• 한국의류학회지
• /
• 제22권7호
• /
• pp.833-842
• /
• 1998

The purpose of this study is to (1) investigate on the impulse purchase tendency of women who buy women's character clothing brands and (2) to clarify the relationship between the women's impulse purchase tendency and the marketing factors, and the brand image. The subjects were 203 women in their twenties and thirties who had purchased the women's character clothing brands in last six months living in Seoul. The data were collected by self-administered questionnaire and were analyzed by frequency, percentage, t-test, clustering analysis and MDS(Multi-Dimensional Scale). The results of the study were as follows: (1)66.0% of the women were categorized as the group of high-degree of impulse purchase tendency and 34.0% of the women were identified as the group of low-degree of impulse purchase tendency. (2) In identifying the relationship between the marketing factors and the impulse purchase tendency, the group of the high-degree of impulse purchase tendency was affected by the marketing factors such as new and fashionable products, status of display, advertising and discout selling. (3) Brand image was not statistically significant according to the impulse purchase tendency. As a whole, 'Obzee' was recognized as unique-style and sexy brand, 'Time' and 'Mine' were thought as the reasonable-prince and basic-style brands, 'Deco' were clarified as the intellectual-image brand, and 'Ego' and 'Telegraph' were revealed as high-price-image brands.

• 복식
• /
• 제62권7호
• /
• pp.150-169
• /
• 2012

Contemporary fashion broadens its image in relation with architecture and incorporates architecture in its creative field. The aim of this research is to investigate the characteristics of 'architecture for fashion' in a social context and to verify the collaborative characteristics of post-1990s fashion and architecture. This paper describes architecture as a means of expressing contemporary style and identifies social consequences resulting from this. While high fashion in the early to mid-twentieth century followed a similar trend evident in architecture to directly apply architectural elements into the creativity of the works, high fashion from 1990 extended its creative field by using architecture to symbolically represent its image and style. In line with the possibility for fashion shows to be considered as a performance art, the potential of collaboration between architecture and fashion as an installation with audience participation is discussed. Architecture, for fashion, provides significant grounds for fashion to be recognized as a parallel, independent sphere of art. Contemporary fashion, either by itself or through collaboration with architecture, comprehends space in its zone of creation. The collaborative characteristics of post-1990s fashion and architecture is verified through case studies of the three fashion houses, 'Armani Group', 'PRADA' and 'Comme des Garςcons.'

• 패션비즈니스
• /
• 제11권4호
• /
• pp.92-100
• /
• 2007

The most emphasized materials in the modern fashion are the elastic materials with the advent of sportswear. In the area of elastic materials, the technology of foaming plastics became main research area. As novel materials, latex and neoprene based fabrics are emerging for the elastic material, among those elastic material staged by renowned fashion designers. We searched those works through literature and pictures, and examined the physical properties. Neoprene composite with filament knit fabrics are excellent in strength and water-proof. Latex fabrics gave smooth feel and elastic feel. These may be adequate for aesthetic textile material. Based on these characteristics, these techno-texitiles will find broad applications in the fashionable materials.

• 복식문화연구
• /
• 제15권4호
• /
• pp.634-646
• /
• 2007

The aim of his study is to understand the developed aspect and proportions of the exotic images. Thus, this analyzed the exotic images in domestic fashion brand items as an relevance with fashion trend information. The exotic images are in the order of 'ethnic', 'retro', artistic', 'elegance', 'primitive', 'seductive', 'folklore', 'extreme hybrid', 'romantic', 'natural', 'splendid', 'bohemian', 'classical', 'kidult', 'modern', 'traditional', 'vintage' expressed in domestic fashion goods by the categories of its key-words expressed fashion trend information, and suitable for the fashion trend in 21C and fashionable for goods in the domestic fashion market by expressing the racial costume images and retro look, the maximized women's elegance, the difference images with an humor and unfamiliarity.

• 한국의류학회지
• /
• 제32권10호
• /
• pp.1522-1534
• /
• 2008

The subjects of ttis study were middle-aged women in their 40s$\sim$50s and older women aged 60 and over who were living in Seoul and Kyonggi-do, Korea. Through studying the participants' responses to the questions regarding the attributes of image preference in terms of the levels of satisfaction and importance, the target consumers' demand has been studied. And, they are applied to a QFD Matrix, to find out the relationship between the attributes of product quality and the guidelines of clothing design. For this study, clothing image preference is categorized as three types: fashionable and urbane image, elegant and formal image, comfortable and active image. It has also been found that middle-aged and older women think the clothing that projects fashionable and urbane image needs more improvement that those for other images. To review demands for the clothing image preference attribute of formal suits for middle-aged and older women, the priority of these attributes through QFD Matrix that shows the relationship between the attributes and dress elements emphasized by designers has been examined. In reflecting clothing image preference by consumers for their formal two-piece suits, the most important design elements related to material in order of importance were material type, style, thickness and texture, and those related to color were the number of colors used and coloring type.

• 한국의상디자인학회지
• /
• 제10권1호
• /
• pp.117-123
• /
• 2008

When it comes to clothing design, after the mid 20th century some internationally renowned designers began to recognize the pivotal role clothing materials play in attracting the hearts of customers. Accordingly, they started to take advantage of new clothing materials in the sector of clothing design. While the theme of fashionable clothing products shifts from style and color to clothing materials, fashion designers place the quality of materials at the center of clothing designs. Fashion designers also realize that good quality of materials should be used to boost the value of products as well as to satisfy the conditions of creativity, practicality and aesthetics. In particular, as the non-apparel industry in which clothing materials are the most important aspect between fashionable color, silhouette and details is enhancing their attention to develop various materials in order to meet the needs of customers, the fashion industry places a high premium on textile design which is the pinnacle of expressing emotion on clothing materials. In addition, the industry raises awareness of developing more sophisticated and differentiated materials. Our thesis covers the way how to apply $moir{\acute{e}}$ pattern to clothing design on the basis of research. In order to put that research into practical use, we produced textiles which effectively display $moir{\acute{e}}$ pattern. Before this process, we tried to ensure that radial grating created $moir{\acute{e}}$ pattern effects. To this end, the weaving process was applied, depending on whether light can penetrate textiles or not. Then, we manufactured test-products using $moir{\acute{e}}$ pattern.

• 한국의류학회지
• /
• 제14권2호
• /
• pp.129-136
• /
• 1990

The purpose of the study was to develope brand positioning map for ladies' ready-to-wear, to find out evaluative criteria in perception and preference to brands, and to persent the relationship between consumer's characteristics and brand preference. Subjects were selected for the housewives of middle and high socioeconomic classes living in Seoul area. A questionnaire including items of life style, self image, similarity between brands, preference degree to brands, and demographic variables was developed for the empirical study. The questionnaire was administrated to 137 housewives during fall in 1989. Data were analyzed by cluster analysis and multidimensional scaling method. The study had two research problems. The first research problem was to construct a brand perceptual map for ladies' ready-to-wear brands, selected for the study The perceptual map was constructed on the basis of brand similarity scores by multidimensional scaling method. As a result, brands were grouped into 4 clusters, and evaluative criteria for perceptual map were found to be fashionability (classic- fashionable) and familiarity (familiar-unfamiliar). The second problem was to construct a brand preference map for ladies' ready-to-wear brands, selected for the study. The preference map was constructed on the basis of brand preference scores by multidimensional scaling method. As a result, the brands were grouped into 4 clusters and evaluative critiera for preference map were found to be fashionability (unfashionable-fashionable) and image to age (mature-young directed). Also was shown the relationship among self image, age, socioeconomic class, and brand preference. The multidimensional scaling method was found to be useful as well as valid instrument for brand positioning research and the result can be utilized for establishing strategies for ladies' ready-to-wear brands.

• International Journal of Costume and Fashion
• /
• 제10권1호
• /
• pp.67-79
• /
• 2010

Cultural sensation by appearance of Elvis Aaron Presley is thought to have been greatly influenced by spread of popular culture beginning to form with the development of mess media in USA that was changed rapidly after the war, changing aspect of popular music in U.S.A through the media development and teenager culture of USA that has rapidly emerged. Elvis intended to change into 'music to be seen' deviating from 'music to be simply listened to' with expressing the conversion of sexual consciousness, defiance to older generation and a sense of value on wealth, and the like, and also suggested a new culture and style to the young people at that time. Flow of Elvis's fashion may be categorized into the classifications such as the fashion in the period. First, Formative period(before 1954) distinguished by pimp look and sideburns with tough image and wild clothes. Second, Establishment period(1954-57) may be categorized into the hot rockabilly style which showed a glittering fashion by brilliant and colorful costumes, the cool rockabilly style which changed him to a fashionable star of modem image(1958-60). Third, re-heyday(after 1968) where a brilliant and bold decoration was displayed. In Elvis fashion, the masculine sensualism, defiance to main value and expression of luxury and consuming culture, etc. are included as a unique aesthetic consciousness. 'Expression of masculine sensualism' represented the sensualism through sexual objectification of men's body by men's sexual ostentation which was prohibited. 'Defiance to main value' means that attempts of non-mainstream image for social class are expressed with an exercise of power by young people through the public. Although the Elvis look has fanned an anti-culture, it was expressed and accepted as having a normally capitalistic appearance. In addition, it being thought of as the standard, symbolizing a success and a wealth through the presentation of image which accepted this material benefit, we may classify this into 'expression of luxury and consuming culture'.

• 복식
• /
• 제56권1호
• /
• pp.13-31
• /
• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• 패션비즈니스
• /
• 제6권1호
• /
• pp.116-127
• /
• 2002

The hip-hop fashion of the nineteens is just as important in hip-hop as in rapping, breaking, or graffitiwriting to young people. Hip-hop fashions major influences range from martial-arts moves, to street-gang uniforms and paraphernalia. Hip-hop fashion grew and evolved with the subculture. The identification with street-gang culture is important to hip-hop in general and still set the pace for hip-hop fashion. There are things that are necessary fashion components for each segment of hip-hop life. So even prisons are now selling prison clothes. Explaining the look, The rawest street element is a jail element, so the strongest statement is a uniform with shirts and trousers that match perfectly, like a jail piece. Insiders can detect the away of gang and prison culture on the iconography of seemingly innocuous brands. Hip-hop glam is part of an evolution of hip-hop style. Rap's gone luxe, and it is women who are leading the high-fashion charge. They wear in diamonds and fur. Now it is a very glam. Now, many brands are upping their marketing activities through a focus on their women's lines in advertising, and featuring hot celebrities. There is also a lot of rethinking of looks going on. Sexy and tight is emerging as the style of choice in this market and fabrications are becoming more important, as designers refine and upgrade their women's line. The clothes of hip-hop glam were the ordinary with the extraordinary: Designer fur and leather with athletic team jerseys, Nike sneakers, diamond bracelets and mall brands like Guess and Fubu. The hip-hop musician's sporty hip-hop looks has amply young people. The hip-hop looks of baggy jeans, oversized shirts and rugged outerwear have become a part of mainstream fashion. Hip-hop fashion has the characteristics of being sporty. In the 90s, Military look has got one of the fashionable hip-hop fashion style. It does not have inner symbolic meaning or ideology but it only represents a fashion trend and revival fashion. Not only fashion designer but also hip-hop musician selected the trend for hip-hop fashion style.