• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.33-47
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• 2015

The purpose of this study is to understand the ideas of characteristic of convergence design related to slow fashion design. Convergence design in digital stage can be defined as a social phenomenon which different function of product move toward one direction for greater efficiency. Slow fashion is based on the Slow Movement. (This is a movement with similar principles to the Slow Food Movement, as it promotes an alternative mass production, such as fast fashion.) The aims of this research are to study slow fashion that has appeared in the fashion industry through various approaches for convergence designs, and to find the possibility of use for slow fashion. The research method consisted of carrying out case studies and analyzing literatures and proceeding cases. The characteristics of convergence designs are classified into technical convergence, emotion-oriented convergence and complex convergence. Technical convergence has an effect on slow fashion as a multi-functional design. Second, emotion-oriented convergence affects social-cultural design. Slow fashion related to a complex convergence design reveals emotion-oriented deign. Slow fashion is related to convergence design is to expect contribute to provide a good source for the future fashion industry and fashion market.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.1
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• pp.59-72
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• 2014

This study investigated slow fashion consumers from a human desire viewpoint in order to examine the psychological aspects of slow fashion consumption. First, the concept of slow fashion was defined. Second, this study reviewed the concepts of desire found in Oriental philosophies and applied them to slow fashion consumption. This process identified the fundamental desire that motivates consumers of slow fashion. Lastly, the psychological aspects slow fashion consumers were examined through a comparison of fundamental desire and external reasons given by interviewees in regards to personal motivation to purchase slow fashion products. Data were collected through in-depth interviews with 10 unmarried women 25 to 37 years old with experience in buying slow fashion products. Exploratory data were classified into external reasons and fundamental reasons to derive the concept of slow fashion. First, slow fashion is defined as sustainable fashion that considers humans and nature. It also seeks to produce morally good products that transcend time and space. Second, we identified the following external reasons: social responsibility, pursuit of healthy products, and pursuit of beauty. Finally, we extracted four factors that reflected fundamental desire: Recognition Desire, Ostentation Desire, Sexual Appeal Desire, and Power Desire. Altruism was emphasized by respondents who expressed social responsibility among external reasons and the desire for recognition among fundamental reasons. However, this goodwill also originated from human desire due to the emotional healing they receive from helping others. Interviewees sought psychological benefits such as self-satisfaction and spiritual growth through slow fashion that implied an Association of slow fashion consumption with human desire. Slow fashion consumption was influenced by moral convictions as well as various desires; in addition, external reasons for slow fashion consumption could be explained by desire.

• Journal of Fashion Business
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• v.27 no.4
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• pp.50-66
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• 2023

The purpose of this study was to examine the word distribution and topic distribution of slow fashion appearing on YouTube in detail and identify the characteristics and aspects related to fashion design through big data analysis and content analysis methods. The specific research results were as follows. First, in the results of the word distribution analysis, "item" appeared the most, 203 times. Also, "one-piece" was a point to pay attention to, as the item had the highest frequency. Second, a total of 5 topics were defined in the topic distribution analysis: topic 1 was "vintage products," topic 2 was "fashion items," topic 3 was "eco-friendly," topic 4 was "life quality emphasis," and topic 5 was "prudent consumption." Third, looking at the relationship between word distribution and topic distribution above, Korean slow fashion on YouTube was actively selecting related design elements that express vintage images in clothing life regardless of trends. In addition, there was a tendency to pursue various basic and high-quality items. Other than those findings, basic items tended to be reinterpreted in various ways through styling methods matched to the vintage image. Lastly, the tendency of slow and small-volume production appeared to emphasize handicrafts and the cultural values of fashion products.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.4
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• pp.531-542
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• 2009

This study examines the correlation between the characteristics of sustainable slow design, The outcome derived from the pro-environmental consciousness in fashion design, and the trends of modern fashion design. The conclusion of this study is as follows. First, slow design for sustainability shows an environmental consciousness and stresses the ethical aspects of fashion design that take into account the wellbeing and sustainable development of human society. It also focuses on the continuos present in which the consistent pace of life endures, rather than pursuing speedy changes of fashion by titillating desire. Second, the five characteristics of slow design have been extracted from the analysis of the examples of fashion industry and other fashion-related areas. They are sustainability, recyclibility, handicraft, naturalness, and simplicity. Third, these characteristics of slow design have much to do with modern fashion genres. For instance, classical style fashions such as Chanel suit and Burberry coat have the same qualities of sustainability, while at the same time the Vintage fashion, which reinterprets the fashions from bygone eras in modern style, has the tendency of recyclibility, and the Hippie style, a resurrection of hand-touch spirit that emerged as a secondhand style expressionism resisting uniform mass production, has not only the quality of handicraft but also recyclibility.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.165-179
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• 2002

This paper begins with the thesis that the so-called 'Be Slow' Movement has not only affected the contemporary life style but also the current fashion trend in the West as well as in Korea. The influence of the 'Be Slow' Movement on the everyday life of Western and Korean society can be documented by recent books, news reports, and many articles from various kinds of mass media and fashion magazines since the year 2000. The results of this study can be summarized as follows. First. the 'Be Slow' Movement is a new cultural phenomenon and very different from that of the past century. It has emerged very recently and it could affect the life style o( its followers for a long period of time. Second, the influence of 'Be Slow' Movement on everyday life can be witnessed in many behavioral choices. such as the preference of organic food and natural cooking for food and the preference of rural life and a green patch of land for housing. Some aspects of the way of rearing the children and long-term planning of one's life are also under the influence of 'Be Slow' Movement. In a way. the life style Proposed by the 'Be Slow' Movement is somewhat similar to that of 'Bobos'. Third, the influence of 'Be Slow' Movement on the current fashion trend can be observed in the appreciation of time-consuming labour and increased usage of D.I.Y. clothing. The higher value of fashion goods with handcrafted part or scarce luxury item are good examples of the influence by the 'Be Slow' Movement. One can say that the 'Be Slow' Movement is not retrogression, but a re-creation of time and space to be grateful for one's life. Thus, it is not anti-technology but a commercialism with technology in order to enhance the quality of life and to place people in the center of production and consumption. Consequently, one may say that the 'Be Slow' Movement is a appropriate and affluent way of living.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.1
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• pp.136-154
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• 2021

'Slow fashion' has become a hot issue in the fashion world as fast fashion has caused environmental and ethical problems. This study synthesized the characteristics of slow fashion from preceding studies and organized them into four characteristics (craftsmanship, nature-friendly attitude, localism, and pursuit of exclusive value). This study compared designers, John Alexander Skelton and Geoffrey B. Small with four characteristics. First, both designers sought craftsmanship based on tailoring, but Skelton focused on the eco-friendliness of materials, and Small emphasized the development of high-quality fabrics. Second, we found a nature-friendly attitude in both designers, but unlike Skelton, which maintains nature-friendliness in the process of clothing production, Small showed this characteristic through presentations. Third, both designers revealed localism through their affection for the fabrics and culture of each country. Moreover, Small extended its meaning to respect minority tastes. Finally, both designers pursued exclusive values through collections under the themes of class problem, and gender conflicts. However, Skelton melted these topics into British culture and revealed them indirectly versus Small who showed sensitive topics directly in the collections. This study will provide the foundation for analyzing designers through the characteristics of slow fashion, and suggests directions that slow fashion designers should move towards.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.11
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• pp.1386-1398
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• 2011

Slow fashion can be viewed as an activism that provides an alternative solution to the problematic issues of fast fashion in a practical sense; however, (from a theoretical point of view) it is a fashion phenomenon arising from the criticism of an accelerating society. Slowness emphasizes the virtues of moderation. Slowness refers to the recovery of human ethics that have been neglected due to the goal-oriented nature of an accelerating society. Slowness can solve the problem of conformity and discrimination in society through pluralism and respect for local indigenousness. The characteristics of slow fashion can be defined by the aesthetic values of circularity, sustainability, moderation, expressivity and convergence. This includes the beauty of circularity (which views the relationships of all processes as organic), the beauty of sustainability (which ensures the maintenance of continuous emotions and the durability of products that can be promoted through slow processes), the beauty of moderation (which places importance on spiritual values and the moderate use of materials), and the beauty of expressivity (which plays the role of a social messenger that facilitates social assertion). These combined values present the beauty of convergence such as the harmony of local communities and the world in a blend of the old and the new with an exchange between producers and consumers.

• Journal of Families and Better Life
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• v.27 no.3
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• pp.61-77
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• 2009

This study investigates the disposal of clothing and the purchasing behavior and usage of environmentally friendly clothing. After compiling data from 500 consumers who reside in Seoul, it was analyzed by ANOVA, t-test, Chi-square, and multiple regression analysis. The behavioral score for buying environmentally friendly clothing was lower than the average value of the three. The lowest value was for the purchase of used clothing, but the purchase of environmentally friendly clothing was also shown to have a low value. For the usage and disposal of clothing, unused clothing, which was mostly just left in dresser drawers, was the most preferable method. Also, exchange or resale via anInternet mall was shown to be lower than the other methods. The analysis between clothing purchase and usage as well as the disposal of clothing with socio-demographics, consumption tendencies, opinions of friends and groups, commercials and advertisements, and environmental perceptions points out differences among groups. There are statistically significant differences in the purchasing intentions of slow fashion according to socio-demographics. Female consumers between $20{\sim}25$ years of age were more likely to purchase slow fashion clothing. Consumers with a high consumption tendency who were highly influenced by commercials, friends, and groups were more likely to purchase slow fashion clothing. The influence of the average clothing expenditure on an environmentally friendly purchasing behavior and the influence of the age group on repairing and usagewas the most effective. All in all, contribution to an environmentally friendly perception was the most effective variable.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.1 s.160
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• pp.21-32
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• 2007

The purpose of this study is to establish the idea of sustainable slow design by analyzing literatures and preceding cases, based on the external elements of a design including forms, the methods of expression, materials and colors. This study reviewed the previous literature of books and pictures related to the research for case studies and content analysis. fashion books, magazines, and web-sites published from 2000 to 2005 were analyzed for this research. The sustainable slow design trends in fashion can be summarized as follow. The first is a timeless style which has sustain ability in design independently of the versatile fads and relies on functionality, serving the purpose of design. One of the examples is both clothes designed by Burberry and suits by Chanel. The second is a hand-touch style which the more time for outputs can be positively tolerated, in favor on eco-friendly design through the techniques of manual arts. The third is a renewable design which the combined values of design with reuse and renewal result in recreation of past ecology as shown in the technique of designs by mix & match. The forth is a transformable design which features the multi-purpose and multi-forms, eventually extending the lift cycle of products. As a result of analysis of the four designs above, it can be inferred that the representation of past styles, the mixture of old design with new design, the appropriate combination of conventional fabrics with advanced ones, the ecological trends of sports look was emerging.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.151-167
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• 2010

This research is to analyze ethics in fashion design for more valuable and sustainable human life against the increasing alienation of the human being, the global ecological crisis resulted from contemporary consumption society. I expect that it can be helpful to plan ethical fashion design practice more effectively. For this, the documentary study and practical case study have been executed. The results are as follows. The ethics in design can be defined as the responsibility to reform the social, environmental problem of consumptive design, to sustain together without human alienation, environment disruption and to do social good for total human being ultimately. The ethical design practice means to suggest solutions to problems of human rights and environment and to act willingly. Based on this, ethical fashion design appeared as responsible design solution which has two directions. One is the fashion design for coexistence and sharing, including the design for all which considers even underprivileged minority, the design to promote public issues as well as to donate some profits. The other is the eco fashion design for sustainable environment, including eco-friendly design which is reductive and slow in whole design process, the design to inform the seriousness of environmental crisis as well as to donate some profits. The last one of the most important ethical responsibility as fashion designer is to abide by vocational ethics, that is, the prohibition of design piracy.