In order to develop high value fashion culture products capable of reaching the global market, this study developed the original traditional clothing design of Northeast Asian countries according to a global perspective. This study applied the structural formality of traditional clothing to fashion cultural products. This study developed designs using Deel of Mongolia, Makap of China Korean Dang-ui / Dan-ryung, and Haori of Japan. The research methods are theoretically examined using literature on traditional clothing in Northeast Asia. First, it designed a shirt design using Adobe Illustrator CS6 and created a pattern with the Yuka program as well as applied CLO 5.0 (a 3D virtual dressing system from CLO Virtual Fashion Co.). A survey was also conducted on individual interest for the developed fashion cultural products. The design method obtained various design effects by applying the method of adding point detail parts of the clothes to the shirt that represented each country among their traditional clothes. This research can be used as basic data for the global fashion cultural products market that can contribute to maintaining the originality of each country in the global era, expanding tourism income to succeed and develop culture and tradition.
This study utilized the wearing test of subjects and a preference survey to determine wearing preference on types of blouses according to shoulder angle. The shoulder angles of the subjects were set as average shoulder, slopping shoulder, and square shoulder. The blouse sleeves were set as set-in, raglan, and kimono according to five domestic clothing construction books. A total of 15 blouses were made and tested by different bodices and sleeve types. The wearing test of subjects had the human subjects evaluate the appearance of the subject looking at the mirror while standing as well as evaluated the sensation test while not looking at the mirror. The preference survey was given to 100 females and was conducted using photos with combinations of three types of sleeves and shoulder angles in a survey under the same conditions. The average shoulder showed that set-in with the highest score in the wearing test was also preferred in the preference survey. The slopping shoulder evaluated the highest score in the wearing test by mirror; however, the preference survey showed that raglan was the most preferred choice. The squared shoulder showed that raglan with a high score in the wearing test by mirror was also preferred in the preference survey.
Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.
The objective of this study was to investigate dyeing characteristics of silk, cotton and rayon fabrics using dyeing solution extracted from different varieties of tea. Comparative results of CIE Lab values of 360 pieces of dyed fabrics were studied to quantify the effects of dye concentrations (100%, 150%, and 200%) and mordants (Fe, Cu, Sn, Al). In addition, the color difference values (${\Delta}E$) of the dyed and mordanted fabrics were evaluated. The results of the study were as follows: First, among all of the 360 pieces of silk, cotton and rayon fabrics, the best dyeing effects was observed on silk fabrics. Second, the dyeing effect of the eight different types of tealeaves belonging to green tea, oolong tea, black tea, and dark tea tended to enhance as the degree of fermentation increased. Third, when the fabrics were mordanted with Fe, Cu, Sn, Al mordants, various colors such as brown, brownish red, brownish yellow, gray, and reddish brown were obtained.
This study empirically investigated the relationship benefits perceived by consumers from a live commerce channel and verified effects on trust in seller/product relationship and purchase intention to establish a strategy for a live commerce channel. An online survey was conducted among 204 women residing in Korea who had watched a video on fashion products shown by the NAVER Shopping channel. The perceived relational benefits from the live commerce channel were extracted into four groups: psychological, social, economic, and customerization benefits. Psychological benefits were found to have a positive effect on trust in seller but not trust in product. Social benefits and customization benefits had a positive effect on both trust in seller and product, but economic benefits had no effect. Trust in seller and in product had positive effects on purchase intention. Understanding consumer response in relation to perceived relationship benefits in live commerce can contribute strengthen consumer behavior research on live commerce channels. These results can guide fashion companies as they develop live commerce marketing strategies.
The domestic fashion industry of the middle and late 20th century emphasized the importance of a standardized design process; however, the values of differentiated brand individuality have become increasingly important with the qualitative·quantitative growth of designer brands. Therefore, paying attention to designer individuality (or a differentiated element of a designer brand growing up in the domestic fashion industry) this study reestablished factors of the designer brand individuality. An in-depth interview was conducted with 13 designers and consumers for empirical analysis. In order to identify concepts of designer individuality based on the theory of the brand personality by Aaker along with precedent studies, the study devised a theoretical frame to explain a conceptual structure of designer brand individuality as well as reestablish its factors as the designer individuality, design and non-design factors through empirical research. Empirical research derived the designer individuality factors as an external designer image, designer taste, design philosophy and designer personality. Design factors were derived as concept, working process and method, style and formativeness. Non-design factors were also extracted as wearing experience, wearer image, lookbook image, fashion shows and exhibitions. It is meaningful that little empirical research has been conducted on domestic fashion designers who actually run designer brands and that this study helped understand designer brands through a new approach called designer individuality.
This study aims to provide basic data to suggest guidelines for re-education and work improvement of modelists based on the analysis of the current status of modelist work and education. A survey was conducted from January 4 to May 15, 2020, targeting 44 people working in pattern, pattern CAD, and grading in domestic apparel companies. Descriptive statistical analysis and frequency analysis using SPSS 25 were employed to analyze the status of work type, work difficulties, and re-education. For pattern production, the rate of using pattern CAD for business was high. It was found that companies mainly use YUKA CAD (63.8%), and branded companies use pattern CAD (100%). It was found that 3D CAD is mostly employed by vendors (88.9%), and CLO (90%) is mainly used. Regarding difficulties in pattern making, it was found that they experienced difficulties with stretchable materials owing to the amount of shrinkage and sagging of the fabric. The work problem was the lack of requisite working hours owing to the volume of work. Regarding future re-education, 63.6% of the total respondents indicated that they required a course related to pattern correction and material. Moreover, it was found that re-education was necessary to upgrade technology and acquire new knowledge, however, information on re-education was insufficient.
This study aimed to understand the current status of practice for sustainability in luxury fashion brands. A total of five luxury brands (Louis Vuitton, Hermès, Gucci, Burberry, and Prada) were selected. Each company's official website, sustainability reports, and articles on sustainability practices were compiled. In addition, analysis was performed based on criteria of sustainability such as environmental, social, economical, and cultural dimensions. As a result, the biggest commonality of the five brands was that they promoted the most active change in the environment. These brands tried to reduce energy consumption in materials and production processes. Among them, Burberry, Gucci, and Louis Vuitton had their own departments for sustainability. However, there were differences in strategies of activities between brands for social, economical, and cultural sustainability. Among the five companies, Burberry and Gucci pursued sustainability strategies the most aggressively. They separated their sustainability strategies in terms of environmental, social, economical, and cultural aspects and shared them with consumers. A set of outcomes for the plan were provided as objective data. The sustainable management strategy has become a key strategy for long-term growth of the luxury brand market. To survive in the market, luxury brands should elaborate sustainable management strategies and actively share them with consumers.
The purpose of this study is to develop clothing customized for dealing with patients with severe dementia. Based on the results of previous studies, The research patient clothing was designed to reduce the physical fatigue experienced by caregivers when dressing and undressing patients by changing the position and shape of the split in the patient's clothing. This study used qualitative and quantitative methods to measure the extent to which these modifications improved the ease of dressing and undressing the research patient. The research patient clothing was developed by moving the rear-center zipper to the side and changing the zipper from being half-open to fully open. Muscle energy consumption and fatigue generation were analyzed using EMG signals at the following sites: brachioradialis, biceps, triceps, anterior deltoid, medial deltoid, posterior deltoid, upper trapezius and erector spinae. Results indicated that the modified research patient clothing required less muscle energy and the occurrence of muscle fatigue decreased overall compared to traditional patient clothing. This was supported by the qualitative subjective evaluation, which revealed that dressing and undressing was easier with the modified clothing. In conclusion, repositioning of the back zipper to the side and the fully open slit shape significantly reduced caregiver fatigue when dressing and undressing patients.
This study identifies influential factors in regards to the purchase of celebrity fashion hot items and compares these factors in the age groups of teens and twenties. This study surveyed male and female consumers aged 10-20 years old for empirical analysis in July 2018. The study surveyed 322 consumers selected through online convenience sampling. Data were analyzed using SPSS for Windows 19.0, descriptive statistics, reliability analysis, ${\chi}^2$ analysis, regression analysis, ANOVA analysis, Duncan test, and t-test. The results were as follows. First, 87.6% of consumer have purchased celebrity fashion hot items more than once. In particular, female consumers in their 20s with a high fashion product expenditure tend to purchase more celebrity fashion hot items. Clothes and shoes were purchased more by 10-year-old males, shoes for males in their 20s, accessories for 10-year-old females female, and bags and accessories for female in their 20s. Second, there were no significant differences for those aged 10-20 years old in purchase satisfaction for celebrity fashion hot items according to age, gender, income, and fashion product expenditure. Consumers' awareness on corporate marketing intention to celebrity fashion hot items was higher among women in their 20s than men in their teens and twenties; in addition, the expenditure on fashion products also increased. Third, factors affecting the purchase of celebrity fashion hot items among teens and twenties were different according to age and gender. A higher need for identification for teenage male resulted in: lower media dependency, higher product involvement, fashion conformity, fashion innovativeness for 20s males, higher product involvement for 10s and 20s females, increased intention to purchase tended. This study provides consumer information and fashion item information that can be utilized in advertisement and promotion strategies for fashion companies that seek to perform celebrity marketing strategies that target consumers aged 10-20 years old.
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