• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.2
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• pp.149-161
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• 2008

Since the use of textile has become more extensive and applied for various products, today, the importance of utility, ornament and civilization of textile is emphasized. Textile design should be able to satisfy the designer's creativity and his/her world of art. Moreover, it should be appropriate for the industrial technology circumstances, and taste of consumers. In Korea, traditional culture has been extremely valued, allowing people to be more interested in textile designs derived from traditional cultural. Therefore, designs inspired by the spirit and sense of traditional patterns has been used to develop modern textile designs. Prior research on products, however, show that cultural motive was insufficient, therefore, in this research the purpose is to design textiles and to develop Korean neckties, an essential component of men's attire, by adapting Korean traditional patterns. In order to conduct the research, first, numerous parers on Korean traditional patterns have been studied to select fundamental data about the development of necktie textile designs. Second, Korean traditional patterns were applied while following the target and concept, and two pieces of necktie textile designs have been suggested. Patterns had been designed by hand drawing and CAD system, they have been suggested as a portfolio. As a result, this article suggests new necktie designs utilizing Korean traditional patterns and, attempts to develop particular pattern designs, which have power to accommodate globalization and to express the special qualities of Korea.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.1
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• pp.71-90
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• 2017

The purpose of this study is to identify the characteristics of currently targeted consumers of the fashion enterprises. It also aims to assess the value of consumer-related variables that are related to market segmentation. In order to identify the characteristics of targeted consumers, the contents of brand concept and target of 143 brands for women's clothing, and 79 brands for men's clothing were qualitatively analyzed. The results are as follows. First, the demographic characteristics of both male and female included the desire to appear younger, and be more youthful in sensibilities than their actual age. In terms of occupation, male had more variety and concreteness than female. Male and female were above middle class, with an emphasis on being a part of the new generation, one that is young, free, healthy, and leisurely. Second, the psychological and behavioral characteristics of both male and female consumers included the benefit sought of the following: rationality, economy, practicality, functionality, individuality, fashionability, and aesthetics. Their fashion orientations were found to be practical, rational, fashionable, expressive of individual style, and aesthetic sensibilities. Their lifestyles were characterized by elements such as rationality, smartness, urban, active, healthy, young, leisurely, and stable. In terms of the spirit, female had a tendency to be intelligent, elegant, and sensitive, while also being self-reliant, self-disciplined, and unafraid of challenging situations. The male consumers had a tendency to be rational, progressive, passionate, and embracing change, with emphasis on legitimacy, honor, success, pride, and affluence. Third, the usefulness of consumer-related variables in targeting consumers was different according to male and female. These results show that there is a need for these variables to be looked at more closely during market segmentation process. This research may be used as base material in setting up the brand concept and the target market.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.8
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• pp.1500-1511
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• 2001

The purpose of this study were (1) to analyze the current fashion web-sites on the internet, which were increasing rapidly in number, (2) to find out the users purchase experiences of fashion products at internet shopping malls and satisfaction level on the information provided by the fashion sites. The questionnaire was administered to 332 women & men and data were analyzed by frequency, mean, standard deviation, factor analysis, reliability analysis, ANOVA and t-test. The results of this study were as follows. The factors on the satisfaction of information fashion web-sites categorized as 5 areas: Economy$.$Convenience, Aesthetics $.$Recreation, Variety $.$Interests, Up-to dateness $.$Specialization, and Reliability$.$ Precision. On the factor of Economy$.$Convenience, the users who had more frequent access and who were in their 20’s expressed the higher level satisfaction. On the factor of Aesthetics$.$Recreation, the users who had longer periods of time of use, who had lower level of internet shopping mall involvement, and students appeared to be more satisfied. On the factor of Variety$.$Interests, the users marking higher level of satisfaction were those who had higher frequency of uses, who had shorter period of time of use, who had lower level of internet shopping mall involvement and were students. On the factor of Up-to-dateness$.$Specialization, higher level of satisfaction was shown among the users who had shorter period of time of use, who had higher frequency of uses, who were in their 20’s and who were students. There was no significant differences according to Reliability & Precision factor.

• Journal of Fashion Business
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• v.25 no.3
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• pp.36-50
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• 2021

In the COVID-19 era, globally, companies in the fashion industry are pursuing new convergence methods through digital technology. Conventional fashion shows have become difficult to run exclusively, instead, the shows are run through a combination of offline and digital arrangements. This paper examines the trends of seven digital fashion show weeks in London, Paris, Milan, New York, Seoul, Shanghai, and Tokyo, and presents strategies applicable in Korea's Seoul Digital Fashion Week. We focused on the digital technology used in the digital fashion weeks fashion brands, and the characteristics of the host cities. The study conducted a literature review and case study through corporate and research report data, and the Fashion Week website. Based on the study results, changes in fashion industry calendars like 'See now, Buy now', seasonless, and unified collections for men and women, expansion of D2C system, the rise of short-form contents, and the expansion to the virtual world space and physical limitations can be cited as changed trends. The study provides insight into the incorporation of the Korean Wave and K-Pop singers, industrial structure change, and the establishment of B2B system in the Seoul digital fashion week. The shift to the digital runway is not only an alternative method to cope with the COVID-19 era but also a new "new normal". Fashion shows are no longer fixed and planned in free spaces. As a venue displaying the creator's personality, digital fashion week is expected advance in the future.

• Journal of the Korean Society of Costume
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• v.20
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• pp.125-135
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• 1993

The purposes of this research are firstly to define the characteristics of movement on the costume, secondly to demonstrate that fine art, expecially in relation to kinetic art, has become a good motif in modern costume de-sign, and thirdly to examin the characteristics of movement as shown in modern costume de-sign. For this study, we selected and analyzed some costume designs among those introduced in fashion magazines, which are Collections, Fashion-Preview, Fashion Show, Collezioni, and L'Officiel that have been issued since 1988. As this research is carried out only through the analysis of pictures, it is not ac-companied by a study on material itself. The result of this study is that the ex-pression of movement on modern fashion can be shown in two ways, one is the inclusive and subordinate movement expressed on the cloth-ing according to the motion of body when they are worn, and the other is the movement caused by the very designs of clothing. And the latter can be also divided in two ways, the illusionistic movement and the actual move-ment. The expression of actual movement is made through the emphasis of direction, rhythm, and dimension of the costume. And the illusionistic movement is expressed by the de-sign to which the textile pattern or reflection of light is applied so that the movement is larger than the actual movement. A sense of direction expressed on the cos-tume by the actual movement creates a light rhythm and adds interest to the costume. This reflects a part of psychology of modern men who are not accustomed to the statics. In the rapidly changing society of information our modern men seek after movement even in the statics. It is also true in the clothing and they seem to get a psychological rest through the immediated visual change as shown in fashion design. The simple and cheerful rhythm expressed by the illusionistic movement on the costume is attempted in order to overcome the static tediousness caused by simple design. These elements of movement cause the en-largement of visible range and create another enlarged shape other than the real one, so that they come to remove the dullness and monot-ony in costume design and provoke interest in costume, as if kinetic art reveals the various aspects that transcend the closed area of fine art upon the motif of 'movement'. finally, as this paper deals with the ex-pression of movement as shown in the costume design which prevailed after 1988, it is desir-able hereafter to study more about the fashion since 1950 when kinetic art began in earnest, along with the comparative study on the ex-pression of movement in our Korean designer's and foreign designer's works.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.869-879
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• 2009

The purpose of this study is to understand the Tecktonik culture and fashion, and to compare its features in Korea and France. Unlike prior studies which mainly dealt with subcultures in the U. S. and the U. K., this study paid attention to the condition of Korea. Tecktonik is a dance and music craze that originated in France in 2000, and spread worldwide via the Internet. The main features of Tecktonik fashion are slim fit, vivid colors, and high-top sneakers, which represent current fashion and culture trends, and express the feeling of Tecktonik music and dance. Compared to France, Korean Tecktonik fashion emphasizes sexual attraction of women with short skirt, while men are conservative about mohican hairstyle and dark make-up. In France, Tecktonik has become a sound social amusement, while in Korea it has been used for advertisements or entertainer's fashion style. The subcultural characteristics of Tecktonik were identified as playfulness, the active use of digital media, and high commercial value. In France where Tecktonik is for participating in a joyful dance, playfulness is prominent, and in Korea where Tecktonik acts as a visual entertainment, commercial value is outstanding. It has made differences in Tecktonik fashion of the two countries.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.10
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• pp.1695-1706
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• 2001

본 연구는 조선시대 남자 포제(포제에 나타난 복식이미지의 구성요인을 밝히고 남자포제 유형별(철릭, 답호, 직령, 도포, 창의, 주의), 시기별(전기, 중기, 후기) 복식이미지를 알아봄으로서 조선시대 남자포제가 가진 복식이미지를 밝혀 현대 전통복식 디자인에 응용될 수 있는 기초적인 자료를 제공하고자 한다. 의복 자극물은 남자 평상복을 중심으로 하여 조선초기(1477년∼1543년)의 남자 포제로는 철릭, 답호, 직령 3점과 조선중기(18세기)는 도포, 창의 2점, 조선후기(17세기 후기∼20세기 초)는 주의 1점으로 하였고, 당 시대의 정화한 복식이미지를 살펴보기 위해 유물을 복원 제작하여 사용하였다. 이것을 모델에게 착장시켜 슬라이드로 제작한 후 자극물로 제시하였다. 의미지분척도외 구성은 자유언어연상법으로 형용사를 수집하여 23쌍의 형용사쌍을 구성하였다. 패널단은 대학생 남·여 총 600명으로 하였고 자료분석은 SAS을 이용하여 요인분석 분산분석 등을 사용하였다. 1. 조선시대 남자 포제의 요인구조는 품위성 요인(25.2%), 활동성 요인(l4.2%), 관할성 요인(37.9%), 현시성 요인(6.7%), 경연성 요인(5.7%)으로 구성되었으며, 이들 5개 요인의 전체변량 62.7% 중에서 품위성 요인, 활동성 요인, 관할성 요인이 전체변량의 50%를 넘어서 이 세 요인이 남자 포제에서 기본적으로 느껴지는 중요한 요인임을 알 수 있다. 2. 조선시대 남자 포제 유형별 복식이미지의 차이를 알아본 결과, 철릭은 가장 부자연스러운, 주름있는, 곡선적인, 부드러운, 특이한 이미지의 포제로 나타났으며, 답호는 가장 절제된, 직선적인 딱딱한, 특이한 이미지로, 직령은 가장 비활동적인, 답답한, 전통적인 이미지로 도포는 가장 품위있는. 관할한 이미지로 창의는 다른 포제에 비해 평범한, 단순한, 이미지로 주의는 가장 품위 없는, 일상적인, 활동적인, 단순한, 순수한 이미지의 포제로 평가되었다. 모든 남자포제가 전통적, 순수한 이미지의 포제로, 철릭을 제외한 모든 포제가 단순한 이미지로 나타나 조선시대 남자 포제가 공통적으로 가지는 이미지는 단순하고 순수한 이미지를 가지고 있음을 알 수 있다. 3. 남자 포제의 시기별 복식이미지에서는 조선전기(철릭, 답호, 직령)의 포제는 관할성 요인이 높은 의례적인, 관할한, 특이한 이미지로 평가되었고 조선중기(도포, 창의)의 포제는 품위있는, 절제된, 풍성한 이미지로 평가되었으며, 조선후기(주의)의 포제는 활동적인, 단순한, 직선적인 이미지로 나타났다. 따라서 시대별 남자 포제의 이미지는 시대적 여건과 상황에 따라 변화되어 왔으며, 시대에 따라 추구하는 이미지가 달랐다는 것을 알 수 있다.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.837-847
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• 2007

1,098 pieces of photographs($1995{\sim}2002$) of men's suit style have been classified according to fashion images in order to examine features and change aspects with statistical analysis. The findings of examining features of the trend by year with test of homogeneity, correspondence analysis, biplots, correlation analysis and regression analysis are as follows: (a) there are significant differences on fashion images as the trend by yew with test of homogeneity, (b) there are remarkable differences on the fashion trend by year with correspondence analysis and biplots. (c) There are significant correlations for appearance among fashion images by its frequency through correlation analysis, and (d) it is assumed that fashion images are going to be gradually outstanding according to regression analysis.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.7
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• pp.801-815
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• 2011

This study examines the characteristics of marketing and customer that influence the selection of multichannel (preference/frequency of use) in the fashion retail. The subjects of this study are men and women live in Seoul/Gyeonggi province and Busan/Gyeongsangnam-do in their 20s-40s who have shopping experiences in fashion items of more than 2 shopping channels among offline stores, catalogs, and the internet. The survey period was from March to May 2010 and 411 forms were used in this survey. The data were analyzed by a reliability analysis (Cronbach's ${\alpha}$), a factor analysis, t-test and one-way ANOVA. The main results of this study are summarized as follows. First, marketing characteristics, which effect the selection of multichannel (preference/frequency of use), consist of sales promotion, service, price, merchandise, and distribution. Those have a significant influence (***p${\leq}$.001) on choosing multichannel of fashion retail. Price has a significant impact on the preference of multichannel and merchandise affect for frequency of use in multichannel shopping. Second, customer characteristics have a significant influence (***p${\leq}$.001) on the monthly average purchasing amount, shopping hours, shopping frequency, brand knowledge, and price sensitivity. Particularly, monthly average purchasing amount & shopping frequency have meaningful differences in the frequency of using multichannel; in addition, shopping hours were affected by preference & frequency of use. Price sensitivity has a greater influence on the frequency of using multichannel and brand knowledge has a greater effect on multichannel preference. Customer's information searching characteristics have main 3 factors through the use of marketing information, personal information and experience information. Application of experience information is the main factor in preference and frequency of using multichannel shopping. The customer demographic characteristics of age (*p${\leq}$.05, **p${\leq}$.01) and gender (*p${\leq}$.05) show a difference for selecting multichannel. There is no difference for marital status, average household income per month, and job.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.89-104
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• 2006

The purpose of this study is to explain how a power group in a society forms features of sexuality in dress. As for the research methodology, first, historical research was undertaken to study in socioeconomic context in which sexuality has been formed and transformed. Second, demonstrative studies on sexual-image styles were undertaken through the analysis of pictures and photos. Third, analysis of the relationship between the power and sexuality in dress was done by literature research. Masculinity in dress, such as simplicity and concealment, corresponds to the attributes of the viewer, and femininity in dress, such as decoration and exposure, corresponds to the attributes of the viewee. Power struggle is the complex process of forming of the viewer-viewee relationship. The one who grasps the power becomes the viewer. In the shift from the Industrial Society to the Information and Technology Society, powers are horizontally spread over the society and the stereotype of sexuality in both women's and men's dress is fading out. In the field of design, standards and certainty described by absolute power are losing their importance. The 'chaotic' view of a world filled with mutual exchange of masculinity and femininity and uncertainty of sexuality will be sure to be a dominant trend in fashion.