• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.2
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• pp.263-272
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• 1994

The purpose of this study was to identify factors that might distinguish those who have a high level of Intention to purchase each of domestic, foreign designer and national brand jeans from those who have a low intention in terms of evaluative criteria belief, ideal jeans image and clothing altitude. The sample consisted of 198 male and 197 female students from five universities in Seoul. The questionnnaire consisted of 50 seven-point semantic differential scales dealing with evaluative criteria and ideal jeans image, beliefs about and intention to purchase domestic, foreign designer and foreign national brand jeans and 25 Likert type clothing attitude scales. Based on a series of t-tests the results showed that color and design were the most influencing factor among the evaluative criteria belief, regardless of brand type, while durability, accessory, sewing were the least. Sexy image, brand consciousnees and fashion interest were the important factor that distinguish high intention to purchase group fro)m low intention to purchase group.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• Journal of Fashion Business
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• v.6 no.2
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• pp.1-16
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• 2002

The need for ready-to-wear clothing increases as the problem comes to arise from the fit of custommade clothing due to the characteristics of middle-aged women's somatotype. At this point of time, a study on the realities of production of custom-made clothing in middle-aged women's clothing business firms is of very greatly significance. Therefore, this study was intended to identify the problem and improvements through the survey research of production of custom-made clothing in middle-aged women's clothing business firms and further present the plan for development of custom-made clothing business. The questionnaire was framed based on the contents extracted from the preliminary questionnaire research for the pattern section chief of each business firm. Collected data were statistically processed using the SPSS 10.0 Windows program. As a result, the following findings were obtained: 1. The target age of the middle-aged women's clothing business firms ranged from more than 45 years to less than 50 years of age. Clothing business firms much made inroads into the ready-to-wear clothing market largely in the 1980s and the 1990s. Their active entry into the custom-made clothing market occurred in the 1970s and the 1980s. 2. In terms of the clothing production method of middle-aged women's clothing firms, some private boutique and designer brand clothing firms entered the clothing market with a focus on custom-made clothing in the beginning of its organization and introduced the production method of ready-to-wear clothing in accordance with changes in production methods and consumers' needs and wants. National brand clothing firms manufactured clothing with a focus on ready-to-wear clothing from the beginning of its organization, but at last they manufactured both partial custom-made and whole custom-made as the problem arose from ready-to-wear clothing. Seeing that their clothing production showed the ratio readyto-wear to custom-made clothing of 2.58:1. And it was found that the manufacture of ready-to-wear and custom-made clothing took into consideration the great difference in the pattern, size and design plan. The research of the clothing production process showed that whole custom-made and partial custommade were distinguished according to whether or not the sample was presented. 3. The ready-to-wear pattern of middle-aged women's clothing firms were used with a focus on the 'patternmaker-developed pattern' and company-developed pattern'. Most clothing businesses produced clothing in 4 to 5 basic sizes, which is found to be insufficient to complement the physical characteristics of middle-aged women with many specific somatotypes. In the pattern of custom-made clothing, the 'pattern of ready-to-wear were applied' or the 'customized pattern was developed'. Actual measurements were most used as the size of custom-made, and accordingly it is predicted that the level of satisfaction is higher with the fit of custom-made clothing than that of ready-to-wear. The selling place and the head office showed the similar percent as the place for measuring the size of custom-made clothing. Size measurers were mostly the shop master. And it was found that most clothing business firms had a problem when the measured size was applied to the pattern. Accordingly, it is necessary to provide education on size measurement for shop masters. 4. It was found that in the middle-aged women's clothing firms, the pattern correction of the length of sleeve, jacket and slacks occupied the highest percent. Accordingly, it is necessary to provide for the size system to complement the accurate somatotype characteristics of middle-aged women. 5. In custom-made clothing customer management, most firms engaged in customer somatotype management through size management. They provided customers with commodity information by informing them of the sales and event period and practiced human management for customers by maintaining the get-together and friendly relationship. 6. Middle-aged women's clothing businesses responded that it would be necessary to improve the fit of custom-made clothing and complement their pursuit for individuality as the plan to improve its quality. In consequence, it suggests that middle-aged women's clothing businesses should provide middle-aged women with the clothing of better-suited size and refined design. Middle-aged women's clothing businesses responded that it was the most urgent task to form the custom-made clothing manufacturing team as the plan to expand the custom-made clothing market, which is identified as their emphasis on the systematized production of custom-made clothing.

• Journal of Global Scholars of Marketing Science
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• v.17 no.4
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• pp.51-89
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• 2007

INTRODUCTION Due to the high broadband internet penetration rate and its group-oriented culture, various types of online communities operate in Korea. This study use 'Uses and Gratification Approach, and argue that members' usage-needs satisfaction with brand community is an important factor for promoting community commitment. Based on previous studies identifying the effect of brand image on consumers' responses to various marketing stimuli, this study hypothesizes that brand image can be a moderate variable affecting the relationship between usage-needs satisfaction with brand community and members' commitment to brand community. This study analyzes the influence of usage-needs satisfaction on brand community commitment and how apparel brand image affects the relationships between usage-needs satisfactions and community commitments. The hypotheses of this study are proposed as follows. H1-3: The usage-needs satisfaction of apparel brand community (interest, transaction, relationship needs) influences emotional (H1), continuous (H2), and normative (H3) commitments to apparel brand communities. H4-6: Apparel brand image has a moderating effect on the relationship between usage-needs satisfaction and emotional (H4), continuous (H5), and normative (H6) commitments to apparel brand communities. METHODS Brand communities founded by non-company affiliates were excluded and emphasis was placed instead on communities created by apparel brand companies. Among casual apparel brands registered in 6 Korean portal sites in August 2003, a total of 9 casual apparel brand online communities were chosen, depending on the level of community activity and apparel brand image. Data from 317 community members were analyzed by exploratory factor analysis, moderated regression analysis, ANOVA, and scheffe test. Among 317 respondents answered an online html-type questionnaire, 80.5% were between 16 to 25 years old. There were a total of 150 respondents from apparel brand communities(n=3) recording higher-than-average brand image scores (Mean > 3.75) and a total of 162 respondents from apparel brand communities(n=6) recording lower-than-average brand image scores(Mean < 3.75). In this study, brand community commitment was measured by a 5-point Likert scale: emotional, continuous and normative commitment. The degree of usage-needs satisfaction (interest, transaction, relationship needs) was measured on a 5-point Likert scale. The level of brand image was measured by a 5-point Likert scale: strength, favorability, and uniqueness of brand associations. RESULTS In the results of exploratory factor analysis, the three usage-needs satisfactions with brand community were classified as interest, transaction, and relationship needs. Brand community commitment was also divided into the multi-dimensional factors: emotional, continuous, and normative commitments. The regression analysis (using a stepwise method) was used to test the influence of 3 independent variables (interest-needs satisfaction, transaction-needs, and relationship-needs satisfactions) on the 3 dependent variables (emotional, continuous and normative commitments). The three types of usage-needs satisfactions are positively associated with the three types of commitments to apparel brand communities. Therefore, hypothesis 1, 2, and 3 were significantly supported. Moderating effects of apparel brand image on the relationship between usage-needs satisfaction and brand community commitments were tested by moderated regression analysis. The statistics result showed that the influence of transaction-needs on emotional commitment was significantly moderated by apparel brand image. In addition, apparel brand image had moderating effects on the relationship between relationship-needs satisfaction and emotional, continuous and normative commitments to apparel brand communities. However, there were not significant moderate effects of apparel brand image on the relationships between interest-needs satisfaction and 3 types of commitments (emotional, continuous and normative commitments) to apparel brand communities. In addition, the influences of transaction-needs satisfaction on 2 types of commitments (continuous and normative commitments) were not significantly moderated by apparel brand image. Therefore, hypothesis 4, 5 and 6 were partially supported. To explain the moderating effects of apparel brand image, four cross-tabulated groups were made by averages of usage-needs satisfaction (interest-needs satisfaction avg. M=3.09, transaction-needs satisfaction avg. M=3.46, relationship-needs satisfaction M=1.62) and the average apparel brand image (M=3.75). The average scores of commitments in each classified group are presented in Tables and Figures. There were significant differences among four groups. As can be seen from the results of scheffe test on the tables, emotional commitment in community group with high brand image was higher than one in community group with low brand image when transaction-needs satisfaction was high. However, when transaction-needs satisfaction was low, there was not any difference between the community group with high brand image and community group with low brand image regarding emotional commitment to apparel brand communities. It means that emotional commitment didn't increase significantly without high satisfaction of transaction-needs, despite the high apparel brand image. In addition, when apparel brand image was low, increase in transaction-needs did not lead to the increase in emotional commitment. Therefore, the significant relationship between transaction-needs satisfaction and emotional commitment was found in only brand communities with high apparel brand image, and the moderating effect of apparel brand image on this relationship between two variables was found in the communities with high satisfaction of transaction-needs only. Statistics results showed that the level of emotional commitment is related to the satisfaction level of transaction-needs, while overall response is related to the level of apparel brand image. We also found that the role of apparel brand image as a moderating factor was limited by the level of transaction-needs satisfaction. In addition, relationship-needs satisfaction brought significant increase in emotional commitment in both community groups (high and low levels of brand image), and the effect of apparel brand image on emotional commitment was significant in both community groups (high and low levels of relationship-needs satisfaction). Especially, the effect of brand image was greater when the level of relationship-needs satisfaction was high. in contrast, increase in emotional commitment responding to increase in relationship-needs satisfaction was greater when apparel brand image is high. The significant influences of relationship-needs satisfaction on community commitments (continuous and normative commitments) were found regardless of apparel brand image(in both community groups with low and high brand image). However, the effects of apparel brand image on continuous and normative commitments were found in only community group with high satisfaction level of relationship-needs. In the case of communities with low satisfaction levels of relationship needs, apparel brand image marginally increases continuous and normative commitments. Therefore, we could not find the moderating effect of apparel brand image on the relationship between relationship-needs satisfaction and continuous and normative commitments in community groups with low satisfaction levels of relationship needs, CONCLUSIONS AND IMPLICATIONS From the results of this study, we draw several conclusions; First, the increases in usage-needs satisfactions through apparel brand communities result in the increases in commitments to apparel brand communities, wheres the degrees of such relationship depends on the level of apparel brand image. That is, apparel brand image is a moderating factor strengthening the relationship between usage-needs satisfaction and commitment to apparel brand communities. In addition, the effect of apparel brand image differs, depending on the level and types of community usage-needs satisfactions. Therefore, marketers of apparel brand companies must determine the appropriate usage-needs, depending on the type of commitment they wish to increase and the level of their apparel brand image, to promote member's commitments to apparel brand communities. Especially, relationship-needs satisfaction was very important factor for increasing emotional, continuous and normative commitments to communities. However the level of relationship-needs satisfaction was lower than interest-needs and transaction-needs. satisfaction. According to previous study on apparel brand communities, relationship-need satisfaction was strongly related to member's intention of participation in their communities. Therefore, marketers need to develope various strategies in order to increase the relationship- needs as well as interest and transaction needs. In addition, despite continuous commitment was higher than emotional and normative commitments, all types of commitments to apparel brand communities had scores lower than 3.0 that was mid point in 5-point scale. A Korean study reported that the level of members' commitment to apparel brand community influenced customers' identification with a brand and brand purchasing behavior. Therefore, marketers should try to increase members' usage-needs satisfaction and apparel brand image as the necessary conditions for bringing about community commitments. Second, marketers should understand that they should keep in mind that increasing the level of community usage needs (transaction and relationship) is most effective in raising commitment when the level of apparel brand image is high, and that increasing usage needs (transaction needs) satisfaction in communities with low brand image might not be as effective as anticipated. Therefore, apparel companies with desirable brand image such as luxury designer goods firms need to create formal online brand communities (as opposed to informal communities with rudimentary online contents) to satisfy transaction and relationship needs systematically. It will create brand equity through consumers' increased emotional, continuous and normative commitments. Even though apparel brand is very famous, emotional commitment to apparel brand communities cannot be easily increased without transaction-needs satisfaction. Therefore famous fashion brand companies should focus on developing various marketing strategies to increase transaction-needs satisfaction.