• 한국의류학회지
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• 제35권10호
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• pp.1150-1160
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• 2011

This study investigates i) the effect of salesperson's self efficacy and work overload on emotional labor and ii) the mediating role of emotion. A survey questionnaire is developed and implemented on salespersons working in the fashion retail stores of department stores. The measurement scales are composed of emotional labor, self efficacy, work overload and emotion. A total of 112 responses are analyzed by confirmatory factor analysis and a structural equation model with AMOS18.0. The results are as follows. Firstly, self efficacy has direct effect on both deep acting and surface acting of emotional labor without the mediating effect of emotion. Self efficacy has a positive effect on deep acting. Secondly, work overload has a negative effect on emotion. Job emotion has positive effect on deep acting and it has a negative effect on surface acting. Thirdly, emotion has a significant mediating effect between work overload and emotional labor. Finally, implications for personal management and job design in the fashion retail organizations are suggested.

• 복식
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• 제57권8호
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• pp.1-13
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• 2007

The cold image of digital culture and its realistic limits force modern people to yearn for an emotional world characterized by a warm humanity. The kind of digital technology that appeals to such a human emotion is accepted as a new digital concept in the 21st century. The purpose of this study was to examine the characteristics of emotionality, which was a new trend in digital culture, and to discuss its form and meaning in fashion sector. It's basically meant to figure out a major trend in the 21st century's digital culture, to delve into its relationship with fashion reflecting sociocultural phenomena, and ultimately to describe in which direction future fashion would be led. Emotionality was highlighted as a reaction against an absolute pursuit of speed and cold digital technology. Emotionality of digital culture in fashion design were inserting of funology, Zen-based design and development of a clothing mixture. The emphasis of emotionality in digital culture is a new sociocultural trend that stresses the recovery of human nature. As futurologists predict that a human-centered and humanistic culture will reappear in the 21st century, fashion also will be in pursuit of human-oriented design.

• 한국의류학회지
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• 제42권1호
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• pp.14-25
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• 2018

This study is to understand subculture as a selective amity or an emotional tribe that includes a life style, hobby and leisure of people and seeing it as the tribal solidarity or emotional alliance. Hence, based on the neo-tribalism by Michel Maffesoli who explains a tribe not composing a social vertical structure represented by class, but is composed a horizontal structure of individuals as a member of a society, this study conducted an empirical analysis on domestic minor fashion communities. Research findings show that they have a unique structure unexplained by Maffesoli. Fashion styles, values shared by domestic minor fashion communities are almost entirely based on individual likes and dislikes, escaping from a symbol of resistance to subordination explained by the existing subculture, play a role in enhancing the solidarity inside the community and confirming its identity outside. However, as for shared values within a community, it reveals a new invisible type of subculture intra-inter domestic minor fashion communities. A community showed a closed mind rather than open mind, disregarding or comparing with other communities and preventing their members from participation. A community had strict fashion rules and obvious classes, leading to participatory restriction. In conclusion, domestic minor fashion communities showed the most significant characteristic of a selective vertical structure by individual and community rather than a vertical structure by a society.

• 복식
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• 제65권4호
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• pp.61-75
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• 2015

This research aims to analyze the prep-hop fashion, which is an original look created through the convergence of the hip-hop and preppy look, and identify the design characteristics of the prep-hop fashion. The style mixes the fashion of what was traditionally a lower-class look with the upper class. The design characteristics are as follows: First, the prep-hop fashion expresses slim, casual and sophisticated look with items and silhouettes. The items are categorized into jackets, shirts and pants. The prep-hop jackets provides a casual look to its wearer unlike the jackets of preppy or conservative looks. Slim suits show different meanings and features depending on the changes in the time and culture despite the continued use of the items. Second, the colors of the prep-hop fashion include overall basic colors used in the preppy look and hip-hop fashion. The aesthetic values of the colors express pleasant color images different from the conservative and resistant images expressed in the preppy and hip-hop style before the convergence, respectively. Third, the materials and patterns are expressed in a unique way to fulfill the emotional needs that are considered vital to contemporary fashion. The materials in the prep-hop fashion extend the ranges of usage by using the materials with unexpectedness broken out of general range of usage. While the use of the patterns is one of the methods to demonstrate that the prep-hop fashion is created by the convergence between hip-hop fashion and preppy look, the meaning concludes pleasantness and casualness different from the past. Fourth, the prep-hop fashion is mainly composed of hip-hop fashion accessories, which express the authenticity of the hip-hop fashion to protect the non-mainstream characteristics. The design characteristics of the prep-hop fashion pursue the individuality of the contemporary fashion, which lacks originality due to commercialization. The development of the prep-hop fashion, as a new form that combined contrasting genres and trends, is expected to develop more publicly.

• 대한가정학회지
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• 제47권7호
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• pp.97-107
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• 2009

This study investigated the impact of long-term relationship orientation on emotional characteristic in fashion stores and relationship characteristic between middle-aged and senior women and salespeople. This study employed survey method with questionnaire. Data were collected from 579 women who were from the age of forty to seventy. The data were analyzed using statistic methods(SPSS 15.0 and Amos 5.0) such as frequency analysis, cronbach $\alpha$, exploratory factor analysis, second-order confirmatory factor analysis, confirmatory factor analysis and structural equation modelling. The findings of this study were concluded as follows; Firstly, the income significantly affected on emotional characteristics(p < 0.01), but had no significant effect on long-term relationship orientation(p < 0.05). The higher income, the more respondents exhibited positive attitude and sensitive emotional characteristics as a sense of sight, hearing, smell, tactile and feeling to salespeople in the fashion stores. The path of structural equation was implemented as income variables $\rightarrow$ emotional characteristics $\rightarrow$ (relationship with salespeople variables $\rightarrow$ )commitment $\rightarrow$ long-term relationship orientation which turned out to be statistically significant at the 95% confidence level. Secondly, senior group(55~70yrs) was more positive relationship with salespeople compared to middle-aged group(40~54yrs). The precondition of get satisfaction and feeling of being cared from the salespeople were critical for long-term relationship orientation. The path of structural equation was carried out as age variables $\rightarrow$ relationship with salespeople variables $\rightarrow$ commitment $\rightarrow$ long-term relationship orientation which turned out to be statistically significant at the 95% confidence level.

• 한국의류학회지
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• 제34권8호
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• pp.1265-1276
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• 2010

The carelessness of basic design form in education can result in a lack of creativeness and critical thinking ability that will decrease adaptability in a rapidly changing fashion industry. If the fashion education just repeats the previous education of basic form of design, it will be impossible to create original value in fashion design. It is necessary to re-establish the characterized program of the basic form of design education. This study develops concrete educational contents of the basic form of design that can be applied to fashion design through the study of the fundamentals and the concepts of the basic form of design. This study is the basis for the cultivation of talented designers with creativity, forming ability, problem solving skills, and critical thinking ability. The research method is the fundamentals, specialty publications, and designs studied. As a result, an education program for the basic form of design to be used in fashion design education was developed. The development of education contents of the basic form of design has been developed as the plane form that aims the perceptual and emotional effects through the expression of the objects, through the use of dots, lines and planes that are the basics in forming practice and the expression of the abstract images. This suggests subjects composed of the various progressive forming conditions with the abstract dots and lines. In this subject and during the process of the idea, development, and fashion design, the overall unity, harmony, and the theory of gestalt (closure, proximity, and similarity) has been obtained. As a result, the content of the subjects was developed from the perspective that comprehensive decision making skills made from the process can lead to an improved sense of the fashion design.

• 한국의상디자인학회지
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• 제11권2호
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• pp.131-142
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• 2009

In response to the need of developing children's wear design using traditional elements, this study purposed to develop fashion designs emphasizing contemporary images based on the symbolism and formativeness of traditional dresses. For this study, we reviewed the definitions and symbolism of traditional colors and traditional patterns using previous research, and classified them according to formative shape. In addition, this study made three pieces of dress and developed unique designs by applying the traditional patterns and elements of Korean traditional dress styles. The research methods were as follows. First, we examined the images of Korean traditional colors and classified the symbols and meanings of the colors. Second, we identified the types of patterns, and classified them into shapes and symbols. Third, we designed and made actual works by applying traditional patterns. Based on the theoretical studies as presented above, we developed contemporary casual hanbok designs for children by applying symbolic and formative traditional patterns and using DTP (digital textile printing).

• 한국의류산업학회지
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• 제17권5호
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• pp.704-717
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• 2015

In modern fashion fabrics became an important element that leads the current of fashion beyond materials. Also, it has a creative role that reflects emotional and visual aspects, and it is considered as a mega trend that will lead the $21^{st}$ century fashion industry. The value of fashion products is affected not only by the style and design but also the sensuous properties like color, pattern, texture, and drape of fabrics. Therefore, in this study, characteristics of fabric trend between 2007 S/S and 2010 S/S will be analyzed focused on Premiere Vision, which influenced many Korean fashion trend information companies, while looking into the fabric trends shown in the world's top four collections-Paris, Milan, London, and New York-and Seoul collection, and comparing and analyzing the acceptance level of those. Fashion fabric is an important part in fashion design and change with social environment and value, its considered that the role and importance of subject matters increases in changing fashion design toward globalization by meeting various personality which is diversified more and more. It is to provide specific and practical data to be used for the Korean fashion industry, which can be used as useful information for future fabric researchers and people in the fashion industry for integrated study of fashion design and fashion fabric.

• 한국의상디자인학회지
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• 제13권4호
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• pp.41-50
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• 2011

The purpose of this study is to help understanding of fun image in fashion & pattern to play a guideline's role in the development on fashion designs study. The methods of this study are academic literatures as well as practical study through case studies about actual works. Formative characteristics of fun image in fashion & pattern are summarized amusement, unexpecting, childishness, and incongruity as follows. First, Amusement pursuits pleasure, freedom, vitality of living and getting away from reality, while doing the mind gently. Second, Unexpecting leads to stop a moment by unforeseen circumstances which gives embarrassing. This embarrassing induces new ideas that led to a larger perspective on the will from exhilarating fun of the thrill of driving pleasure on fashion. Third, Childishness shows a pureness and relaxedness by approaching for innocent and naive child's Sights away from the desire required adult social roles. Fourth, Incongruity aim for fresh of fashion through humanism and freedom in mechanized and standardized society Recently fun images have received attention is interpreted that joy, pleasure, enjoyment because fun image gives emotional comfort in uncertainty, dissatisfaction, and rapid changes society.

• 패션비즈니스
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• 제7권1호
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• pp.14-26
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• 2003

This research aimed 1) to analyze the relationship between consumer's emotional needs and elements of textile design in the 1st survey 2) to investigate textile design process presently conducted in the industry in the 2nd survey, and 3) to suggest a desirable direction to improve the textile design process based on a comparison of the results obtained from the two surveys. A description system and an emotion model on textile design were redeveloped as research devices in this study. In the 1st survey, total 600 respondents were sampled and asked to report their emotional response on 50 representative types of textile design, on a emotion measurement scale. The data set obtained from the 1st survey were statistically analyzed. In the 2nd survey, a depth interview was applied to qualitatively analyze the textile design process presently conducted in the industry. The results from the two surveys were compared.