• Fashion & Textile Research Journal
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• v.22 no.1
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• pp.1-10
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• 2020

Romanticists realized the ideals of a more fantastic and better society for the present day in which they lived; in addition, dress was an important medium of expression of this period. The Incroyables were a group that expressed eccentric forms and abuses of luxury through their clothing, centering around the second generation of financial elite groups during the French Directoire. Incroyables created their own fashion that expresses their new image in dress, expressing the intense personal innerity of life, which was influenced by the romanticism of pursuing an internal expression of the subjective and emotional individual. This study used a literature review to analyze the characteristics of the Romanticism expressed in the Incroyables fashion. The research results were as follows. First, it was an expression of an emotional desire for and ancient regime. Incroyables fashion were based on bourgeois nostalgia for the days of the ancient regime that resulted in an emphasis on individual and original human views. Second, it was also a hybrid of Romantic classicism. It was a form emphasizing body form where body beauty expressed a classical form through a dress under the influence of neo-classicalism that desires to return to nature.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.3
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• pp.267-280
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• 2011

This study examined bag purchase behaviors for male consumers based on fashion attitudes. Data research were conducted on 304 males in their 20s and 30s located in Seoul & Gyeonggi province. The SPSS 17.0 software program was used to conduct data analyses such descriptive statistics, frequency analysis, factor analysis, cluster analysis, $X^2$-test, t-test, ANOVA, and Scheffe's test as a post-hoc analysis. The results of this study were as follows: Fashion attitude was identified with four factors personality, social recognition, practicality, and dignity. Customers were segmented into three subdivisions: conspicuous, recognition of individual style, and practicality of clothing. The factors derived from the factor analysis of selection criteria included intrinsic attributes and extrinsic attributes. Males in their 30s valued the intrinsic attributes and males in their 20s valued extrinsic attributes. The group of conspicuous of clothing, valued both intrinsic and extrinsic attributes as important. The factors derived from the factor analysis of bag pursuit benefit included pursuit of fashion/economic, famous brand, quality/convenience. Males in their 20s and 30s pursued famous luxury brands and fashion attitudes had a positive relevance to the bag pursuit benefit.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.498-511
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• 2015

This paper examines advertising images of fashion brands in vertical social network site (SNS) from the viewpoints of message strategies. Vertical social network sites are types of social curation systems applied to social networking, where information is selected, organized, and maintained. Fashion brands communicate with consumers by presenting images on vertical SNSs, anticipating improvements in brand image, popularity, and loyalty. Those images portray content for particular brands and seasonal concepts, thus creating paths for product sales information. Marketing via SNSs corresponds to relationship marketing, which refers to long-term interrelationship and value augmentation between the company and consumer, and viral advertising, which relies on word of mouth distribution via social network platforms. Taylor's six-segment message strategy wheel, often used for analyzing viral ads, was applied to conduct a content analysis of the images. A total of 2,656 images of fashion brands advertised on Instagram were selected and analyzed. Results indicated that brand values were somewhat related to the number of followers. Follower rankings and comment rankings were also correlated. In general, fashion brands projected sensory messages most often. Acute need and rational messages were less common than other messages. Sports brands and luxury brands presented sensory messages, whereas fast fashion brands projected routine images most often. Fashion brands promoted on vertical SNSs should portray advertising images that combine message strategies

• Fashion & Textile Research Journal
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• v.17 no.1
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• pp.11-21
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• 2015

This study analyzed the expressive phenomenon of a blurred boundary in fashion jewelry focused on the relationship between fashion jewelry and costume or fashion jewelry and body. The method of this study was to analyze recent documentaries about jewelry theories in regards to 607 cases of fashion jewelry design in fashion books, fashion magazines, fashion internet sites from 2000 to 2014. The results were: First, phenomenon of blurred boundary between fashion jewelry and costume was expressed in a see-through wear form made of luxury material (gold and diamond) or paste material, a similar form (like fashion accessories made of crystal, bids, and gold chain), an integration of fashion accessories and jewelry, and an attached jewelry on fashion accessories. It reflected a rearrangement of conventional relationships, a blurred relation of function and meaning, dissolution of jewelry form stereotypes, jewelry styling, a harmony of function and decoration, and an alteration to the central role of a fashion image. Second, the phenomenon of a blurred boundary between fashion jewelry and body was expressed in a body organ wrapping, body surface adhesion and sculptural jewelry based on body pose. It reflected a separation from conventional space of jewelry expression, a realization of mystery and fantastic, an expression of new body surface and a blurred boundaries of fashion jewelry and body art. Aesthetic characteristics were analyzed into metaphor and integration by separation from the conventional relationship of fashion jewelry and costume or fashion jewelry and body.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.452-456
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• 2013

Velvet is a luxury cloth. In Fashion it dresses the Elite. In Interiors, it covers palace walls and upholsters elegant furniture. In every culture throughout its history velvet's sumptuous surfaces denotes luxury, status, power, privilege and wealth. My humble aim is to reveal the artisan in the art-to comprehend the mastery of weaving techniques, to understand the design principles, to study the everyday practice of the weavers at work. In the few ateliers that still weave silk velvet by hand, I have documented their processes and now want to share this knowledge with the broader textile community in hopes of expanding the appreciation of their art. I approach as a fellow weaver striving to learn the mechanics, the practical aspects that guide the work from initial idea to finished cloth. I leave the difficulties of establishing provenance and other important analyses to my more learned textile historian colleagues.

• Journal of Distribution Science
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• v.13 no.6
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• pp.5-10
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• 2015

Purpose - Conspicuous consumption is the public display of wealth to impress others. In this study, consumption patterns by social class and economic development of countries were theoretically examined. Research design, Data, and Methodology - A qualitative approach of historical investigation and literature review was employed to identify current trends and emerging phenomena in the areas of consumer behavior and conspicuous consumption. Result - The main participants of conspicuous consumption have changed from the upper class in developing countries to the middle class in developed countries. While the main purpose of conspicuous consumption, that is, achieving higher status, remains unchanged, a leisure upper class has emerged as a new consumer group for conspicuous consumption in developed countries. Conclusions - To satisfy consumers'demands for new conspicuous consumption, marketers are encouraged to offer luxury experience and hybrid products.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.3
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• pp.1-15
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• 2022

The purpose of this study is to compare and analyze the perception of men's fashion before and after the COVID-19 pandemic. TEXTOM allowed the collection of Big Data based on the term 'men's fashion'. As for the data collection periods, Jan. 1, 2018 to Dec. 31, 2019 was set as the pre-COVID-19 era, while Jan. 1, 2020 to Dec. 31, 2021 was set as the post-COVID-19 era. The top 50 words in terms of appearance frequency were extracted from the data. The extracted words were processed using network centrality analysis and CONCOR analysis using Ucinet 6. Research findings were as follows. 1) In the pre-COVID-19 era, the appearance frequency of 'men' was the highest, followed by 'fashion', 'men's fashion', 'brand', 'daily look', 'suit', and 'department store'. These words came up with a high TF-IDF values. Network centrality analysis discovered that 'men', 'fashion', 'men's fashion', 'brand', and 'suit' had a high level of connectivity with other words. CONCOR analysis showed four significant groups: 'fashion item and styles', 'fashion show', 'purchase', and 'collection'. 2) In the post-COVID-19 era, the appearance frequency of 'men' was the highest, followed by 'fashion', 'brand', 'men's fashion', 'discount', 'women', and 'luxury'. These words also displayed high TF-IDF values. Network centrality analysis found that 'fashion', 'men', 'brand', 'men's fashion', and 'discount' had a high level of connectivity with other words. CONCOR analysis showed four significant groups: 'fashion item and style', 'fashion show', 'purchase', and 'situation'. 3) Before the outbreak of the pandemic, men were interested in suits to wear to the office, daily look, and fashion shows in Milan and Paris. They often purchased menswear in multi-brand and open stores. However, they were more interested in sneakers, casual styles, and online fashion shows as social distancing and working from home became common. Most purchased menswear through online platforms.

• Fashion & Textile Research Journal
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• v.23 no.2
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• pp.212-225
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• 2021

With the recognition of YouTube as an information search tool, YouTube creators have subsequently become sources of information to consumers. Accordingly, this study aims to analyze the consumers' response of famous fashion YouTubers in Korea, and to identify differences in consumer response based on the gender and generation of YouTubers. During the period from the opening of fashion creators' YouTube channels, we collected postings on blogs and Internet cafes using textom. As a result of preliminary investigation, six fashion YouTubers were selected. First, all the selected fashion YouTubers were well recognized by consumers as fashion informants. However, Milanonna has been shown to act as a life advisor and as an informant for luxury brands at the same time. Second, female fashion YouTubers were perceived with themes related to daily life, beauty, emotions, and mood rather than fashion itself; whereas, male fashion YouTubers appeared to be more interested in fashion accessories, especially with respect to the basic style. Third, Generation Z fashion YouTubers used the most non-fashion keywords, and their Millennial counterparts used keywords related to fashion items and product purchase properties. However, consumer response to OPAL fashion YouTubers have emerged with items such as life experiences, wisdom, and advice. Moreover, OPAL fashion YouTubers showed a variety of consumer assessments and the YouTuber's personal background. This study's analysis of the differences in the consumer response to fashion YouTubers based on gender and age enables the establishment of an appropriate strategy to attract target consumers and identify their appeal points.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.303-309
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• 2021

This study examined how consumers in their 20s and 30s perceive luxury goods, masstige brands, and counterfeits, which have high social value, and whether the propensity for conspicuous consumption and conformity can explain them. Consumers were classified based on the similarity of attitudes toward these brands and purchase intentions. The groups were compared on the sub-dimensions of conspicuous consumption and conformity. Clustering analysis identified four groups, and the MANOVA result confirmed the differences among the groups. Personality (F=4.282, p=.006) and brand orientation (F=23.178, p=.000) were positively related to luxury and masstige brands. Fashion orientation (F=8.376, p=.000) was high for both groups, which likes luxury and masstige brands very much, and which likes counterfeits. High-price orientation did not make any significant difference among the groups. Conformity (F=3.537, p=.015) was high for all the groups, except for the group that liked luxury and masstige brands and did not like counterfeits. This study comprehensively examined the attitudes and purchase intentions of luxury and masstige brands and their counterfeits and can be the groundwork for further research on brand categorization.

• Journal of the Korean Society of Costume
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• v.65 no.3
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• pp.15-27
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• 2015

This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi${\grave{e}}$re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi${\grave{e}}$re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi${\grave{e}}$re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.