• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.6
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• pp.1224-1239
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• 2020

This study develops a wearable solar energy harvesting device that absorbs solar energy to generate and store power which can be used during outdoor activities by users even after dark. For this study, a prototype hat for outdoor activities at night was developed after the design of a solar energy harvesting generation, storage, and delivery system was designed that could store energy to light up LEDs. First, the main control board of the system was designed to integrate the charging function, the darkness detection circuit, the battery voltage sensing circuit, and the LED driving circuit in order to reduce bulkiness and minimize the connection structure. It was designed to increase convenience. Second, the system was designed as a wearable fashion product that connected each part with fiber bands and manufacturing it so as to be detachable from the hat. Third, charging and LED operation tests show that the battery is fully charged after 5 hours even in winter when the illuminance value is low. In addition, the LED operation experiment verified the effectiveness of a buffered system that could operate the LEDs for about 3 hours at night.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.83-92
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• 2010

The current design paradigm shift which has been in progress around the world would be a good opportunity for Korea, which has led the age of information, to build design competence and gain international competitiveness. In addition, it would be a good idea for colleges as well as firms to develop a new educational system and create academia-industry-research synergy. This paper researches the market KU project promoted by Design Venture KU which has been established by the College of Artand Design of Konkuk University as a part of differentiation strategy. The methods to improve the competitiveness of Korean fashion design by uniting college creativity and market practicality are as follows: First, for convergence of creativity and practicality, it is necessary to come up with a systematic design-based educational system. In other words, the undergraduate program needs to gradually expand courses by focusing on creativity instead of functions while the graduate program should be able to develop design pattern, textile and marketing products and secure the market to gain competitiveness as a business incubator. Second, the working-level engineers as well as professors will be encouraged to participate in special lectures or seminars and take necessary lessons. In addition, academia-industry cooperation courses will be further strengthened. It is also important to actively participate in an official contest or exhibition and receive a prize. Third, to elicit creativity from students, it is necessary to help them think in a flexible and experimental way with voluntary and interesting programs. As mentioned above, it is expected that 'Market KU Project' would help students build expertise by offering them a chance to experience the real world and become the world's leading designers in Korean fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.115-125
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• 2007

A hat is a general term for what human beings wear on their heads in order to protect them from the cold or heat, to be used for ornament, or to symbolize social position. A hat represents the position of a man who wears it, attitude toward the society, and faith for a religion for males. Since men's hats can create their image and uniqueness in casual wear from current fashion items, they are proposed as a fashion accessory item of designers each season. The purpose of this study is to review hats, which are part of costume, in a more analytic method. The research range of this study is hats for men in the upper class in the 17th to 18th centuries from the history of costume when diverse periodic and characteristic costume changes occurred. In the 17th to 18th centuries in the middle of the Chosun Dynasty, changes in costume occurred as the feudal society of the dynasty had been dissolved since the Japanese invasion in 1592. Political power was established in France as the Baroque Age began in the 17th century. Since European costume, especially women's costume led fashion in France, the country represented the age better than any other countries. Aristocratic costume in the Rococo Age of the 18th century was changed to completely different shape of costume after the French Revolution. In this regard, this age was deemed to be the most appropriate for the comparison or costume. Another purpose of this study is to review the common and different features of periodic factors that affect changes in costume by researching the hats of the two countries in the same age in order to understand relation between periodic characteristics and costume throughout history of costume.

• 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.

• The Research Journal of the Costume Culture
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• v.16 no.6
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• pp.1019-1034
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• 2008

The purpose of this study is to grasp creation background and social position of courtesan which is treated in social and cultural context and its effect on fashion and research representative courtesans from ancient hetaera to the 19th century and their costume characteristics. Its another purpose is to analyze the costume of Violetta, who is a heroine of opera and its costume characteristic as a courtesan. Most Courtesan clothing were made from bright color, silk and lace which were light, or transparent materials. Using silk and cashmere which were the symbols of class, she took the cutting edge fashion and struggled to break the social barriers. The clothing which the Courtesan wore always became a gossip among people and popular to the designers who could show their creativities because the Courtesan boldly wore the cloth like movie actresses or stars. The Courtesan who led the fashion not only showed the fashion as a simple expression of the beauty but also as a socio-cultural phenomenon which reflected their social awareness with arts, and changed according to the situations of the time and people. Violetta's party dress which was shown in the first and third acts of showed the shoulders and chest because of the deep and wide cut decollete, the waist was tightened with a corset as much as possible, and the opulent hips were inflated by the crinoline so when they walked it was swaying. Also it was decorated with splendid materials such as silk and lace, and sparkling jewels, fans, and neckless and even in case of the general clothing in the second act, it was decorated with braids and lace, frills and ribbons. In the third act, the weakness of the sick woman who was closing her life as the splendid Courtesan was emphasized by using colors of white and light purple and thin transparent materials.

• Journal of Fashion Business
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• v.9 no.4
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• pp.145-160
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• 2005

On the subjects of the female adults in their 20s who love to wear jeans, the wearing reality of basic jean pants and engineered jean pants was examined while pattern comparison and the evaluation of appearance and functions were made to reach the following conclusions: 1. Wearing reality of engineered jean pants Among the examined subjects, 74.8% were found out to favor engineered jean pants. Those who have engineered jean pants turned out to pursue well-known brands more than practicality. 2. Pattern comparison analysis of basic jean pants and engineered jean pants Though similar sizes existed in pants tips and belt width, engineered jean pants showed bigger values in waist circumference, crotch circumference, hip circumference, knee circumference, thigh circumference and so on. There were no big differences in the front part except for the items like crotch circumference and crotch length, but engineered jean pants had bigger sizes in the rear part. Engineered jeans in the rear contained the outward curved silhouette of the legs, curved tips, and a dart design instead of a back yoke. 3. Evaluation of appearance and functions In the scores of appearance, basic jean pants were higher at 3.65 in the order of front > side > back. On the contrary, engineered jean pants were excellent in the order of side > back > front. In the items of functions, engineered jean pants were higher at 4.23 in the order of hips > thighs> waist > abdomen > knee > crotch. On the other hand, basic jean pants showed the order of knee > crotch & thighs > abdomen > hips > waist. In every movement, engineered jean pants revealed higher functionality. In particular, the bigger physical movement led to the greater functional differences between the two kinds of jean pants.

• Journal of Fashion Business
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• v.23 no.2
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• pp.1-17
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• 2019

The objective of this study was to investigate electrical conductivity of fabrics from polyester (PET) and Nylon (N) containing polyurethane (PU), with silver paste patterns screen-stenciled in three directions. The PET/PU and N/PU fabrics knitted or woven were uniaxially strain-recovered up to 22.5% in three times when each change in electrical resistance was simultaneously measured. This study established four variables that complexly affected electrical conductivity of these specimens; fabric structures, components, cover factors, and the percolation of silver particles. The woven or knitted fabric structures did not distinctively cause the changes in electrical resistance, however, the woven fabrics with the diagonal patterns showed their relatively high electrical resistance. The PET/PU fabrics with increasing the PET proportion generally presented the opposite propensity to its electrical conductivity. The changes in electric resistance of the PET/PU 85/15 2/1 twill and double plain fabrics instantaneously responded to the rate of elongation. The PET/PU group exhibited a reverse correlation between its cover factor and electrical resistivity. The highest electrical conductivity of the PET/PU 95/5 interlock fabric, with very few fluctuations, was attributed to the deep percolation of the silver particles that bridged the gaps between one loop and another. On the other hand, the occurrence of the silver cracks along with the elongated direction led to the immeasurably high change in electrical resistance as the strain increased.

• Human Ecology Research
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• v.61 no.3
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• pp.389-399
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• 2023

Sustainable fashion products have different characteristics from typical fashion products. Therefore, this study focuses on shoes while exploring the expansion and development of sustainable fashion consumption as well as consumers' perceptions of the sustainability approaches practiced by shoe companies. In-depth interviews were conducted with 24 consumers, who had purchased sustainable shoes, in order to understand their purchase decision-making process and consumption characteristics, using the seven stages of the EBM model. In the "need recognition" stage, the survey participants' social background and family influences were categorized as macro factors, while their personal background influences were categorized as micro factors. In the "evaluation of alternatives" stage, participants reconfirmed whether or not to make a purchase based on the product's properties, such as price, brand value, and offered services. In the "purchase" stage, participants' purchase channels were determined according to their preferences as well as the selection pattern they followed until the final purchase within the chosen channel. In the "consumption" stage, the start of product ownership coincides with the start of using the products after making a purchase. In the "post-purchase assessment" stage, higher positive experiences led to a higher repurchase intention of sustainable shoes, while negative experiences caused participants to defer consumption and made them experience a sense of guilt for failing to consume sustainably. During the "post-purchase behavior" stage, which focused on the categories that the customers prioritized, many participants spread information about sustainable fashion to specific individuals through active online WOM behavior.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.247-259
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• 2024

This study assessed the effectiveness of brand image communication on consumer perceptions of cruelty-free fashion brands. Brand messaging data were gathered from postings on the official Instagram accounts of three cruelty-free fashion brands and consumer perception data were gathered from Tweets containing keywords related to each brand. Web crawling and natural language processing were performed using Python and sentiment analysis was conducted using the BERT model. By analyzing Instagram content from Stella McCartney, Patagonia, and Freitag from their inception until 2021, this study found these brands all emphasize environmental aspects but with differing focuses: Stella McCartney on ecological conservation, Patagonia on an active outdoor image, and Freitag on upcycled products. Keyword analysis further indicated consumers perceive these brands in line with their brand messaging: Stella McCartney as high-end and eco-friendly, Patagonia as active and environmentally conscious, and Freitag as centered on recycling. Results based on the assessment of the alignment between brand-driven images and consumer-perceived images and the sentiment evaluation of the brand confirmed the outcomes of brand communication performance. The study revealed a correlation between brand image and positive consumer evaluations, indicating that higher alignment of ethical values leads to more positive consumer assessments. Given that consumers tend to prioritize search keywords over brand concepts, it's important for brands to focus on using visual imagery and promotions to effectively convey brand communication information. These findings highlight the importance of brand communication by emphasizing the connection between ethical brand images and consumer perceptions.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.365-374
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• 2021

Recently, the high growth rate and advantages of the crowdfunding market have also led to increased participation of brands and companies, and this also applies to fashion business. Risk has been noted to be a key factor in consumer behavior in crowdfunding. With the high-risk context of crowdfunding where supporters inevitably bear to pay full amount of price before receiving the actual products. Factors enhancing or inhibiting perceived risk of crowdfunding need to be explored. The past literature on perceived risk and consumer attitudes in crowdfunding has expanded, but it has rarely covered the context of experience goods such as fashion products. In addition, the platform characteristics in relation to perceived risk should be addressed. The current study attempts to address the effect of the perceived amount of information offered in a fashion crowdfunding project on perceived risk and the intention to participate in the project. For the experiment of this study, a fictitious crowdfunding page for fashion products was set as the stimuli. A total of 240 Korean participants were recruited and their responses were statistically analyzed using SPSS 24.0 software. In the results, the greater the amount of detailed information about the fashion crowdfunding project, the higher the intention to participate the project. The greater the amount of information provided, the lower the perceived risk of consumers. Moreover, the lowered perceived risk affected the intention of participate. Perceived risk has a partial mediation in the relationship between the amount of information and intention to participate. Theoretical and managerial implications are discussed.