• The Research Journal of the Costume Culture
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• v.24 no.4
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• pp.417-430
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• 2016

This study had two aims. First, the study intended to identify the influences of product benefits and product identification on consumers' purchase intention, Second, it wanted to assess the moderating effects of consumers' aesthetic seeking tendency on their decision-making process. Based on the stimulus-organism-response (S-O-R) paradigm and the product personality-brand identification-purchase intention model, this study proposed a research model, the benefits-product identification-purchase intention model. To test the model, a survey was conducted of female college students; a total of 298 questionnaires were analyzed. The stimulus used was a popular model of Nike running footwear: the Luna Eclipse+2. Factor analysis and structural equation analysis were conducted to analyze the research model. The results indicate : (1) The aesthetic benefit influenced product identification positively. The aesthetic benefit, functional benefit and product identification were all positively related to purchase intention. (2) The aesthetic seeking tendency mediated the influences of product benefits on consumers' purchase intention in the decision-making process. For consumers in the 'high' level group of aesthetic seeking tendency, aesthetic benefit and social benefit affected purchase intention and for consumers in the 'low' level group of aesthetic seeking tendency, the functional benefit only affected purchase intention. Based on this study, we find evidence that product benefits and aesthetic seeking tendency play important roles in consumers' decision-making process in product purchase.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.135-145
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• 2001

In this study, investigation into the impact of sensation seeking tendency and clothing attitudes upon brand variety seeking will be made through the presentation of sensation seeking tendency as consumer's motivation of clothing behavior and clothing attitude as parameter. To give goals of this study. First, to help the understanding of consumers by elucidating consumer's psychological characteristics against sensation seeking tendency, clothing attitude and diverse brands seeking. Second, to offer standard for specifying market by presenting theoretical as well as empirical data. Third. to create successful marketing strategy according to consumer groups and moreover to increase sales efficiency. Research results are as follows : As a result of investigating on which factor among sensation seeking tendency affects on seeking various brands, change seeking tendency and aesthetic seeking impact upon seeking various kinds of brands. Change seeking is turned out to be the most influential factor. Fashion leadership, fashion innovativeness, attention concentration, social approval and clothing interest had an impact on diverse kinds of brand seeking: there was a positive relations with fashion leadership. attention concentration. clothing interest and fashion innovativeness, whereas a negative link with social approval. Three factors of sensation seeking tendency, two factors, that is change seeking and aesthetic seeking. have direct and indirect paths that lead to diverse brand seeking, via clothing attitude. that is to say, clothing interest. fashion leadership. social approval and attention concentration. On the other hand, thrill and risk seeking only had indirect path. Aesthetic seeking showed higher significance to indirect effect on diverse brand seeking which takes clothing attitude as a parameter, than that of direct effect. Brand variety seeking was under considerable effect of fashion leadership, clothing interest and attention concentration, in order.

• Journal of the Korean Society of Costume
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• v.47
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• pp.143-160
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• 1999

The purpose of this dissertation is to interpret fashion through a socio-cultural phenomenon called kitsch by understanding its aesthetic characteristics and clarifying its significance in the modern consumer society and analyzing the examples of kitsch appearing in modern fashion. The following are the arguments and conclusion of this dissertation. First kitsch has negative meanings such as aesthetic inadequacy or bad tastes implying vulgar popular tastes of faked sensations just imitating elite culture and using things indiscriminately for inferior reproduction or at best the philosophical and aesthetic category that expresses the mass of people's attitudes toward life in accepting the consumer culture of the industrial society. It started from the art of romanticism accompanied by th commercializing of art with the bourgeois society background formed in the mid-19th century. Though kitsch started to prevail following the socio-cultural changes caused by the Industrial Revolution in the 19th century it is only in the late 20th century that kitsch has come tc our everyday life and has become an object of aesthetic arguments. Second formative characteristics of kitsch appearin in fashion have a cumulative inadequate romantic pleasure-seeking satirizing and multicomplex nature. Third the socio-cultural meanings of kitsch appearing in fashion are as follows: The extension of commercialism which gratifies the pleasure-seeking mass consumers the enlargement of the aesthetic category by inclining to everyday commonplace aesthetic sense the expression of one's identity through the gratification of desire and the new aesthetics of resistance and deviance by an anti-traditional and anti-elite tendency towards the traditional society and aesthetic values.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.171-183
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• 2012

This research attempted to examine whether there were differences in preference for the shoes according to fashion lifestyle and age by conducting survey on 200 women of 20s and 40s among the adult women who were expected to have interest in not only functionality but also aesthetic aspects of shoes. First, the results of comparing the preferences according to fashion lifestyles showed that those who pursued practical group preferred loafer, strap shoes, and baggy boots, indicating that they preferred low and comfortable shape of shoes which are easy to put on/take off and easy to coordinate with any clothes. Those who pursued personality group and ostentation group were more sensitive to fashion than practical group preferred high heel shoes, which could express their own personality, it would be great to have various designs by reflecting the trendy materials and details focusing on pumps, strap and walker boots which can express individuality and supplement the body shape and height as matching to the trendy clothes. Second, as women in 20s have tendency to show more preference of a certain trendy shoes shape than women in 40s, the shoes designs for 20s should focus on certain types of shoes preferred by them by varying materials and details, rather than having various designs. However, it would be great to show various designs for the shoes for 40s. Most of the 20s are the individual and complex fashion-seeking types while the 40s have the most of practical fashion-seeking type and the least of individual fashion-seeking type.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.159-188
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• 2014

Under the influence of postmodernism, modern writing tends to refuse an immediate conveyance of messages achieved by linear, unified writing. Such writing does not attempt any social participation and has no leading ethics, offering diverse perspectives. It simply relies on material property ignoring the 'here and now'. This discussion depends on the sensuous immediacy of works that are pure and uninterpretable, causing the "death of author" phenomena. Although the time was late, since the 1990s, discussion and work on deconstructive theater has been executed in the Korean theater world. This deconstructive work was achieved when lineal narratives were shattered through the shocking insertion of fragmentary episodes and imagery. Moreover, such plays were shocking presentations of severance in conversation; lack of communication; loss of pride and love; and a world devastated by violence and madness. In the 2000s, such a movement helped form a new paradigm in the theater through reinterpretation and parody of traditional dramas, while drawing general attention to postmodern theater. However, as the problems of postmodern theater are perceived through study, the limit of plays with a postmodern tendency is pointed out: such plays merely display 'deconstruction'. This thesis will examine reflective thought on postmodern theater seeking "deconstruction without alternatives" and the aesthetic concept of "le politique" by Jacques Ranciere. It will also look through the overlap of images as interval-estrangement, "lettre morte", and simulacre representing mise-en-scene aesthetics weaving "political writing". This study is meaningful in that it tries to extend the new aesthetic horizon of Korean theater, examining in 2009 and by Koh Sun-Woong in 2011, directed by Park Chung-Hee in 2010 and directed by Park Keun-Hyung in 2009.

• Journal of Fashion Business
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• v.14 no.5
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• pp.78-92
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• 2010

The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.