• Journal of Fashion Business
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• v.24 no.2
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• pp.32-43
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• 2020

The purpose of this study is to analyze the granny look of the new-tro trend via Alessandro Michele's Gucci collection and to provide a reference standard for future design developments by identifying the representation of the granny look. To analyze the new-tro trend and the granny look, basic concepts were analyzed through aesthetic and art books and the photographic data were collected through Internet sites. A total of 186 fashion images were considered as granny look by five clothing experts. The images were subdivided into silhouettes and items, materials, patterns, and colors to analyze the modeling factors and identify the intrinsic inner meaning based on the theory of Nostalgia. The analysis showed that the silhouette was expressed naturally without exaggeration or shrinkage. The thermosetting materials included fur, velvet, knit and quilted materials, while the colors showed raw and faded shades based on the use of natural colors. The patterns were mostly natural, such as flowers, leaves, and stalks, which were aimed at nature. The inner meaning of the granny look is based on the theory of Nostalgia, primarily because it is an emotional fairy tale and second, it reflected the sessions of nature. Also, it is a reinterpretation of the narrative. In conclusion, the academic and fashion industries need to understand the various emerging trends in accordance with the social and cultural backgrounds to derive a positive benefit.

• The Research Journal of the Costume Culture
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• v.10 no.5
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• pp.542-554
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• 2002

The purposes of this study were to investigate, analyze, and consider the feature and practical situation of Apparel CAD education and distribution situation of CAD system so that CAD education can be effectively operated and managed in various kinds of relevant schools and universities. 32 colleges and universities that are performing CAD educational system are selected for the study. The author of the study has investigated and obtained the information through questionnaires to 32 professors who are in charge of CAD lectures and 301 students who are receiving CAD education. The result is as follows. 1. It showed that 62.5% of CAD educational systems have been practically introduced after 1995. Regarding the using system, YUKA occupies 46.9%, PAD 21.8%, and GERBER 18.8% and these three kinds of system have been chiefly supplied. 40.6% of them own only one system, 37.5% of them own 2～5 systems and 78% of them own less than 5 systems. 2. The most seriously pointed problems during the operation of CAD system were the lack of experimental materials and the frustration of manpower supply. Thus, the CAD education programs in schools and universities are practiced in inferior environments internally and externally. 3. Regarding the practical situation of CAD education, 28 among 32 schools and universities are performing CAD as one of the regular subjects for the curriculum. 4. Regarding satisfaction degree of the using system, professors showed higher satisfaction degree than students did. In conclusion, it showed that although the practical situations of CAD education in schools and universities have been changed and improved so much since 1995 owing to the increase of the positive recognition of the necessity of CAD, many students in the educational sites cannot study their favorite subjects related with CAD program with interest due to the lack of experimental facilities, the poor computer management systems, and the problems of manpower supply, etc.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.