• Asia Marketing Journal
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• v.22 no.2
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• pp.19-57
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• 2020

A rapidly shifting, hyper-sensitive modern fashion industry, coupled with an increasingly developing global environmental concern, has seen to an ever-imperative role for corporate social responsibility (CSR) to play in the successful operation of fashion companies. This study primarily investigates effective measures for successful CSR implementation in both corporate and consumer domains, looking at Patagonia, an exemplar company with an environmental mission, to understand the central contributions of active consumer engagement to the success of CSR initiatives. We explore consumer admiration as a concept necessary to elevate CSR practices from image maintenance to genuine engagement and advocacy, and how such admiration could be cultivated on the consumer-side, investigating perceived CSR authenticity and corporate self-sacrifice as primary determinants. Specifically, we speculate the asymmetric role of consumers' moral identity, revealing that moral identity symbolization positively interacts with both determinants while negatively moderating the relationship of these intentions and consumer admiration. We derive our analysis from diverse international and Korean data, concluding with theoretical and managerial implications for domestic and international companies in pursuit of environmental CSR campaigns that bridge consumer and company, as well as limitations and future research directions.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.72-85
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• 2008

With the new millennium setting in, our society is plowing its way through more drastically changing currents than ever. Nowadays, many people believe that high tech such as the Internet, digital civilization, the IT revolution, bio-industry, and the genome project, that has brought humans material prosperity, is the right change in direction. However, the more we adopt high tech into our lives, the more we desire high touch in order to achieve a balance. In other words, we need something to act as a ballast to stabilize our minds. As such, the more high tech develops, the more individuals miss and search for tools that appeal to their emotions. Because of this, although high touch is an opposite concept to high tech, it coexists with high tech, and it is defined as "human contact of high sensitivity that stimulates the emotion of humans". High Touch, a term which originated from "High Tech, High Touch", a book written by American futurist John Naisbitt, refers to human contact that makes human life richer, forminga deep impression on individuals and providing comfort. As such, high touch, which is gaining significant attention in modern society, is a phenomenon occurring throughout politics, society, culture, art, and religion, together with high tech. Through high touch, modern people must realize how to understand and accept a modern society that is dominated by the age of technology and in which direction they should head. Under this background, this study has the following objectives: to interpret the concept of high touch in the age of high tech in association with formative art and fashion, and through various media examine the desire for expression that may stimulate emotion in modern people, which is required by the high tech-prevalent modern society. It further analyzes how high touch is reflected in modern fashion and presents the direction future fashion should head in.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.773-796
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• 2010

This essay examines, first, the possibility and limitation of Asian America as a category of identity and its political and cultural implications through various theoretical perspectives. Here, by closely reading David Mura's poem "The Colors of Desire," I will argue that "Asian America" as a category of identity is now on the verge of falling apart and its politics of identity is no longer an effective way of fighting back against racism in the US. It is because Asian America is indeed what might be called a historical block, a product of ad-hoc coalition between different ethnic groups historically situated and constructed. In this sense, it is a kind of phantasmal object that is marked by practical absence. This fabricatedness inherent in Asian America as an identity category signifies that it has no essence that is meant to define the group in a transcendental way. The internal totality and coherence of that identity can thus be achieved only by suppressing differences between various ethnic groups and positing a single 'authentic' Asian American identity and culture. More dangerously, according to Viet Nguyen, such idealization of a single subject position can reinforces ideological rigidity that might threaten the ability of Asian America to represent itself in a unified fashion. Then, he predicts, Asian America will lose its cohesive force and fall apart. Eventually, every group within Asian America will be ethnicized. The only way of escaping from this bleak situation, as Vincent Cheng argues, is to foregroud the fabricatedness and ad-hocness of Asian America and to perform "inauthenticity," because Asian America is nothing but a functional category that is marked by absence of essence or authenticity. If Asian Americans admit that they have no essence and that they are essentially inauthentic, the practice of performing inauthenticity can become what we might call an alternative Asian American culture and identity.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.17-31
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• 2006

This study is tried to identify the changes in modern Hanbok for the past five decades through the literatures and actual materials such as the First Ladies' costume. In Hanbok fashion, there is a trend that influenced by politics, economy and culture just like in western fashion. After liberation from the Japanese colonialism, the most important factors in Hanbok fashion were economic factors caused by the development of textile industry and the dressing attitude of the First Ladies at that time. In 1950s, a modified Hanbok that is easy to wear was popular. It was partly because of the west oriented atmosphere after the Korean War and mainly due to the practical dressing attitude of First Lady, Francesca. In 1960s and 70s, former First Lady Yuk Young Soo who loved and had good taste for Hanbok led the fashion. At that time, high ranking female social leaders as well as general public usually wore Hanbok on formal occasions. Therefore, textile industry for Hanbok developed a lot and tailored shops that specialize Hanbok emerged. In 1980s, as the economy got better, Hanbok was upgraded and it became more luxurious. Traditional Hanbok was revived through a historical investigation. Additionally, the former First Lady Lee Soon Ja helped fostering a luxurious mood as she wore a Hanbok as a formal dress. After 1988 Olympic Games were successfully held, the importance of the traditional culture was emphasized in 1990s and Hanbok followed retro trend rigorously through the academic approaches including a dressing history. Hand painted and naturally dyed Hanboks were strong in this period. Former First Lady Kim Ok Sook's sophisticated Hanbok attire partially had effect on this mood. However, From the late 1990s Hanbok became less popular. It was partly because the former First Lady Son Myoung Sun and Lee Hee Ho preferred western style dresses and did not play a role as Hanbok fashion leaders.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.11a
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• pp.128-132
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• 2004

Researches for sex consist feminism which manage academically, also variously in the fields of medicine, psychology, politics, society, philosophy, culture research etc. Moreover, sex has become that can no fall in art, dancing, fashion, literature, play movie, mass media, all art fields. About the proposition of sex, even the intellectuals tended to consider sexual love and bodily problem of sexual desire until the mid-20th century. Nevertheless, passing over physical function, man and woman, society, cultural situation and the various concept which contains the differences finally clearly have come in 21th century. Therefore, on this study, find out the relationship between interior design and sexuality and sexual expressional type. Also, through analyzing aspects which is expressed in popular culture, clear new interior design under the concept and characteristic of sexuality.

• Cross-Cultural Studies
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• v.25
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• pp.131-158
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• 2011

In the Sakha(Yakutia) Republic, culture and politics continue to be interwined. Shamanism recently has come out of hiding after Soviet repression, and into fashion. Images of the shaman are changing in villages, where traditional healers have maintained their practices in difficult conditions, and in cities, where a resurgence of spirit belief and healing has led to the revitalization of their nationalism. Shamans and folk healers manipulate their own images, and in turn are changed by the upheavals of politicized cultural revitalization. In this complex and interactive context, folklore about traditional shamans has become especially rich and accessible. I argue here that religion has become an idiom through which competing definitions of homeland and national pride are being shaped. Until September 2002, Yakutsk had never had a 'temple' devoted to the practice of traditional shamanic beliefs. Indeed the whole concept that a building 'Archie Jiete' could contain or represent the beliefs, values and rituals of the Sakha people was new, and highly controversial.

• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.31-37
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• 2010

The purpose of this study is to investigate the causes of clothes phenomenon of the ruling class women on the Heian period of Japan in the aspects of politics, economics, society, culture, and religion. The findings of the study are as follows. The main characteristics of the Heian period of Japan may include a rare sense of internationalism, low sense of nationalism, and frequent cases of political intrigue. However, noble culture, centered on royal court, was flourished and it enabled to develop sophisticated and graceful culture. During the Nara period and the Heian period (from $8^{th}$ to $12^{th}$ century), there were enormous changes in the clothes, starting from the mid $10^{th}$ century. The clothes of the ruling class in the Heian period underwent changes from the imitative clothes-imitating the clothes of the Tang age of China- to Japanesque clothes-adding the aesthetic consciousness of Japanese ruling class people. Particularly, the clothes of the ruling class women became massive, majestic, and decorative. The changed clothes had also features such as layered look, utilizing underwear as outer garments, using a wide variety of colors, and using hard and solid materials to make clothes. It can be concluded that the clothes of the ruling class people in the Heian period were affected by plural factors such as national and international political situation, economics, society, culture, and religion. The clothes were used by ruling class people as means of expressing their noble and sophisticated beauty, which led to produce humanistic beauty. The Heian period can be described as an era of the highest reach of humanity.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.104-118
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• 2011

Since Sirimavo Bandarinaike became the first female prime minister in 1960, women all over the world has been trying to break the highest glass ceiling. In a place where men had been dominating throughout history, women political leaders had to find a way to look the part by wearing power suits. Feminity was out of the question until the digital era of 21st century started. The world has evolved into a place where feminity could be strength instead of weakness. Now women political leaders are showing body curves, cleavage, using vivid and pastel colors, soft fabrics, elaborate details, accessories, long and curly hair. The padded shoulders of dark coloured power suits were replaced by soft colorful flowing feminine suits. Yulia Tymoshenko of Ukraine is the best example of 21st century woman political leader using feminity in her fashion style while enacting her role. When she first started politics in 1990's, she wore dark colored power suits like all other women political leaders did with short dark hair. As time passed her suits became more feminine with light colors and elaborate details. She has changed her hair into a neat braid, based on a traditional Ukrainian hair style. She used orange color for the Orange Revolution and white for pure image. Yulia Tymoshenko's fashion style as a way of role enactment showed professionalism, feminity, integrity, and ethnicity.

• (The)Study of the Eastern Classic
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• no.32
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• pp.279-310
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• 2008

In this research, the writer investigated the thought in realism and view on education appeared in the text, GUANZI("管子") roughly. The thoughts and contemplation in GUANZI mostly contain practical issues of politics, law and economy, as well as military policy and also get involved in the education pursuing an organic relationship therewith. In GUANZI, the rule of law and morality were applied to the politics in a harmonious fashion. Although the text upheld agrarian-oriented policy in connection with nation's economy, it, however, succeeded to secure the national wealth by having implemented the polices concerned with industry and commerce in an appropriate manner. In addition, he established strong military organization through political stability and by securing economic strength. In short, this is the policy in order to pursue 'a rich nation with a strong military.' Under such situation, education made a positive contribution to meet the realistic needs in order for reinforcement of politics, economy, and military. In the level of moral education that will set right the decorum and proprieties of the people, and their loyalty and integrity, vocational training that enabled the four divisions of society, that is, the official class, farmers, artisans and merchants, to carry out their given jobs successfully was highly valued in GUANZI. These are substantial efforts in order to establish the order of community by means of putting emphasis on people's morality and loyalty, and also to create the public weal through reinforcement of producing activities of each class of society. After all, the realistic thought and view on education appeared in GUANZI can be understood as an expression of strong will to accomplish national prosperity and military strength in order to overcome disturbing situations in the society in those days.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.