• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.247-259
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• 2024

This study assessed the effectiveness of brand image communication on consumer perceptions of cruelty-free fashion brands. Brand messaging data were gathered from postings on the official Instagram accounts of three cruelty-free fashion brands and consumer perception data were gathered from Tweets containing keywords related to each brand. Web crawling and natural language processing were performed using Python and sentiment analysis was conducted using the BERT model. By analyzing Instagram content from Stella McCartney, Patagonia, and Freitag from their inception until 2021, this study found these brands all emphasize environmental aspects but with differing focuses: Stella McCartney on ecological conservation, Patagonia on an active outdoor image, and Freitag on upcycled products. Keyword analysis further indicated consumers perceive these brands in line with their brand messaging: Stella McCartney as high-end and eco-friendly, Patagonia as active and environmentally conscious, and Freitag as centered on recycling. Results based on the assessment of the alignment between brand-driven images and consumer-perceived images and the sentiment evaluation of the brand confirmed the outcomes of brand communication performance. The study revealed a correlation between brand image and positive consumer evaluations, indicating that higher alignment of ethical values leads to more positive consumer assessments. Given that consumers tend to prioritize search keywords over brand concepts, it's important for brands to focus on using visual imagery and promotions to effectively convey brand communication information. These findings highlight the importance of brand communication by emphasizing the connection between ethical brand images and consumer perceptions.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.12
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• pp.1727-1738
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• 2002

세계화, 국제화, 개방화 시대에 살고 있는 우리가 통과의례나 전통 명절과 같은 특별한 행사에 의례복으로 한복을 애용하는 것은 한복이 한국의 문화적 이미지를 강하게 간직하고 있는 한국적 조형물 중의 하나이기 때문이다. 더우기 의례복은 특별한 행사 자체를 위해 착용되었던 만큼 당시대의 내 적 가치를 가장 현저하게 표출하고 있는 복식으로 인정 할 수 있기 때문이다. 본 연구의 목적은 시대 적으로 현대 전통 한복의 기본 형 식을 제공한 조선시대와 그 이후의 복식 중에서 특히 분명한 착용동기와 목적, 복식을 통해 나타내고자 하는 상징성 등을 함축하고 있는 아동용 의례복을 대상으로 복식의 형태, 색채, 문양, 소재 등의 조형 요소를 고찰하는 것이다. 또한 양식적 특성을 살펴보고, 그러한 조형적 특성을 형성시킨 당시대의 사상적 가치를 추론해 보는 것이다. 구체 적인 연구 방법은 먼저 관련된 문헌 고찰을 통한 이론적 배경을 토대로 하여 아동용 의례복의 범주를 설정하고 현재 보전중인 실물과 또는 사진, 풍속화에 나타난 복식 자료들을 수집하였다. 그리고 당시대의 사상적 배경에 대한 고찰을 병행하여 이들에 내재된 문화적 가치를 추출해 보았다. 연구 결과 양식적 특징으로는 남아의 두루마기나 전복 그리고 쓰개류 등에서 기능성을 고려한 변형적 양식이 나타나고 있었다. 색채 역시 음양 보색이나, 오행색을 바탕으로 한 기본색의 구성 이외 에도 소매나 섶에 응용된 색의 배열이나 맞깃 전복의 깃에 나타난 색의 조화는 다양한 색의 조형미를 표현하고 있었다. 특히 색동 등에 나타난 오행색의 배열, 안감과 겉감, 상의와 하의, 외의와 내의에 사용된 색의 조화는 미의식에 관한 문화적 가치를 추론해 볼 수 있다. 더우기 장식 표현에 주로 쓰인 자연물 문양이나 글자 문양은 당시의 지배 사상이 지향하는 덕목 이외에도 전통적으로 내재된 수명과 복록, 부귀와 영화에 대한 내적 가치들을 반영하는 조형적 상징들이라 할 수 있다. 소재는 비교적 계절을 고려하여 사용되고 있었지만 의례적 성격을 지닌 외의나 쓰개류의 경우 계절적 구분을 고려하지 않은 경우도 많이 나타나고 있었다. 장신구의 경우는 많이 사용되는 것은 아니나 역시 상징적 인 가치를 표현하는 실물들을 미적으로 재구성한 사례들이 나타나고 있었다. 이상의 연구를 통해 아동용 전통 의례복은 형태, 색채, 문양, 소재, 장신구 등에서 양식의 다양성과 변형들을 알 수 있었다. 또한 적극적인 내적 가치의 상징들을 복식을 통해 표현하고 있었음을 알 수 있었다. 현대 복식의 디자인에 있어 아동용 의례복에 나타난 창조적인 양식의 변형과 다양성 그리고 복식을 통한 내적 가치의 반영 등이 현대 사회와 조화를 이룬 실질적인 복식 디자인 제시 및 창작에 작은 영감으로 작용하길 바란다.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.111-123
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• 2000

This study compares architecture with dress, investigates the image of transparency expressed in modern dress, and reveals its modern meaning. That is the purpose for this study. The study results are as follows. First, purity was expressed with simple, white color which has not any exaggeration or decoration, and transparent veils of wedding dress express clean and pure image which represents the original meaning of wedding dress. Second, eroticism conveys being erotic by exposing human body through transmission of light over transparent materials. Eroticism expressed by wearing thin and transparent dress with body-conscious line almost like being nude or emphasizing the sexually curious area in human body. The biggest difference in this study is that eroticism is delivered in dress, but not in architecture. Third, playfulness shows synchronism which recognizes human body with transmission of light over ,linear, transparent materials or recognizes inside dress. Playfulness expressed with location switch between inside and outside, exaggeration, distortion , and emphasis. Forth , openness makes dress atmosphere soft by putting transparent materials over opaque materials, expressed separation from restriction by wearing transparent dress over a naked human body, and expressed open ad free image by expressing human emancipation and freedom. Transparent dress expressed modern human being's sensitivity desire for living with light and joyful mood departing from heavy through, and also open and free image which pursues for freedom of human boedy departing from the restriction of human body.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.38-50
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• 2005

The purpose of this study is first, to see through the aesthetic essence of the clothing as art, through theoretical consideration of cultural feature and body style in Postmodern Feminism. Also, this study will examine the aesthetic value in artistic meaning regarding a Deformational body image in visual an. Second, this study will analysis the formative character of Modern Art to wear which expressed unfixed body style, followed by the change of Postmodern Feminity, as a Deformation image. This character will be categorized by Expansion, Grotesque, Pleasure, and Virtuality. The following is the result of this study. Expansion expressed in modern Art to wear created intentional structure of the form, and intentionally presented refusal of body existence through disembodied. Grotesque expressed refusal and deviation of women's ideal body style, which is defined by mannish discourse, very grotesquely. Pleasure pleasantly presented free emotion through an intentional transformation like distortion or imbalance of the body By paradoxically reproducing women's virtual body as other unfixed female identity was expressed visually through virtuality to embody post-gender.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.316-323
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• 2011

This research aim concerns questioning how we can generate environments suggestive of nature fused with built environments through textiles. Through literature reviews and experiments with available the 3D imaging techniques of Holography, Lenticular and other new technologies. We also have researched towards finding the most effective method for 3D imaging techniques for textile applications. The advantage of the combining technique is to create the possibility of seeing a number of different floating 3D illusory images, depending on the viewing angle. This objective is to produce intriguing textile patterns and images in which the objects and colours change as viewpoints change. Experimental work was carried out in collaboration with professional textile researchers, scientists, artists and designers conducting research in this field.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.411-421
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• 2000

Black froak coat, white shirts, top hat and cane has been the symbol of gentlemen in 19th and early of 20th century. The pattern invented by Savile Row in London prevailed whole England. Such a pattern has been the standard form for two hundred years all over the word, although it was replaced with a functionalism which developed in Italy and America at the end of 20th century. The clothes of gentlemen was developed by several factors ; English people respect a tradition. The clothes was practical, since the weather in England was bad. The success of Industrial Revolution made England wealthy. Various special clothes in sports, for example, riding, criket, golf and tennis also contribute the modern gentlemen clothes with advance tailoring technique. The change of gentlemenship with social environment, from Regency dandy, Romantic gentlemen to Muscular Christianity, was studied. Idial gentlemenship and development its clothes which is now the standard of modern men's wear also studied.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.54-67
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• 1999

The purpose of this study were (1) to segment the female college students according to apparel shopping orientation and (2) to create a profile for each group with regard to impotance of store attributes, use of information sources, and self-image. The questionnaire were administered to the female college students living in Seoul and data were analyzed by frequency, percentage, factor analysis, cluster analysis, one-way ANOVA(analysis of variance), and MANOVA(multivariate analysis of variance). By cluster analysis of apparel shopping orientation factors, four groups are identified : (1) highly involved apparel shopper (44.34%), (2) brand-loyal shopper (24.43%), (3) planned / practical shopper, and (4) apathetic shopper (18.10%) Four groups were then compared through MANOVA on importance of store attributes, use of information, and self-image. Significant differences were found among four groups on three variables. In general. highly involved shopper tend not to be price conscious, enjoy shopping and use the information sources most actively and apathetic shoppers tend to be indifferent to apparel shopping and do not actively use the information sources.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.825-837
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• 2007

To analyze the design of Christian Dior, 216 pieces of Dior's works were collected and studied from the COLLECTION(Seoul: Dong Ah TV) from 2003 to 2005. The result is as follows. In recent three year period, Christian Dior maintained the feminine image and implemented different additions such as sexy, ethnic, avant-garde and casual image in every season. Also, to reflect a new trend or fashion sense, images of ethnic, retro, hippie or vintage were applied. In using color, different main color(YR, R, Y, BG, RP, B) were chosen every season to pursue variations. For the pattern usage, feminine beauty was presented by numerous applications of flowered pattern. Also the practice of pattern and hue in different rations in every season pursued variations in design.

• The Research Journal of the Costume Culture
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• v.6 no.4
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• pp.188-202
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• 1998

The purpose of this study is to analyze how future images are embodied in contemporary fashion design. To find out future images expressed in contemporary fashion design, this paper characterized the future society as information society, network society, pluralistic society, and global village. Cyber design and techno-style expressed through metal or lustrous material which is influenced by information symbolize future image. Also, minimalism which is characterized as simplicity and purity affects the contemporary fashion design. The network society which affets t the horizontal and functional social system diminishes the meaning of socio-economic status. Therefore, street fashion has diffused to high fashion, and the formal wear has tendency to be changed into casual wear. In addition, the meaning of status symbol in contemporary fashion design become decreased. The pluralistic society affects to search for one's own personality and identity. Also, contemporary fashion design is influenced by post-modernism and deconstructionism. In order words, genderless, ageles, seasonless, and infra fashion appeared. The global village emphasizes extension of universality in life style and search for world quality. so, ethnic fashions appear frequently in contemporary fashion design. Also, the effects of Korean traditional costume to contemporary fashion design has increased.

• The Research Journal of the Costume Culture
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• v.6 no.4
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• pp.13-25
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• 1998

This study focuses on the visual effects of various neckline-haristyle combinations on the perception of face image and type. The study employed a model with oval face and examined 35 combinations made up of five necklines and seven hairstyles. Looking at various face images depending upon different necklines, in case of round, V, boat square, and high necklines, long wave hair and medium wave hair produced a feminine image of marked individuality; long straight hair that covers the forehead and medium straight hair gave an image of charm and purity as well as an image of neatness; and long straight hair short cut hair showed an intellectual image. Regarding the perceptual type of face depending upon the different necklines of round, V, square, and high, the long straight hair covering the forehead and medium wave hair had the effect of an optical illusion that made the face look short and round; and short cut hair made the face line look distinct and the face look oval and slender.