• The Research Journal of the Costume Culture
• /
• v.16 no.3
• /
• pp.432-443
• /
• 2008

Fast fashion is widely accepted in young generation who are eager to the new fashion trends. With the consumers' rapid adoption of fast fashion, fashion retailers have tried to adopt strategies to reflect current and emerging trends as quickly as possible and effectively in current merchandise assortment, raises important issues with respect to the processes of effective merchandise management. However, the concept of fast fashion has not been academically investigated and developed properly yet. Therefore, this study mainly reviewed secondary data such as leading fast fashion companies' website, newspaper articles and Zara's case study which covers fast fashion issues. Fast fashion gets widely spreading in market, current investigation showed that domestic fashion companies have adopted fast fashion concept in early stage. This study tried to examine characteristics and strategies used by fast fashion businesses to provide domestic fashion industry with valuable information of production and marketing strategies. Suggestions through the result are as follows: 1. Fast fashion requires flexible managing systems such as SCM, QRS and JIT in order to promote efficient production and assortment management from the entire supply chain. 2. Domestic fast fashion companies should build up not only quality of good design but also reasonable price and strengthen marketing strategies in order to compete with abroad fashion companies 3. Fashion companies that succeed in satisfying consumer's desire for new trend show that it has been successful their strategy to make market area wider to the world not focusing on domestic market.

• Journal of the Korean Society of Costume
• /
• v.63 no.5
• /
• pp.72-86
• /
• 2013

This research aims to analyze the expressive characteristics of the fashion illustration in various fashion products such as clothing, accessories, other fashion products, and magazine advertisements. Targeting 223 items of products that had adjoined fashion illustration from 2000 to 2008, which had been collected through from magazines and web sites using the fashion illustration expression categorization (expression technique drawing style, body expression, expression image, attaching method to product) based on the theoretical background and the general trends by products. In frequency analysis results, painting technique and graphic technique were of great importance in the expression technique, and shading drawing and contour drawing were of great importance over all product groups for the drawing style. In body expression, exaggerative expression was the highest; simple expression and realistic expression were of great importance over all product groups relatively. In particular, there was a very distinct difference by fashion products in expression image. Humor image has the most importance in fashion clothing and fashion accessories. Casual image is the most important in magazine advertisements, and feminine image is the most important for other fashion products. Lastly, in attaching method to products, finished goods printings made up the largest proportion over all products. In fashion clothing, textile printings was the highest in proportions. Stitch in fashion accessory, the original form of commodity in other fashion products. This study will become a very valuable source in fashion products development using fashion illustrations.

• Journal of Fashion Business
• /
• v.2 no.2
• /
• pp.11-25
• /
• 1998

The purpose of this paper is to investigate how the young fashion which maintains a large share of fashion market emerged in the 1960s, its characteristics and what its influences on the contemporary fashion industry are. In particular, I am going to consider the significance of the young fashion by looking at the formation of niche market, the emergence of mass market for fashion, the expansion of aesthetic categories. we will be able to see the 60s young fashion of the young generation who emerged as new consumers in mass consumer culture exerted important influences on the contemporary fashion industry. First, the counterculture of young generation who rebeled against the uniformity of mass production helped the formation of new niche market. Second, the young fashion which pursued the lower prices for fashion made a big contribution to the popularization of fashion. The young generations tendency to demand new things and rapid change coincided with that of inexpensive popular fashion people can buy and change more easily than expensive high fashion. Lastly, the playful tendency of the young fashion expanded the aesthetic boundaries of the clothing, going beyond the uniformity of modernism with the emergency of diverse fashion materials - fabric and textiles - enable by technological development and the miniaturization of forms as revealed in mini skirt.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.11 no.3 s.25
• /
• pp.15-24
• /
• 1987

The purpose of this study was to investigate the relationships among fasion leadership, Social character, clothing conformity and fashion information source. For this purpose, a causal model was to be constructed and empirically tested. Fashion leadership is divided into fashion opinion leadership and fashion innovativeness and is appropriated to the model. The following conclusions were derived from the data analysis. 1. Social character has direct effects on clothing conformity, but indirect effects on fashion information source. 2. Significant interaction between clothing conformity and fashion information source was found. 3. In a fashion opinion leadership model, social character, clothing conformity, and fashion information source have significant direct effects on fashion opinion leadership 4. In a fashion innovativeness model, social character and fashion information source have significant direct effects on fashion innovativeness, and clothing conformity indirect effects through the fashion information source. 5. The explanatory power ($R^2$) was higher for the fashion opinion leadership model than for the fashion innovativeness model.

• Fashion & Textile Research Journal
• /
• v.10 no.2
• /
• pp.155-163
• /
• 2008

The college students selected by random sampling were classified into several groups by their cosmetic impulse buying pattern and the internal characteristics that cause them. Their shopping orientation, life styles, makeup self-confidence, makeup interest and self-image were the subjects of comparative analysis. The results of this research can be summarized as follows.; fashion leader was classified fashion dual leader, fashion opinion leader, fashion innovator and fashion follower. The fashion dual leader and fashion innovator were more impulse buying orientated. The fashion dual leader and fashion innovator were highly evaluated in intellectual self faithfulness and life decoration preference style. The fashion dual leader and fashion innovator attached great importance to leisure pursuit and name brand preferring shopping. They showed the tendencies to the makeup self-confidence and makeup interest. But the fashion follower showed quite different tendencies. The fashion dual leader and fashion innovator perceived themselves as varied life style. These internal characteristics were supposed to contribute to their impulse buying.

• The Research Journal of the Costume Culture
• /
• v.21 no.4
• /
• pp.562-575
• /
• 2013

The purpose of this study was to test the determinants of fashion savvy. As determinants, this study examined fear of negative evaluation by others and self esteem as subject-related variables and consumer confidence in fashion decisions as the product-related variable. It was hypothesized that fear of negative evaluation and self esteem influence fashion savvy both directly and indirectly through consumer confidence in fashion decisions. Data were gathered by surveying university students in Seoul metropolitan area, using convenience sampling, and 311 questionnaires were used in the statistical analysis. In analyzing data, factor analysis and path analysis were conducted. Tests of the hypothesized path show that one factor of fear of negative evaluation and self esteem influence fashion savvy directly and indirectly through consumer confidence in fashion decisions. More specifically, 'fear of negative impression and judgment' factor negatively influences 'marketing literacy' and 'consumer selfefficacy' of fashion savvy, whereas self-esteem positively influences 'consumer self-efficacy' of fashion savvy. In addition, consumer confidence in fashion decisions influences all six factors of fashion savvy. The implications of these findings and suggestions for future study are also discussed.

• Journal of the Korean Society of Costume
• /
• v.65 no.4
• /
• pp.137-153
• /
• 2015

This paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.4
• /
• pp.650-659
• /
• 2016

This study is to comprehend indie fashion which pursues the realization of self-identity, values, freedom and a creation that deviates from conventional cultural flow. This study also aims to understand the definition and characteristics of indie fashion in Korean culture. A rigorous study on indie fashion has not yet been done; therefore, this study was conducted through both a literature study and empirical study. The empirical study asked individuals who engage in indie fashion to provide opinions on the definition and characteristics of indie fashion. The results are as follow. First, indie fashion does not impose conformity upon an individual nor does it pursue differentiation. Second, indie fashion based on self-identity is characterized by an individual's consistent and unchanging style. Third, images (or styles of indie fashion) cannot be uniformly defined as styles different from one individual to another. Fourth, indie fashion can be defined as when an individual perceives themselves as pursuing indie spirit and its attitude. Next was an empirical study that showed in what position indie fashion is and who the fashion leader is in indie fashion. People who enjoy indie fashion said that (regarding indie fashion) it exists independent from the flow of trends as it regards personal values and identity as important.

• Fashion Information and Technology
• /
• v.5
• /
• pp.54-63
• /
• 2008

• International Journal of Human Ecology
• /
• v.5 no.2
• /
• pp.1-12
• /
• 2004

This study aimed to explore how India madras fashion was diffused in the American women's costume of the different social levels from 1960 to 1975, by using fashion illustrations such as photographs, drawings and advertisements collected from fashion magazines. The purpose was to obtain data for high fashion(Vogue), mainstream fashion(Mademoiselle) and college newspapers for youth fashion. The data were incorporated from 439 clothing items classified by different categories over the 16-year period. The results indicated that the appearance of madras in the American women's fashion in all social classes supported the idea that fashion change during this period accompanied a concurrent change in social environment. In America during the 1960s when there was strong influence of youth counterculture and interest was high on Indian culture, this corresponded to the time of maximum popularity of madras observed in American fashion in general from 1965 to 1971. Though the Indian influence on fashion in the sixties was often ascribed solely to youth counterculture, it is evident that different social groups-high and mainstream social classes, responded to the appeal of Indian culture in different ways.