• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.249-253
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• 2008

The purpose of this study was to investigate the properties changes of wool fabrics dyed with safflower red and yellow colorants under Ultraviolet(UV)-light. For this purpose, the wool fabrics dyed with safflower red and yellow colorants were compared with each other after uv-light exposure in terms of K/S value, color changes(${\Delta}E$), morphology, and strength retention. K/S value rapidly decreased with increasing exposure time, but K/S value of the samples dyed with safflower yellow colorants decreased less than that of the samples dyed with safflower red colorants. In color changes, as increasing exposure time, $L^*$ and $b^*$ increased, $a^*$ decreased, and thereby ${\Delta}E$ increased in the samples dyed with safflower red colorants, $L^*$ increased, $a^*$ and $b^*$ decreased, and so ${\Delta}E$ increased in the samples dyed with safflower yellow colorants, indicating fading away by uv-light and changes of hue, value and chroma value. But the color change of samples dyed with safflower yellow colorants was less than that of samples dyed with safflower red colorants. SEM pictures showed a severe degradation by uv exposure, regardless of colorants type. Tensile strength slowly decreased until 14 days, and rapidly decreased until 21 days and slowly decreased. Strength retention of the samples dyed with safflower yellow colorants was higher than that of the samples dyed with safflower red colorants.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.680-688
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• 2014

The aim of this research is to classify intrinsic attribution of 'la diff$\acute{e}$rance images' which are core propositions of changeability of fashion style. The specific questions of this research are; what are the definition of 'changeability of fashion', 'la diff$\acute{e}$rance' and 'supplement' and what are the relationships?, how the la diff$\acute{e}$rance images which are intrinsic of changeability of fashion style exist? and what is intrinsic attribution of 'ultimate la diff$\acute{e}$rant image', 'immediate la diff$\acute{e}$rant image' and 'la diff$\acute{e}$rant image of the trace'? The researchers deployed a qualitative research method providing a systematic review of the previous studies. In conclusion, the 'supplement' phenomenon and 'la diff$\acute{e}$rant images' shown in the changeability of fashion style, covers up the gap between the structural layers through the play led by supplement logic in the subconscious place of la diff$\acute{e}$rance of dialectical frame. They produce styles that have current value and become generalized la diff$\acute{e}$rant images of trace through the play of 'la dissemination.' These images repeat their individual play to reproduce a new different 'la diff$\acute{e}$rant images' and complete the aesthetics of harmony in the state of 'reservation,' 'deferment' and 'postponement'. The images are ready to make history and they create 'ultimate la diff$\acute{e}$rant images' from the demand of different period, and tries to combine with 'supplement' within 'the gap of la diff$\acute{e}$rance.' This process endlessly repeats in the dialectical frame through the la diff$\acute{e}$rant' play led by time and space, and it continuously produces new style that is required by different time and space.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.745-755
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• 2014

The purpose of this study was to observe school education system, higher education, and fashion education in Germany to find a good model for an desirable future education to lead a creative students in Korea, thereby reshaping curriculum. We also analysed the curriculum of the fashion design offered in Hochschule Pforzheim and Berlin University of Art. We used secondary data collection by literature reviews of articles and web sites on the internet. Results of this study are as follows: German school and education system oriented with differentiation even though there are variety of them. Students can select their education system, considering work field and their own life & humanities. Various fashion education institutions were found to have their own education concept to enhance creativity with different system. Our results of analysis of the fashion design program of Hochschule Pforzheim and Berlin University of Art show their creativity education in their curriculums with module basis. Two universities have a differentiate education direction for the same aim to do creative design study and research. We realized that students learn and get the knowledge and apply to the field with a long term internship, communication skill and presentation development courses. Project based modules enable students to be creative, and active human. Strong design basis, and humanities disciplines will support people to creative design works. These two universities offer a good model of program to build up self education drive, academic and practical ways of training, and project based, internship, etc.

• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.333-338
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• 2014

This study identifies the effects of sodium sulfate and surfactants in the papain treatment of wool fabrics using L-cysteine and EDTA as activators. The research method involves the use of 2% L-cysteine and 7% EDTA as activators at optimal conditions, papain treatment of wool fabrics with the joint use of sodium sulfates and surfactants, and measurements of the weight loss rate, tensile strength, and whiteness. Results showed that for both 2% L-cysteine and 7% EDTA, the maximum papain activity appeared at 0.5% sodium sulfate concentration. In both cases, the papain activity was enhanced at sodium sulfate concentrations lower than 0.5%. In contrast, the papain activity declined at sodium sulfate concentrations higher than 0.5%. The joint use of EDTA with 0.5% sodium sulfate was proven to be very effective in improving the papain activity. The joint use of 2% L-cysteine with 0.5% sodium sulfate appeared slightly effective in improving the activity but resulted in excessive decrease in the tensile strength and whiteness, compared to improvement in the activity. The joint use of surfactants, in the case of L-cysteine, interrupted the papain activity and decreased the tensile strength regardless of the surfactant type and concentration. In the case of EDTA, however, the joint use with 0.1-5% non-ionic surfactants, 0.1-0.5% anionic surfactants, and 0.1% cationic surfactant appeared to improve the papain activity. The maximum papain activity was observed when 0.1% of surfactant was used, regardless of the surfactant type. The nonionic surfactant was the most effective in improving the papain activity.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.695-707
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• 2016

This study presents quantitative evaluation standards for the shape fitness test, conducted in the process of the slacks fit test. This study aims to quantify appearance sensory test of slacks for the objectification of qualitative evaluation methods in existing shape fitness tests. The subjects were women of standard body type between the ages of 18 and 24. Slacks differing in their ease in waist girth, hip girth, crotch length and knee length were designed to test their shape fitness. The gap volume distribution between the body and slack, angle of the baseline by body part, and ratio of total thickness from the sideline using 3D human body scan data (which reflect the results of the appearance sensory test) were presented as quantitative evaluation standards. There were less wrinkles in the wrinkle/overstretch and ease categories of the appearance sensory test; in addition, ease was adequate and small enough to comfortably perform basic human activities in the standing upright posture. The gap volume distribution analysis between body and slacks showed that curves increased in the slacks surface along with an increase of ease in slacks and suggested that wrinkles also increased. In the baseline's horizontal categories in terms of a $0^{\circ}$ horizontal angle, the range of angles were evaluated as adequate by the clothing expert group. The total thickness ratio of 0.5:0.5 divides into the sideline from the baseline.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.173-181
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• 2013

This research analyzed the expression trend about the slit which composes the open space by the visual concept and then introduced the imbedded aesthetic value in it. Based on it, this work aims at showing the evidence on the slit as a utilizing tool for various design applications and providing the basic materials in order to develop the creative design production in the fashion area in the future. Specifically, for the theoretical background in this research, the concept of slit and its chronological changes were reviewed through literature. For the empirical analysis on the slit, a total of 226 designs with its application were analyzed from collection pieces in the four major collections including Paris, Milan, New York, and London from 2006S/S to 2012S/S. As a result of analysis, types of slit appeared as a slash, opening, slit, or a mix of them. These were applied to many different items of clothing, and among which, one-piece or dress was adopted most for application. In regard to space form, perpendicularity was used most frequently. But other various forms like cross and geometrical pattern were also used as well as curve, oblique line and horizontality. As to the arrangement of slit, single type was most frequently used. However, in addition to it, other types were also applied, producing both the functionality and the decorative detail such as bilateral symmetry, free irregularity, and a combination of regular and repeated layout which makes an effect of single pattern. Aesthetic values imbedded in slit were revealed as functionality, sensuality, spatiality, and decorativeness.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.219-230
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• 2013

To generate future profits, luxury brands need to recognize and understand customers as individually important and analyze the impact factors that improve specific customer equity. With the growing recognition that customer equity is a key strategic asset, this study empirically investigates the effect of customer equity drivers on customer loyalty based on the study of Vogel et al.(2008) which expanded the Rust et al.(2000)'s study on customer equity. We empirically examine if the customer equity drivers have a different impact on customer loyalty. This study hypothesizes that the relative effect of customer equity drivers would be different depending on the purchasing behavior of consumers and examines the effects of them on the relationship of the drivers of customer equity and customer loyalty. We use stepwise multiple regression analysis to empirically test the relationship of value equity, brand equity, and relationship equity and customer loyalty. Relationship equity influences customer loyalty more strongly than value equity and brand equity. Customers seem to build loyalty based on the careful assessment of all costumer equity drivers (value equity, brand equity, and relationship equity). In addition, their relative impact is different depending on the purchasing behavior of consumers. A company cannot maintain all customer equity drivers at a high level with limited marketing resources; therefore, marketing investment for all customer equity drivers need to be allocated differentially depending on the purchasing behavior of consumers.

• Fashion & Textile Research Journal
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• v.19 no.4
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• pp.421-433
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• 2017

The purpose of this study was to examine the influence of consumer's ethical consumption consciousness and lifestyle on sustainable fashion. The data was analyzed by reliability analysis, factor analysis, cluster analysis, one-way ANOVA, Duncan's multiple range test, and multiple regression. The major results of this study were as follows. First, three factors of sustainable fashion were identified: eco-friendliness, recycling, and safety. Second, three factors of ethical consumption consciousness were identified: social ethics, environmental ethics, and public ethics. Based on these factors, the subjects were categorized into three clusters (high, middle, and low ethical consumption consciousness group). Third, four factors of life style were identified: pursuit of brand, appearance, cautiousness, and information. Based on these four factors, the subjects were categorized into three clusters (brand/appearance, cautiousness/information, and unconcerned group). Fourth, three factors of ethical consumption consciousness significantly influenced eco-friendliness factor of sustainable fashion. Also, the recycling factor of sustainable fashion was influenced by social ethics, environmental ethics, pursuit of brand, and pursuit of information. The safety factor of sustainable fashion was influenced by environmental ethics, public ethics, and pursuit of information. The results of this study suggest that practical and various environmental education need to be provided to consumers, because high environmental ethical consciousness consumers evaluated sustainable fashion positively. Additionally, accurate information on eco-friendliness, recycling, and safety of clothing products would need to be provided by fashion businesses through various routes, because those with information-pursuing lifestyle were found to have deep interests in sustainable fashion.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.869-877
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• 2016

This study looks into the dyeing properties and functionality of cotton fabrics dyed in both the Spirodela polyrhiza extract and the extract resulting from the mixture of Salvia plebeia R. Br. and Spirodela polyrhiza. Since the UV-Vis Spectrum of the methanol extract of Spirodela polyrhiza shows absorption peaks at 256, 268nm, and 345nm, it can be inferred that the compound that Spirodela polyrhiza contains is a flavonoid. In addition, it can also be presumed that, by analyzing the infrared absorption spectrum of Spirodela polyrhiza, the plant contains flavonoid compounds, just like Salvia plebeia R. Br.. The UV protection factors of the cotton fabrics dyed in both the Spirodela polyrhiza extract and the extract from the mixture of Salvia plebeia R. Br. and Spirodela polyrhiza were 50+, presenting outstanding UV protection factors. The deodorization rate of the cotton dyed in the Spirodela polyrhiza extract was between 30 and 120 minutes, and the rate rose from 92% to 97% as time passed. The deodorization rate of the cotton dyed in the extract from the mixture of Salvia plebeia R. Br. and Spirodela polyrhiza increased from 88% to more than 91%. The result also revealed that overall the fastness of color, including color fastness to washing related to change in color, as well as the color fastness to light of the fabric dyed in the extract from the mixture of the two plants improved, compared to the cloth dyed only in Spirodela polyrhiza extract. Furthermore, the antibacterial activity was also strengthened.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.