• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.460-476
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• 2000

The purpose of this study was, accordingly, to examine male college student's general body consciousness and their actual condition of wearing clothing, as it's assumed that clothing, which everyone must always wear, might be effective in making up for the physical defect. The findings of this study were as follows : 1. Male College Students'Body Consciousness : They expressed some dissatisfaction with their own body, and they were most discontented with their height, among their bodies. They thought of the western-style shape as an ideal one, as what's considered by them to be ideal was thinner a little than them, being taller with wider shoulder, longer legs, smaller and white face. 2. Male College Students'Characteristics of Clothing Purchasing Behavior : In purchasing clothing, male college students were slightly sensitive about the physical part with which they wasn't satisfied. The clothing pattern preferred by them was an abstract one, and their favorite color was white or black. The greatest number of them put most emphasis on design in buying clothing, and they purchased clothing mainly at special fashion shop. On the whole, they showed an affirmative response toward wearing Korean costume, and they also had a positive opinion about the purchase of reformed Korean dress for everyday life. 3. Male College Students'Characteristics of Wearing Clothing : They appeared not to consider making up for physical weakness. Male college students favored aloha shirt and trousers when they went out. Male college students purchase clothing in consideration of individual, manly, classical, tender, or comfortable factors. 4. Relationship of Body Consciousness to Wearing Behavior : The degree to which they considered covering up physical weakness in wearing clothing was examined, by dividing them into two groups : one was a group that thought their own shape normal, and the other was a group that didn't think of their own shape as normal. As a result, both groups appeared not to consider covering up physical weakness.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.56-69
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• 2006

The purposes of this study were to identify cosmetics purchasing behavior according the 20-30 year old men's lifestyle. The results were as follows; 1. The factors of men's lifestyle were sense of fashion, participation of social activities, use of web-based information, sense of androgyny, economical efficiency, provision of web-base information, sport activities, and pursuit of change, and they were segmented into a passive stagnant group, a economic web-base information utilizing group, a positive social activity participation group, and a sensitive appearance change pursuit group. 2. Passive stagnant group used less information sources patronized cosmetics specialty store, did not select their cosmetics by themselves, and spent less for their cosmetics. Economic web-base information utilizing group used information sources positively, patronized cosmetics discount store or internet shopping, and spent less for cosmetics. Positive social activity participation group patronized cosmetics specialty store or discount store, but did not select cosmetics by themselves. Sensitive appearance change pursuit group patronized department store or internet shopping for cosmetics, selected cosmetics by themselves, and spent more. 3. Passive stagnant group showed a tendency of older, less educated, and lower incomes, but economic web-base information utilizing group were among the age of 20's, lower educated, and the unmarried with average incomes. Positive social activity participation group showed a tendency of older, highly educated, and the married with jobs, but sensitive appearance change pursuit group were among the age of 20's and university students with more incomes and pocket money.

• Archives of design research
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• v.11 no.1
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• pp.209-218
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• 1998

Information is the most important rather then wealth in the information age. According to propagation of the information by new media, this era is called communication innovation age. And away of thought and life style as well as a society system are changing. Propagation by newspaper and TV as well as new media makes new view on value of consumers, and they recognize propensity to consume as needs from emotion rather than economical value. Changes of thoughts make lots of innovation:from one side, modern design to multi-meanimg design, from consuming of products to consuming of the image, from outer object to inner object, from consuming by mass to consuming individually by fashion. It means the possibilities that a meaning could be interpreted variously. Sign is a configuration for communication with discourse, which is the communication between meaning maker and meaning solver. In this study, various expression of sign in advertising were divided into direct expression and metaphoritical expression which was analysed deeply because it was recoquized as proper expression methed in postmodem design.

• Journal of Digital Convergence
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• v.14 no.4
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• pp.185-192
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• 2016

The purpose of this paper is to examine the relationships among consumer lifestyle, brand attitude, brand attachment, and behavior pattern. Sampling with consumers who experienced eating out in regional catering companies as a population was done and the survey was conducted targeting consumers of catering companies in Gwangju. Therefore, it analyzed the sample by setting hypotheses and research model according to the research objective. First, as for the relationship between lifestyle and brand attitude, the lifestyle as a personal inclination formed a significant relationship with brand attitude the characteristics of which are recognition, convenience, and familiar features regardless of the type of lifestyle. Second, consumer lifestyle in types of reality seeking, value-oriented, and fashion-pursuing formed a significant relationships with brand attachment in order of mention, whereas social oriented type did not form a significant relationship. Third, the relationship between consumer brand attitude and brand loyalty formed a significant relation with the relationship between consumer brand attachment and brand loyalty.

• Journal of the Korea Convergence Society
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• v.10 no.1
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• pp.123-132
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• 2019

As the rapid pace of modern society, people's daily life is becoming tenser and busier. We need a place to relax and to release our pressure. Coffee shops therefor become one of our best choice. With the strengthening of the expansion of the localized Starbucks coffee shop, it becomes extremely urgent for other coffee shops to enhance the space environment design to become outstanding in the coffee shop market. This paper researches and compares the indoor environment design of Starbucks coffee shops in four cities in China, namely Shanghai, Suzhou, Shenzhen and Beijing and four cities in Korea, namely Busan, Seoul, Seoul and Jeju. By comparing the design characteristics and the style of the interior environment of Korea-China coffee shops, we analyze the various elements of space design and summarize the differences in the environmental design of Korea-China Starbucks coffee shops. Moreover, we propose the strategic direction for the future design and the future development of coffee shops. The survey results show that the indoor environment design of Starbucks coffee brand mainly highlights the regional cultural characteristics. Starbucks shops utilize the fashion culture elements based on the local economic and cultural characteristics, aiming at creating a characteristic coffee brand culture and promoting the vigorous development of the coffee market.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.113-127
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• 2005

From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

• Journal of the Korean Home Economics Association
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• v.8 no.1
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• Archives of design research
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• v.11 no.1
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• pp.11-20
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• 1998

Display in commercial space is one of the most important fields in modem advanced industrial sectors as means of promoting the volume of sales. Additionally, consummers' preferences are more complicated and various than before because of improvement of quality of life. In order to satisfy the various comsumer's desire, the role of display must be an important factor in commercial space. On the other hand, the facade of commercial buildings in the concept of visual merchandising has important effect on the commercial space such as layout of a shop, setting up presentation space, and visual expression. The structure of the facade of the store provides not only an advertising function but also an important position to the composition of external space. Besides, enterance space is a part of a store, and it is closely related to outdoor space. Therefore, the relationship between a store and outdoor space should be carefully considered in terms of functional and expressional problems.This study introduces all sort of characteristics of the facade of enterance speac in the commercial buildings. It also investigates the relationship among the characteristics. Moreover, it analyzes the effect of facade style on shop environment such as zonning, inducement plan, and allocation plan. For the purpose of this study, 57 fashion stores, located in Myung-Dong(Seoul), are investigated. Based on the sample, this study analyzes the relationship between the facade style and visual presentation. Finally, it suggests the desirable direction of space composition based upon the concept of visual merchandising.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.35-48
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• 2010

Today, the fashion market challenged by a maturing retail market needs a new paradigm in the "evolution of brand" to improve their comparative advantages. An important issue in fashion marketing is lifestyle brand extension with a specific aim to meet consumers' specific needs for their changing lifestyle. For fashion brand extensions into lifestyle product categories, Gen Y and Baby Boomer are emerging as "prospects"-Baby Boomers who are renovating their lifestyle, and generation Y experiencing changes in their life stage-with demands for buying new products. Therefore, it is imperative that apparel companies pay special attention to the consumer cohort for brand extension to create and manage their brand equity in a new product category. The purposes of this study are to (a) evaluate brand equity between parent and extension brands; (b) identify consumers' perceived marketing elements for brand extension; and (c) estimate a structural equation model for examining causative relationship between marketing elements and brand equity for brand extensions in lifestyle product category including home fashion items for the selected two groups (e.g., Gen Y, and Baby boomer). For theoretical frameworks, this study focused on the traditional marketing 4P's mix to identify what marketing element is more importantly related to brand extension equity for this study. It is assumed that comparable marketing capability can be critical to establish "brand extension equity", leads to successfully entering the new categories. Drawing from the relevant literature, this study developed research hypotheses incorporating brand equity factors and marketing elements by focusing on the selected consumers (e.g., Gen Y, Baby Boomer). In the context of brand extension in the lifestyle products, constructs of brand equity consist of brand awareness/association, brand perceptions (e.g., perceived quality, emotional value) and brand resonance adapted from CBBE factors (Keller, 2001). It is postulated that the marketing elements create brand extension equity in terms of brand awareness/association, brand perceptions by the brand extension into lifestyle products, which in turn influence brand resonance. For data collection, the sample was comprised of Korean female consumers in Gen Y and Baby Boomer consumer categories who have a high demand for lifestyle products due to changing their lifecycles. A total of 651 usable questionnaires were obtained from female consumers of Gen Y (n=326) and Baby Boomer (n=325) in South Korea. Structural and measurement models using a correlation matrix was estimated using LISREL 8.8. Findings indicated that perceived marketing elements for brand extension consisted of three factors: price/store image, product, and advertising. In the model of Gen Y consumers, price/store image had a positive effect on brand equity factors (e.g., brand awareness/association, perceived quality), while product had positive effect on emotional value in the brand extensions; and the brand awareness/association was likely to increase the perceived quality and emotional value, leading to brand resonance for brand extensions in the lifestyle products. In the model of Baby Boomer consumers, price/store image had a positive effect on perceived quality, which created brand resonance of brand extension; and product had a positive effect on perceived quality and emotional value, which leads to brand resonance for brand extension in the lifestyle products. However, advertising was negatively related to brand equity for both groups. This study provides an insight for fashion marketers in developing a successful brand extension strategy, leading to a sustainable competitive advantage. This study complements and extends prior works in the brand extension through critical factors of marketing efforts that affect brand extension success. Findings support a synergy effect on leveraging of fashion brand extensions (Aaker and Keller, 1990; Tauber, 1988; Shine et al., 2007; Pitta and Katsanis, 1995) in conjunction with marketing actions for entering into the new product category. Thus, it is recommended that marketers targeting both Gen Y and Baby Boomer can reduce marketing cost for entering the new product category (e.g., home furnishings) by standardized marketing efforts; fashion marketers can (a) offer extension lines with premium ranges of price; (b) place an emphasis on upscale features of store image positioning by a retail channel (e.g., specialty department store) in Korea, and (c) combine apparel with lifestyle product assortments including innovative style and designer’s limited editions. With respect to brand equity, a key to successful brand extension is consumers’ brand awareness or association that ensures brand identity with new product category. It is imperative for marketers to have knowledge of what contributes to more concrete associations in a market entry into new product categories. For fashion brands, a second key of brand extension can be a "luxury" lifestyle approach into new product categories, in that higher price or store image had impact on perceived quality that established brand resonance. More importantly, this study increases the theoretical understanding of brand extension and suggests directions for marketers as they establish marketing program at Gen Y and Baby Boomers.