• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.267-278
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• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.1
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• pp.165-181
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• 2022

The fashion industry is creating innovative business models using artificial intelligence. To efficiently utilize artificial intelligence (AI), fashion data must be classified. Until now, such data have been classified focusing only on the objective properties of fashion products. Their subjective attributes, such as fashion brand sensibilities, are holistic and heuristic intuitions created by a combination of design elements. This study aims to improve the performance of collaborative filtering in the fashion industry by extracting fashion brand sensibility using computer vision technology. The image data set of fashion brand sensibility consists of high-end fashion brand photos that share sensibilities and communicate well in fashion. About 26,000 fashion photos of 11 high-end fashion brand sensibility labels have been collected from the 16FW to 21SS runway and 50 years of US Vogue magazines beginning from 1971. We use EfficientNet-B1 to establish the main architecture and fine-tune the network with ImageNet-ILSVRC. After training fashion brand sensibilities through deep learning, the proposed model achieved an F-1 score of 74% on accuracy tests. Furthermore, as a result of comparing AI machine and human experts, the proposed model is expected to be expanded to mass fashion brands.

• Fashion & Textile Research Journal
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• v.19 no.1
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• pp.70-78
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• 2017

To predict and foster professional research issues for the present and future, it is important to understand the stream of research trends. This study is to provide information of research trend through analysis of quantitative variables in 1,374 articles from the first issue to the present(2015) of the Fashion and Textiles Research Journal. As a result, in the former periods, articles in the field of textile science & technology and fashion design & historical concerns, and articles that used experiments and others as a research method were dominant; in the latter periods, articles in the field of fashion marketing & merchandising and apparel production & technology, and articles that used survey as a research method were dominant. According to each detailed research field and method, there were significant differences in the number of pages, authors and references of articles. In addition, it was found that the number of pages and the number of references increased sharply in the latter period, indicating that the contents of the papers were more detailed and faithful to references of other studies. Through the analysis of this study, it was found that Fashion and Textiles Research Journal published a variety of articles in the academic fields. The research information analyzed in this study will contribute to the future design for the research as well as the academic societies.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.5
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• pp.805-826
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• 2022

This study explored the process by which consumers purchase products from small fashion business owners via online and mobile channels. In addition, group types were classified given that the purchasing process depends on the consumers' life cycle. The consumer focus group interview (FGI) was conducted on 18 participants that were divided into six groups by age, work, and children. Results revealed that first, consumer journey comprised four stages. Factors influencing need recognition were "attention to information of social media influencer," "attention to information of affiliated groups," and "repeated advertising of SME products/brands." For information searching, "exploring purchase reviews," "environment for mobile shopping information exploration," and "continuous product tracking" were important factors. Purchasing and shopping stages were affected by "price-free, improvised purchase decision" and "convenient mobile payment system and point benefits." After the purchase, "active sharing and repeated purchase when satisfied" and "blocking relationships when dissatisfied" occurred. Second, six consumer groups based on the fashion life cycle are the "Platform lover," "Influencer follower," "Trust builder," "Novelty seeker," "Convenience seeker," and "New designer supporter." Ultimately, small business owners can develop the process of planning and selling fashion products more efficiently.

• Journal of Fashion Business
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• v.27 no.6
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• pp.1-17
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• 2023

This study aimed to develop a modern textile design based on the formability of Frank Stella's paintings and to develop and present a fashion design that combines modern sensibility as a 3D virtual clothing program. The formative characteristics of Frank Stella's work were 'unity due to regular stripes', 'asymmetry due to geometric surface division', and 'decorabilitydue to colorful use'. Based on this, costume patterns and textiles based on Frank Stella's paintings were developed and six 3D virtual fashion design works were produced. The conclusion was as follows. First, it was confirmed that Frank Stella's work has a very wide range of applications to fashion products as abstract expression and minimal simplicity coexist visually. Second, various colors and forms of Frank Stella's paintings could be developed using textiles with visual formability, and originality as a fashion work applied with paintings could be maximized. Third, the development of 3D fashion using virtual programs had the ease of time efficiency, cost reduction, and spatiotemporal expansion of work processing compared to the actual costume production process. In addition, the simulation of 3D virtual wear made it easy to modify and recover the position of the textile to be applied to the costume and create a new design in the process of transforming the position of various textiles. It is expected that this study results will be used as basic data for the future conversion content industry in the painting and fashion industries.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.936-953
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• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.1
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• pp.26-39
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• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.

• Journal of the Korean Society of Clothing and Textiles
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• v.39 no.2
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• pp.204-216
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• 2015

Fashion is changing and evolving everyday with an influence from and over contemporary socio-cultural factors. Cartoons expressing the phenomena of times through exchanges of mutual effects with socio-cultural factors that result from functionality and media characteristics. This study examines how fashion provides a great correlation with society-culture expressed in cartoons. The research segment of this study was conducted with literature and case studies; in addition, the UK cartoon magazine "Punch" was selected for the case study. The research findings of the fashion satire expression in cartoon were divided into 2 cases. The first case is that fashion was used as an instrument to satirize socio-cultural phenomena in cartoons. Various fashion elements (hats, dresses, words on T-shirts) were used for satiric expressions and to express periodic images related to politics, economics, society and culture. It communicated factually or criticized noteworthy phenomenon or age changes through the symbolism of fashion. The second case is that fashion itself is the object of satire in a cartoon. It satirically described the blind following and destruction of stereotype as direct objects. Fashion satire appeared in cartoons regardless of a correlation with age. Each cartoon fashion satire had meaning in both humor and criticism for satirizing the age. This study shows that fashion symbolism for satire of the reality has been used as the instrument of expression and simultaneously expressed as the object of the critique as an image and phenomenon that reflects reality. This study has significance in that it examined expressive modes of fashion satire in cartoons that escape from separating fashion from cartoon as a different area.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.216-230
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• 2014

The importance of the Chinese fashion market is increasing; therefore, this study investigates the possibility of implementing a Word-of-Mouth (WOM) marketing strategy among Chinese students in Korea. This study examines the effects of consumer characteristics (similarity, opinion leadership, and fashion innovativeness), awareness of Korean fashion brands, satisfaction with Korean fashion products on WOM experiences and WOM behavior (off-line as well as on-line). A total of 161 responses from Chinese students in Korea were gathered and analyzed using SPSS 20.0 for descriptive statistics, factor analysis, and regression analysis. The results show that consumer characteristics (except similarity) significantly influence WOM experiences, opinion leadership influence off-line WOM behavior, and fashion innovativeness influence online WOM behavior. However, similarity has no influence on WOM experiences and WOM behavior. Second, Korean brand awareness affect both WOM experiences and behavior; however, satisfaction with Korean fashion products only affected WOM experiences. This study showed the feasibility of conducting a WOM marketing strategy using the WOM effects of Chinese students in Korea. The study may help the Korean apparel industries establish an entry strategy for the Chinese market.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.2
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• pp.232-249
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• 2022

As the postsecondary school-age population continues to decline, the competition among universities to attract potential students has intensified. As an alternative, we propose to introduce a collaborative marketing strategy to universities to gain the attention of precollege students and parents. This study examines perceived fit, the prestige of university and fashion brands, consumption values, and the category of fashion brands in the context of collaboration between university identity and fashion brands. Utilizing an online survey, we collected 391 responses. The results indicate that perceived fit between universities and fashion brands has a significant impact on the purchase intention of collaborative university merchandise. In addition, the prestige of fashion brands plays a key role, while the prestige of universities has no direct effect on purchase intention. However, the indirect effect of university prestige on purchase intention mediated by perceived fit is significant. Also, this study confirms that social value and emotional value have significant impacts on purchase intention. These findings present a guideline for selecting a collaborative partner, which is the most important task in a collaboration strategy. Finally, merchandising strategies reflected consumption values based on precollege students and their parents' needs are proposed.