• 패션비즈니스
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• 제17권4호
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• pp.164-176
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• 2013

The study aims to find differences in clothing image preferences according to gender-roleidentity. The questionnaire developed by the researchers was distributed to 533 men and women who aged between 20 and 59. Fourhundred eight questionnaires were used for the final analysis. The data were analyzed by ANOVA, and Tukey's test using SPSS 18.0/Windows. As results, both male and female participant groups of the study were classified into 4 groups according to their gender-role identity: masculinity, femininity, androgyny, and the undifferentiated. For men, the masculinity group showed a higher preference for flamboyant, sexy, expressive, cold, mature, hard, strong, weighty, heavy, sharp images, while the femininity group showed a stronger preference for flamboyant, bold, luxurious clothing images. The male androgyny group preferred masculine, sexy, cold, mature, hard, strong, weighty, luxurious, heavy, artificial images, whereas the undifferentiated group preferred flamboyant, sexy and mature images. On the other hand, for women, the masculinity group showed a higher preference for luxurious image, while the femininity group showed a stronger preference for sexy, urban, decorative, modern, complicated, luxurious images. The female androgyny group preferred expressive, modern, mature, complicated, and luxurious images, whereas the undifferentiated group preferred bold, decorative, rational, and complicated clothing images.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.68-68
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• 2003

Recently, street fashion has been regularly introduced in many fashion media because both consumers and marketers began to recognize the importance of street fashion as a meaningful and objective fashion information source. As the globalization proceeds in fashion field,' the street fashion informations in major cities which has led world fashion trends become more influential on domestic fashion, but little concern has been paid on it. This study classified women's street fashion in 4 major world fashion cities such as Paris, London, New York, Tokyo and identified style characteristics of each group. For data collection, 795 front-view photos were selected from the two fashion trade publication 'STREET' and 'VIEW' which has introduced street fashion photos in those cities from 1996. Classification process went on three stages: sorting, naming and grouping. 49 undergraduate students were divided into 12 teams and about 80 photos were given to each team to sort into several sub-groups by overall images or common style characteristics. Then each sub-group was named according to common images or characteristics. Final groups came out after grouping each sub-group with a similar or same title together. For each group, common style characteristics were analyzed.

• 복식
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• 제58권10호
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• pp.148-163
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• 2008

The purpose of this study is to review the previous researches, to make clear the difference between general image and brand image in overseas luxury fashion brands. The questionaries were given to female residents in the ages of $20s'{\sim}40s'$ in Seoul and Kyung-gi province in October 2007. The collected data were analyzed by using SPSS 12.0 software such as paired t-test. The results of this study as fellows; 1. As the result of the analysis of the difference across general images, it was regarded as the most Reputed' and 'Conspicuous' image. 2. As the result of the analysis of the difference across brand images of oversea fashion luxury brands, it was regarded as the most Reputed' image. 3. As the result of analysis of the difference between general images and brand images in overseas fashion luxury goods, it was found out that Chanel brand was regarded as more 'luxurious' and 'original' image, on the other hand, Giorgio Armani and Burberry were not.

• 한국의류학회지
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• 제32권10호
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• pp.1640-1650
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• 2008

The purpose of this study is to make clear the difference between Original brands and extended brands in images and preference of overseas fashion luxury goods. The questionaries were given to female residents in the ages of 20s'$\sim$40s' in Seoul and Kyung-gi province in October 2007. The collected data were analyzed by using SPSS 12.0 software such as paired t-test, ANOVA, Duncan test. The results of this study is as follows; 1. It was found that both original brand and brand extension in images were regarded as the most 'Reputed' image. 2. It was found that original brand reflected more brand images such as 'Luxurious', Conspicuous', 'Reputed' and so on than brand extension. 3. It was found that customers tended to prefer Chanel original brand, fashion goods to Chanel brand extension, cosmetics. On the other hand, it was found that customers tended to prefer Christian Dior brand extension, cosmetics to Christian Dior Original brand, fashion goods.

• 복식
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• 제67권3호
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• pp.115-132
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• 2017

This study recognizes the importance of the social network platform as a new fashion media, and analyzes the significance of various digital fashion images, based on the 'Aura' theory of Walter Benjamin. The concept of "Disappearance of Artistic Aura" can be summarized into three discussions: 1) the change in the way of artistic perception, which is changes in value from worship to exhibition. 2) the change in the way of artistic acceptance, from personal to mass. 3) the emergence of new artistic concepts such as camera and film. By reviewing characteristics of the $21^{st}$ digital replication era, the study tried to discover and evaluate the expanded significance of the 'Aura' represented on digital fashion images, which are infinitely generated, modified, reproduced, transmitted, and shared in social network environments. The 'Burberry Instagram' was chosen as the subject of the study. The study reviewed around 2,500 images, which were uploaded from February 2011 to July 2016, and selected 200 images deemed the most representative of Burberry, and categorized and analyzed by the extended concept of 'Aura'. The study results as follows: First, the 'Aura' in digital fashion image appearing on social network platforms signifies the expansion of product value in fashion, and it also represents inherited traditions and modernization of images. Second, it also signifies the democratization and globalization of fashion through the open replication and sharing as well as the interaction of criticism and acceptance. Third, it signifies the personalized taste and fashion as everyday lifestyle, through personalized services, securing playful space, and real-time updates.

• 복식
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• 제55권5호
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• pp.28-42
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• 2005

Objectives of this study were to investigate about the avatar's fashion products efficiency on casual wear advertisements to study about the effect of avatar's clothing image provided by apparel industry and to investigate about the effort of avatar's fashion product on apparel advertisement for fundamental data on the avatar's fashion marketing. Following were the summaries of the results: First, in terms of the correlation between avatar's clothing and casual brand images of nate avatar's fashion marketing, avatar's clothing image of FUBU male, female and maru male, female that is reformative, characteristical, unique and sensitive to latest fashion has positive correlation with FUBU and maru brand images. Therefore, consumers' higher perception on avatar's clothing image that are 'reformative', 'characteristical' and 'unique', indicated higher casual brand image perception, proving avatar's clothing image is effective in suggesting the brand. Second, in terms of advertising the avatar by clothing them with garments of each brand and comparing avatar's clothing and casual brand images, active avatar's clothing image of FUBU male, female emphasized active brand image of FUBU. However, FUBU male avatar's clothing image did not emphasize 'reformative', 'characteristical', 'cool', or 'sensitive to latest fashion' images compared to FUBU female avatar's clothing image. Also, in case of maru, 'male', 'conseuative' and 'insensitive to latest fashion' image of male avatar clothing emphasized maru brand image. Maru female's 'unpractical' ,'female' and 'characteristical' images emphasized maru brand image.

• 한국의류산업학회지
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• 제10권6호
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• pp.811-821
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• 2008

This study examined on the most noticeable game industry in a digital era, and on the definition and feature of post-digital generation enjoying it, along with the relations with the game. Especially, this paper examined correlations between game characters' fashion and pop singers' fashion targeting post-digital generation enjoying games. As the result of this study, on-line game's popularity affected popular culture and game business and popular stars have close interrelation. In addition, through variosus objective surveys, the game characters' fashion was classified into five images before being analyzed; fighter's image, retro image, surreal image, sensual image, and unisexual image. The game characters' fashion wasn't only analyzed also studied correlation between on-line game character's fashion and pop singers' fashion by five images. Consequently in case of game characters' fashion, it influenced on pop singers' fashion targeting teens and twenties enjoying games, which meant fashion connections between game characters and pop singers.

• 한국의류산업학회지
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• 제18권2호
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• pp.149-157
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• 2016

Research on changes of Chinese women's fashion styles was conducted through analysis of fashion images and articles in Chinese fashion magazines since 1980s. Through the fashion magazine research centered on Shanghai, the most developed commercial city having a great influence on the entire fashion industry in China, it examined Chinese fashion styles by period so identified a developmental process of Chinese fashion styles. Based on general understanding of Chinese fashion magazine industry, case study was conducted on "Shanghai Style(上海服飾)". After analyzing 1100 fashion images by period derived from 245 volumes from 1985 to 2013, this study compared fashion styles in 4 periods and analyzed the developments of Chinese fashion styles. Findings from the case analysis based on the classification of fashion styles are as follows. In the early editions, images to give a visual stimulus and express styles more intuitively were frequently used with reported articles. As for the general change of the style in "Shanghai Style(上海服飾)", expression was done centered on casual wear with gradual disappearance of formal wear. There was a tendency entire atmosphere of the style became romantic. Through a comparative analysis between Chinese fashion styles having such developmental characteristic and the global fashion trends, this study identified special characteristics of Chinese fashion style changes. As for common characteristics, firstly, both have a tendency to change into the coexistence of various styles rather than popularity of certain style. Secondly, style was expressed gradually centered on casual wear.

• 한국의상디자인학회지
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• 제14권3호
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• pp.217-233
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• 2012

Placeness forms the traits unique to certain areas inducing people to visit there and purchase goods related to the place. The purpose of this study is to survey fashion images linked with placeness, by examining on-line and off-line fashion goods which claim the placeness. Hong-dae area in Seoul is selected for the case study, and the fashion goods claiming Hong-dae style or Hong-dae fashion are selected in order to analyze the fashion images. Hong-dae area, which was known for its art scenes and small restaurants in the 1980s, has been flourished its postmodern style cafes formed as yuppies-style consumer space in the 1990s. Foreign influenced subcultures were adopted, mimicked and mixed. Afterwards, dance clubs and live clubs gathered around this area. Recently, various local events to enhance the place identity such as "freemarket" and festivals are hosted by the local community. Based on the historical and regional background, the placeness of Hong-dae area is characterized with its artistry, counter-culturalism, and commercialism. The fashion images related of Hong-dae area fashion can be characterized as avant-garde image, art & craft image, kitsch image, vintage image, sexy casual image, and pop art image. The avant-garde image and the art & craft image are related with altistry and counter-culturalism. Kitsch image is related with the artistry, counter-culturalism, and the commercialism. Vintage image is related with artistry, counter-culturalism and commercialism. Sexy casual image is known to have commercialism of Hong-dae area, while Pop art image has its artistry and commercialism.

• 복식
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• 제56권2호
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• pp.1-16
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• 2006

The purpose of this study is to analyze the meanings of national images represented in Vivienne Westwood' collections through investigating her works in an aspect of national identity. The results were as follows: British fashion is generally known for having two national identities, Monarchy and Anarchy. Monarchy is the traditional British look and Anarchy is the free-spirited look which is related with the postwar phenomenon of rebellious youth culture. As a punk, Westwood participated in creating Anarchic identity of British fashion. But from the 80s, Westwood's attitude toward the national images has been changed. As a high fashion designer who became to represent British fashion in global market, Westwood started to research British dress tradition, especially through comparing with French fashion. She was particularly fascinated with the traditional fabrics like tartans, tweeds and innovative tailoring skills, which were related with the heritage of Englishness in dress. But she didn't follow the conventional ways and tried to reinvent the historical tradition in modern ways. By combining Monarchic tradition with tempting female sexuality, Westwood transgressed the existing ordinary Britishness of British fashion which was composed of aristocratic and royal identities, and created some innovative British fashion images. With these works, Westwood contributed to consolidate Englishness in dress on the one hand, but on the other hand, served to reconfigure Britishness of British fashion. Consequently, Westwood showed that what is believed as the essential national fashion identity can be challenged and reconfigured in modern fashion field.