• Korean Journal of Human Ecology
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• v.10 no.2
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• pp.53-62
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• 2007

The purpose of this study is to analyze the formative properties of fashion bag in contemporary fashion. Today fashion bags can be divided into spatial aesthetic, romantic aesthetic, conspicuous aesthetic, active aesthetic. Spatial aesthetic is a type of big bag which is suitable for women carrying lots of things on a daily basis. Romantic aesthetic is a symbol of femininity in respect for its handmade artistry, splendor, decoration, and impracticality by small size. Conspicuous aesthetic embodies human desire of high quality and being part of prestige of luxury brand regardless of its cost. Multi-functional aesthetic was coming form sports gear and are popular among young generation. In comtemporary fashion, bag take important role as the fashion good which make the clothes look better and additionally they are representative products which reflect the historical situation.

• Journal of the Korean Home Economics Association
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• v.42 no.2
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• pp.33-46
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• 2004

This study investigated the plan to activate consumption behavior through research using a questionnaire investigating the consumption behavior of imported famous brand products and conducted a case study in order to supplement the qualitative sense. This research was conducted on women consumers in their 20s and 30s. 483 questionnaires were used for statistical analysis. The interview research was conducted with 10 consumers in the case study. Following are the study results: 1. Women consumers showed the highest level of conspicuous consumption behavior in the consumption behavior of imported famous brand products. 2.The educational level of consumers and friends showed the greatest statistically significant effect on conspicuous consumption behavior. Both the perception on the openness of imports and the frequency of travel abroad had significant effect on function-pursuit consumption behavior, while age and marital status had the greatest effect on aesthetic-pursuit consumption behavior.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.2
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• pp.209-218
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• 2003

The Purpose of this study is to investigate the effects of the perceived luxury characteristic and consumer's conspicuous consumption on the fashion luxury involvement. The subjects were Korean 443 women from 20's to 50's living in Seoul. The reliability analysis, confirmatory factor analysis and structural equation analysis by AMOS 4.0 were used for statistics analysis. The results are as follows; 1) The perceived aesthetic taste and luxurious aspect of fashion luxury directly influence on fashion luxury involvement through hedonic consumption value. 2) The perceived luxurious aspect and traditional value of fashion luxury directly influence on negative luxury consumption value, but negative consumption value does not influence on fashion luxury involvement. 3) The well-known brand orientation, face-saving consumption, and value orientation directly influence on fashion luxury involvement.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.11
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• pp.1381-1388
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• 2005

The purpose of this study was to identify features of masstiege high-end products by comparing to original old high-end products. For this purpose, the differences in values between each consumer groups divided by preferred products types (high-end products, original old high-end products) were examined. This study was executed by consumer survey and 279 female data were used in analysis. The results are as follows. First, the value factors pursued on high-end products were constructed by factor analysis and the factors consisted of 4 elements; conspicuous, aesthetic, durable, conformity. Next, the differences in value elements between masstiege high-end products and original old high-end products were identified by t-test. The consumers preferring original old high-end products pursued conspicuous features significantly more and the consumers preferring masstiege high-end products considered aspects of aesthetic and conformity elements as more important. And according to kinds of preferring high-end product, demographic characteristics were different. The consumers who were of high age, high education and high income and married consumers preferred original old high-end products, whereas the consumers who were of low age, low education and low income and unmarried consumers preferred masstiege high-end products. Finally, marketing strategies for masstiege brand were suggested on the base of the results.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.113-117
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• 2007

Wabi-Sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty. It occupies roughly the same position in the japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West. All things air impermanent. All things are imperfect. all things are incomplete. it offers an aesthetic ideal that uses the uncompromising touch of mortality to focus the mind on the exquisite transient beauty to be found in aoo things impermanent. Wabi-Sabi is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional. Wabi-Sabi is the art of everyday life. These may be the methods for the relationship establishment between human and space on the ground of Wabi-Sabl concepts which is commonly found no in contemporary interior space in japan.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.6
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• pp.853-864
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• 2002

The purpose of this study was to measure consumption values and to investigate the differences in the process of decision making when purchasing apparel products among groups divided by consumption values. A self-administered questionnaire was distributed to 550 subjects in their 20's and 30's from Sepember 29th to October 25th in 2001; 463 were used for the data analysis. The results of this study were as follows; Consumption values were classified into five factors: Practical/functional value, Social/conformitive value, Subjective/aesthetic value, Epistemic value and Conspicuous value. Subjects were classified into 4 groups based on consumption values: the Conspicuous, the Epistemic, the Social/conformitive and the Indifferent. There were significant differences among the four groups in selected motives in the problem recognition process. Significant differences were found among the groups in own taste & personality in the information search process. Significant difference were also found in the importance of design, color, price, coordination, fashion and self-image in the alternative evaluation process.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.29-48
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• 2012

From ancient to modern days, Koreans have preferred and even worshiped white clothes to the extent that they are called "the white-clad race", and the color black has seldom been used for women's clothes. In western countries too, it was only after Chanel that black color came to represent feminine beauty. Black clothes were introduced in Korea after the opening of its ports to foreign countries in 1876 and have mainly been worn as a practical clolor for winter coats and school uniforms. The traditional preference for white and other bright colors continued well into the 1980s. However, the industrialization and urbanization caused by economic development and the influx of western cultures and ideas in the 1980s brought about the westernization of Korean aesthetic consciousness and resulted in the phenomenon of modern Korean women's preference for black fashion that became conspicuous from 1991. With the introduction of western fashion after the opening of the country in 1876, the spiritual values contained in preference for white clothes have been substituted by materialistic values as people accepted the practical beauty of black fashion, and the inclination toward intrinsic natural beauty intrinsic in the aesthetic senses that preferred white clothes has been replaced by the preference for modern, elegant and sensual beauties of black fashion whose preference has begun in the 1990s.

• Management & Information Systems Review
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• v.30 no.4
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• pp.73-92
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• 2011

The purpose of this study was to investigate the differences of influence between luxury brand value and preferences according to consumers' regulatory focus. For data collection, research questionnaires were responded by females consumers living in Pusan and Ulsan. The collected data were analyzed according to the frequency-factor analysis using SPSS 14.0 for windows Package, the factor analysis using Varimax, reliability analysis, T-test, multi-regression analysis, and chow-test. The results were as follows: First, Based on an independent samples t-test, It was found that prevention-oriented respondents were significantly more qualify value and economic value than promotion-oriented respondents, promotion-oriented respondents were significantly more aesthetic value than prevention-oriented respondents. Second, concerning the worth of luxury brands that aesthetic value, qualify value, economic value, conspicuous value, and emotional value significantly affected the consumers' preference about luxury brand. On the other hand, only social value of the luxury brand did not have a significant effect on the consumers' preference about luxury brand. Second, the study was to investigate whether the luxury brand value has an effect on the brand preference depending on the consumer's regulatory focus. The results showed that there were different perceived values of luxury brand preference between the promotion-focused and the prevention-focused consumers. The promotion focus group had the effect on conspicuous value and emotional value, while the prevention focus group had the effect on quality value and economic value for luxury brand preference.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.957-969
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• 2011

This study intended to analyze the grunge look as a mode of expression and as a characteristic of the fashion of the 21st century, arguing that the look expressed not only an outward appearance or sub-culture but also a change in our attitude and spirit about contemporary fashion. In the study, I carried out an empirical analysis focused on the collection from 2001S/S to 2010F/W and a literature review. In my results, I classified the grunge look into the following categories: 1. mix and match layering; 2. patchwork, collages, and assemblage using all objects as well as clothing materials; and 3. distressing techniques, such as bleaching and dyeing, unweaving, and tears and holes. I also classified the characteristics of grunge into the following categories: 1. conspicuous destitution, which is intentionally expressed by skillful techniques and craftsmanship, indicating that modern people want to attract attention and be distinguished from others, which reflects an attitude of superiority through ironic fashion choices; 2. high lighting the dissolution of decoration, where destruction, poverty and recombination shown in the grunge look emerged as an artificial and intentional ugly aesthetic in contrast to the existing elegant and sophisticated image; and 3. satire and playfulness, as grunge expresses alienation and conflict in modern society through satire and sarcasm, not attacking or avoiding, but through playful and sarcastic engagement so as to decrease poverty and give temporary freedom.