• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.71-82
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• 2009

The purpose of this study is to help understanding of patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The methods of this study are the study of academic literatures as well as practical study through the analysis about actual works. The results of study are like followings. An inquiry of Pattern history in 20c is divided into six periods by the classification of styles and the styles of fashion culture according to other artistic formative will. Main trends of Pattern's image in each period and characteristics in each dimensions of Pattern image positioning are like followings. Art Nouveau style period from 1900 to 1910 is , Art Deco style period from 1910 to 1920 is , Elegance style period of 1930s is , and New Romantic style period from 1945 to mid 1950s and Pop style period from late 1950s to mid 1970s does not show main Pattern image but they are shown in four Pattern image of , , , . Compromising style period from late 1980s to 1990s shows all of four Pattern image, at the same time shows intensive main Pattern's image, .

• The Research Journal of the Costume Culture
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• v.20 no.4
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• pp.604-615
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• 2012

Despite the increasing recognition of the value of emotions and younger consumers in luxury market segments, little research has focused on the role consumer characteristics and emotions play in younger consumers' commitment to luxury brands. Drawing on the identity-motivation model and the idea of self-construal, this study identifies the contributing factors of younger consumers' commitment to luxury fashion brands. Specifically, this study examines the role of consumer characteristics (i.e., self-construal), the self-expressiveness of brands, and emotional factors (i.e., brand love and brand attachment) in developing consumer-brand relationships. The proposed model was tested with college students in the U.S., which supplied a representative group of younger consumers of luxury fashion brands. The data were collected using web-based surveys and analyzed using structural equation modeling method. The results showed that consumers who were characterized with interdependent self-construal had positive perceptions of self-expressive luxury fashion brands. Furthermore, the perception of self-expressive brands promotes the consumers' brand love of and brand attachmentto luxury fashion brands. Also, while both improved brand commitment, brand attachment had a greater impact on brand commitment than brand love. This study contributes to the literature by identifying driving forces of younger consumers' brand commitment. It also provides managerial implications for luxury fashion brands.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.1
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• pp.159-167
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• 2011

The purpose of this study is to understand graffiti images in fashion trends since 2000 and to play a guiding role in the development of fashion designs. The methods of this study are an academic literature review as well as practical study through actual case studies about. The formative characteristics of graffiti in fashion since 2000 are summarized as amusement, abstract and improvisation as follows. First, amusement graffiti is humble, weak and unfinished, but the immature and informal characters give people vitality, composure and enjoyment. It stirs up memories of childhood and induces a close affinity and comfort, and so It expresses relaxing and cozy desire. Second, abstract graffiti represents ambiguity and obscurity beyond form. It is born by reacting to equality, symmetry, mechanism, man-created beauty and the completeness of modernism. The characteristics are disorder, uncertainty, incompletion, uniformity, freedom, nature and so on. Third, improvisation graffiti is deeply related to 'indeterminacy' of post modernism which cannot forecast a perfection. This is more important as a process than an effect. Improvisation pursues humanism which denies perfection and determinacy by reaction of new technology.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.27-34
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• 2011

Creative application of exaggerated measurements and origami principles can make clothing design unique and formative clothing design possible. There have been many techniques applied to formative clothing design, but, in particular, origami principles, in company with exaggerated measurements, play a significant role in enlightening clothing uniqueness and formativeness in contemporary fashion design. The primary purpose of this study was to make a new suggestion for the production of high value-added fashion by reviewing and synthesizing exaggerated measurements and origami principles. Diverse relevant designs were retrieved through a comprehensive literature review on topic-related theses, books, and fashion media from 2000 and significant cases were retrieved from Rick Owens, Damir Doma & Haider Ackermann out of 2008 & 2009 F/W collections. From a comprehensive review, the following formative characteristics of exaggerated measurements and origami principles applied to clothing design were identified: (1) expandability, (2) fluidity, (3) deconstruction, and (4) irregularity. In addition, the following value of exaggerated measurements and origami principles applied to clothing design were identified: (1) alterability, (2) form potentiality, and (3) contradistinctive formativeness.

• The Research Journal of the Costume Culture
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• v.20 no.6
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• pp.923-936
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• 2012

Apparel companies define their target customers to integrate consumers' needs into their product development processes. The sizing standards play a significant role in ready-to-wear garment business. Consumers' body build and sizes are different according to gender, age, and body type. The consumers' morphological feature of the one geographical area has changed with immigration, aging, and lifestyle change. In this study the way of defining body types in the standard garment sizing systems published in USA., UK, Germany, Japan, and Korea were compared. The results of this study show that most of the systems classified the body types by the index value. The chest-waist drop value was used for men's body type classification. Women's body types were defined by hip proportion. The hip-bust drop value was used for it. German and European garment sizing systems provide a wide range of men's body types. US men's garment sizes are developed for very conservative body type. US women's garment sizing system has had clearly defined women's body types. The Misses body types projected in the US garment sizing system had changed as women's waist girth got bigger compared to the past. In 2011 the US Misses sizes were divided into Curvy Misses size and Straight Misses size by the hip-waist drop value. The Curvy Misses sizes have smaller waist girth and larger hip girth than the Straight Misses sizes.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.181-198
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• 2020

Using the developed wedding planner selection criteria scale, this study examined whether wedding planner selection criteria differ according to consumer characteristics such as demographic characteristics and wedding preparation behaviors. The main survey for this study was conducted via the Internet with 295 consumers aged 20-30 living in the Seoul metropolitan area. The data collected from the survey processed and analyzed using the statistical programs SPSS 21.0 t-test. Analyzing how wedding planner selection criteria differ according to consumers' demographic characteristics and wedding preparation behaviors, results shown for the wedding planner selection criteria were all four points on average except for individual characteristics and important sub-factors regardless of the consumers' characteristics, and various results were derived depending on the consumers' characteristics. This study has various practical implications in that it verified the difference in wedding planner selection criteria according to consumer characteristics and determined how much money consumers were willing to play for wedding planners. It is recommended that future studies take various approaches to investigate how wedding planner users are satisfied with or place importance on wedding planner services and conduct empirical using the selection criteria developed in this study to compare influential variables that affect behavior intention and willingness to pay according to consumer type.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.139-164
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• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.

• Journal of the Korean Society of Costume
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• v.40
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• International Journal of Costume and Fashion
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• v.17 no.1
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• pp.59-72
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• 2017

This study aimed to analyze the dilemmas of aging and down-aging by the senior street look, and to examine the styling, psychology, and attitudes of the elderly through socio-cultural discussions. It was conducted through a multidisciplinary literature review and empirical analysis of seniors featured in fashion photos collected from SNS. With respect to seniors' fashion attitudes, firstly, they make personal/social records of dress as a means of recording aging and to reminiscence. Secondly, they attempt to down-age kidult play using mature humor. Thirdly, they try to express a perfect, moderate, and mature beauty to positively adapt themselves to aging. Fourthly, they adopt a regional and ethnic look to escape from the dilemmas accompanying aging and down-aging. This may be regarded as an attitude for repositioning themselves and planning a new life by escaping from a long-standing frame. Finally, they show a desire to stop and enjoy the moment of aging. While recording their cherished everyday lives, they enjoy the present rather than becoming concerned about the past or the future and use styling as a cure for their lives.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.2
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• pp.123-133
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• 2004

This research analyzed the role of sex and clothing in the seventh version of elementary school textbook-Korean. Analyzed materials were described contents and illustrations or pictures in textbooks - Korean of the wholeclasses with content analysis. The followings are the summary of the results. First, the proportion of males to females is 55.6%. Second, the proportion of female's skirts to trousers is 80.6%. Third, the proportion of female's long hair style to short hair style is 61. 9%. Fourth, mother and female-teacher clothes mainly show skirts. Fifth the results compare father's working with mather's in home: fathers mainly spend the time with family and mothers mainly cook and play roles of housewife. As it was shown above, the ratio of sex in textbooks of elementary school has a tendency to be unfair. Clothing and apperearances of female don't also reflect the present actual tendency. Contents of textbooks are apt to emphasize on the traditional feminine attitudes.