• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.1075-1087
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• 2011

The purpose of this study was to find discover the effects of self-efficacy and self-esteem on the appearance management behavior of female college students. As for the study method, questionnaire survey sheets on general traits like age, grade year, major and management cost, sense of self-efficacy, self-esteem, and appearance management behavior were distributed to female college students. The responses were measured based on a 5-points Likert scale. The results of this study are as follow: One's sense of social self-efficacy and self-esteem were both found to affect appearance management behavior significantly. In other words, the greater one's sense of social self-efficacy, which represents one's sense of confidence in inter-personal relations, the greater one's appearance management behaviors to enhance her own value. Furthermore, the greater one's self-esteem(the way one feels positively about oneself), the greater one's appearance management behaviors. As a result, it can be judged that the more an individual wants to act more capable in different contexts, the more she tries to make up for her own disadvantage. To highlight her own advantages for the sake of greater positive social activities and inter-personal relation, the more she takes to improve her image through appearance management behaviors. It is anticipated that such an examination of appearance management behavior, sense of self-efficacy and self-esteem among female college students will serve as useful data for appearance-related industries by enabling them to properly under stand their clientele's psychological traits.

• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.945-956
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• 2011

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer's brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer's name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.523-536
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• 2015

Corporate association-which refers to consumers' beliefs, knowledge, perceptions, and evaluations of a corporation -can affect consumers' purchasing intentions. Corporate association consists of corporate ability association and corporate social responsibility association. Corporate ability association refers to a company's product quality, corporate innovation, productivity, consumer orientation, and after service. Corporate social responsibility association, which refers to the social perspective a company has of its responsibility to society, can affect corporate image and consumers' purchasing intentions. Eco-labeling for protecting and sustaining the environment is one of the important green marketing strategies in the fashion business that can influence corporate association and consumers' purchasing intentions. The purpose of this study was to investigate the effect of consumers' eco-label recognition on their corporate association and intentions to purchase eco-friendly fashion products. Questionnaires were distributed to consumers. The 263 usable questionnaires that were returned were analyzed by descriptive statistics, Cronbach's alpha, factor analysis, regression analysis, and t-test. The results were as follows: There was a significant effect of eco-label recognition on corporate association (ability association and social responsibility association). Eco-label recognition and corporate association were found to significantly affect consumers' purchasing intentions. Regarding the eco-friendly fashion product buying experience, there was no significant difference on corporate association and buying intention, but there was significant difference on eco-label recognition.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.425-438
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• 2015

This study aims to integrate sports uniform design into fashion as an effective communication means by analyzing the uniforms of women's pro basketball and volleyball teams in the country. As part of the research method, a literature review was conducted on the domestic pro sports background and women's basketball and volleyball uniforms. For empirical research, an analysis was performed of the uniforms of 12 teams in total: six women's pro basketball teams and six women's pro volleyball teams in the 2013~2014 league. The following results were obtained. First, in terms of formativeness, sleeveless shirts and shorts are basic in both basketball and volleyball. However, there are remarkable differences between the two. Shirts in volleyball are tighter, with the body figure visible, and shorts are shorter in length than those in basketball. Most basketball uniforms have a V-neckline and are collarless, while volleyball uniforms have a standup collar in all teams. Second, both basketball and volleyball apply the representative color of the sponsoring company and the team's typical color, but common colors, such as blue, navy, and white, are used in many teams, which fails to represent a uniquely differentiated image. Third, the logo or symbol of a sponsor is excessively applied to both basketball and volleyball uniforms. This downgrades the uniform's own esthetic features. Fourth, a fashionable uniform design, that reflects the bodily characteristics of women and the characteristics of the sports game would be a beneficial communication tool for all the tiers to become involved in participation and entertainment.

• The Research Journal of the Costume Culture
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• v.26 no.3
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• pp.450-470
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• 2018

This study examined the risk components and risk types perceived in the context of purchasing decisions of paper fashion products. This study also identified the levels of perceived risk by consumers and the differences between age groups in risk perception. First, qualitative data were collected through a focus group interview with 7 Korean females in their 20s to 50s. The interviewees were presented with two types of paper materials (undyed and dyed Jumchi-Hanji) and products (bags and wallets) made with the papers. The interviewees mentioned 11 risk components which were classified into five types of risks: performance (easily torn/lack of durableness, lint/pilling/wear-out, lack of water-resistant, no washability, and deformation and discoloration over time), social-psychological (old and traditional image), aesthetic (lack of design diversity, unsatisfactory appearance due to repair), financial (expensive price, lack of usability in daily life) and time/convenience (difficulty in handling) risks. Based on the results of the interview, a measurement for evaluating the risk perception of paper fashion products was developed. Second, quantitative data were collected from 64 Korean women in their 20s to 50s using the measurement. Respondents who were presented with the paper materials and the products perceived the performance risk more strongly than the social-psychological risk and aesthetic risk. In addition, differences between age groups were found: younger respondents perceived performance risk and social-psychological risk more strongly than older respondents, but older respondents perceived financial risk more than younger respondents. Based on this study, strategies for the risk reduction of paper fashion products were proposed.

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.80-98
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• 1999

The purpose of this study was to examine what consumers virtyally thought about deconstructional method used in fashion and its cloths. For attaining the purpose, earlier studies were reviewed to see what kind of deconstructional methods were used in fashion and its cloth, and questionnaire survey was carried out based on the result. 10 kinds of deconstructional method were surveyed : indeterminate form, lingerie look, layering, unsymmetrical form, seethrough cloth, slash or making a hole, fray, padded cloth, patchworked cloth, and wrinkled cloth. There appeared 6 kinds of image for deconstructional fashion, esthetics, womanliness, youth, elegance, uniqueness, and fashionability. Consumers considered most deconstructional fashion to be unique but unique but lack elegance. However, they didn\`t feel indeterminate form, fray or padded cloth was unique, and one notable thing was that they had an impression wrinkled cloth was graceful. The design assessed to be generally esthetic was lingerie look, laying, seethrough cloth and wrinkled cloth. Those who were older set more esthetic value on layering, seethrough cloth, fray, padded cloth and wrinkled cloth. On the contrary, they didn\`t have a good impression from slash, making a hole or patchworked cloth. As a result of investigating the subjects\` willingness to wear deconstructional design, there was deconstructional design which they might possibly put on, and those who were older found more difficulties in wearing ir. Toward indeterminate and layering fashion, younger people whose age was ranged from 18 to 22 or from 18 to 22 or from 23 to 27 showed particularly better response. Married woman wanted to wear wrinkled cloth, and considered it possible to put on seethrough design more than unmarried women. Rather, younger people were more unwilling to wear seethrough design.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.778-792
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• 2003

This study is to review, in the social and cultural context, the main causes for the sportism that prevails in modern fashion, and to analyze the typical expressions in the domestic fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time and abundant opportunities, new fashion materials resulting from new technologies, emerging youth culture and increasing preference for such culture, and the postmodernism. With this background, sportism, which has been appearing in the domestic fashion, falls into 5 categories as follows based on the type of its expression. “Urban Street Sportism” is affected by the new sports culture of urban young people, which is characterized such that body line is disregarded with over-sized garment in layered style without considering T.P.O. concept. “Romantic Sportism” applies colors, fabrics and details of romantic images to sporty items, or culminates the feminine and elegant sportism by using the sporty fabrics and details along with romantic items. “Vintage Sportism” is characterized by its well-refined, high quality expression of naturally worn for long time, which is affected by the postmodernism. “Urban Utility Sportism,” which is developed with such design factors as fabrics, styles, details and colors with emphasis on their utility and functionality, explicitly accommodates the changed modern life styles particularly in urban areas. Lastly, the military image, which was developed during the Iraq War along with simultaneous anti-war activities, and the peace messages, which deliver the mankind's hope for the world peace and social wellness, formulate the “Military Sportism”.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.45-62
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• 2015

This study is to develop cultural products based on 'Jeju Choga', which means the traditional houses in Jeju. For the product development, old literature review, field surveys, and consumer surveys were employed. Through old literatures and field surveys, the unique and visual characteristics of Jeju Choga were confirmed: A thatched roof with lattice pattern, a side wall and fences with porous stones, a 'Jungnang' serving as a gate, and a 'Pungchai' preventing strong sola radiation and 'Ollai' meaning a narrow street in front of the Choga. As a results of consumer survey conducted before the development of products, consumers highly recognized and associated Jeju Choga as Jeju representative image. The six basic patterns of Jeju Choga were drawn and eight textile designs were created through the repeated arrangements of the basic patterns. Using the created textile designs and digital printing method, the eleven new fabrics with the patterns of Jeju Choga were developed. The various kinds of ten bags and tow wallets made with the new fabrics. As a result of consumer evaluation for the twelve products made in this study, the scores of preference and purchase intention were above the average work for the most products of them. In particular, the preference and purchase intention of the square shoulder bag, the big-size shopper bag, and the small-size cross bag were very positively evaluated. Therefore, it is confirmed that Jeju Choga could be very useful as a motif for the development of cultural products focusing on Jeju tourism souvenir market.

• The Research Journal of the Costume Culture
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• v.21 no.2
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• pp.151-166
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• 2013

This study aims to shed light on the diversity and complexity of design represented through modern fashion and to identify growth opportunities for globalizing and modernizing traditional clothing designs. To this end, formative trends and aesthetic characteristics of $21^{st}$ century fashion were analyzed, with an emphasis on Japanism reflected in the works of Western designers. The research methodology consisted of an analysis as well as a literature review. A total of 217 designs with Japanism characteristics were identified from the 2001 S/S collection to the 2011 S/S collection in Paris, Milano, New York, and London, and these were analyzed in terms of image, color details, pattern, and accessories. The research findings with regard to the characteristics of modern fashion designs that reflect Japanism were as follows. First, sensuality was projected by highlighting the erotic elements of Japanese clothing. Second, the underlying principles, styles, and elements of Japan's traditional clothing were embodied in a cross-cultural and eclectic manner that blurred the boundaries between styles by mix-and- matching the traditional and the contemporary, the East and the West, and different styles. Third, a variety of patterns, colors, accessories, and design techniques associated with Japanese traditional clothing played a critical role in creating flamboyant and decorative images in contemporary fashion. Fourth, the overlapping of the kimono style, the flat design that accentuates body curves, and the layered style has created a beautifully free-form fashion that demonstrates non-structural features.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.4
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• pp.99-111
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• 2012

This study intends to explore the collaborative expression in the modern fashion design by analyzing the collaboration of motifs symbolizing Korean cultural identity. As for the data research, in order to examine the expressional objects of collaboration in the collections of the fashion designers from Korea and overseas who have applied the Korean culture among their collections posted on the Internet sites, www.firstview.com, and www.style.com from 2005 to 2012 were collected for analysis. 923 pictures used in the analysis sheet. As for the research method, the content analysis method was used. In the modern fashion design, the collaborative expression in the motifs symbolizing Korean cultural identity are limited to tangible expression, intangible expression, integrated expression. The results of this study were as follows. First, in the tangible expression, traditional tangible assets are used in the shapes, items, colors, materials, patterns and details to symbolize uniquely Korean image. The intangible expression, the applicability for Korean intangible assets include the master's (intangible cultural assets) and the craftsmanship of the modern designers being collaborated onto the contemporary customs to express the Korean traditional culture in a realistic or an abstract trend. The hybride expression, it is to represent Korean thoughts and values using the tangible elements. Second, The expressivity of collaboration of each year mostly shows integrated expression, intangible expression and tangible expression were shown respectively. The trend of seasonal collaboration expressivity was muchly the integrated expression in most seasons, and intangible expression and tangible expression followed respectively. It is recognizable that the expressivity of collaboration of each designer was; integrated expression was muchly shown in Lie Sang Bong and Lee Young Hee's works, Duri Jung showed much of intangible expression, and much tangible expressivity was shown in Carolina Herrera.