• Journal of Fashion Business
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• v.18 no.1
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• pp.149-163
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• 2014

The purpose of this study is to investigate and analyze the actual conditions of consumer damage occuring in the use of clothing products. The data used for analysis included 470 cases, which were deliberated by requesting consumer disputes deliberation at the consumer consultation room of Masan YWCA at the Kyeongsangnamdo Consumer Life Center belonging to the Kyeongnam provincial office. The disputes regarding the clothing products insisted that consumers suffered damage for the period from March, 2011 to June, 2013. The data processing was carried out by SPSS 14 and the statistics techniques used went through a cross tabulation analysis and ${\chi}^2$-test. The results are as follows. The difference in the analysis result of purchase path and material as to kinds of clothing products showed a significant difference. The damage types of clothing products were classified into five types: change of color, change of style, change of surface and touch, breakage of subsidiary materials, and others. The damaged clothing products showed a difference for damage frequency according to the items of clothing products; in particular, damage frequency for change of color appeared high. The damage contents of change of color were identified as metachromatism, discoloration and yellowing, stain occurrence, and decolorization. The damage responsibility for these clothing products appeared to be various as to clothing items, but was higher at dry cleaners and manufacturers.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.12
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• pp.1466-1476
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• 2011

This study explores if consumer perceptions about genuine luxury fashion merchandise are affected by the presence of counterfeits. A total of 504 consumers participated in an online survey. First, respondents were asked to indicate whether or not they agreed that counterfeits negatively affect genuine luxury fashion brands and to provide reasons for their responses. Approximately 57% replied that counterfeit goods negatively affect the image of genuine luxury fashion brand goods. The main reason mentioned was that counterfeit products damage the producer/copyright holder of genuine products, as well as the national economy; they believed that it damaged the genuine luxury brands' image due to the luxury goods becoming less rare; however, 43% of respondents stated that counterfeits did not negatively affect genuine luxury fashion brands. Thus, counterfeit availability reflects that a brand is renowned and popular in a market where consumers can recognize genuine luxury fashion products from counterfeits. Second, the respondents were asked about specific luxury fashion brands and indicated that seeing counterfeits did not negatively affect genuine luxury fashion brands' value, brand reputation or satisfaction of ownership. The majority of respondents disagreed that the availability of counterfeits negatively affects the value, reputation and satisfaction of owning original luxury brands.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.5
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• pp.984-1003
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• 2020

The global fashion industry produces significant carbon emission and micro-plastics in oceans. Studies on sustainable design methods as such environmental issues in fashion are becoming intensely problematic. This study conducted a case study on 100 upcycle fashion brands to propose strategical upcycle fashion designs to compete in a sustainable fashion market. A literature review indicated that 3 types of textile wastes are generated as upcycling materials: post-producer, pre-consumer and post-consumer. Wastes are categorized together with 3 types of techniques: redesigning, reconstruction and handcrafting. This research derived 7 types of upcycle fashion designs that have the following features: to make luxury upcycle fashion products, to make sustainable grunge looks, to re-evaluate deadstocks, to recover vintage clothes, to convert waste into craft-arts, to offer solutions for damaged products, and to make zero-waste small fabric waste. The study results show that key drivers in the upcycle fashion design are the redesignability of materials and technique-related costs. This study implies that adopting appropriate design features can be a useful strategy for designers. New technologies will solve current problems and encourage them to design products in a new circular value system.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.309-315
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• 2011

Due to rapid growth of nail art industry, various materials and expression tools are have been developed. Increasing number of consumers favor diverse nail art techniques including painting and artificial tips in addition to basic care such as cuticle trimming or coloring. Accordingly, the diversity of polish colors has been settled as a concept of total fashion in addition to the clothes and accessories. As the result, nails may be damaged or discolored. A study the nail discoloration by using polish was purposed that contribute to the development of nail protective products. The tests were conducted with 20 college students for six months from March 3 to Aug. 28, 2009, using digital camera as the measurement apparatus. The students were classified into two groups which applied bright polish (white, beige, pink series) and dark polish (purple, blue, black series), and then divided into the groups applied and not applied the base coat which is known to be effective in preventing nail discoloration, and the groups applied and not applied tonic. The students applied polish for one week, and removed the polish with remover and photographed to examine the degree of nail discoloration. Dark colored polished resulted in earlier coloration and discoloration than the bright colored ones. Base coat could prevent coloration and the color changes of hyponychium and eponychium were lighter than the cases not applied with base coat. Tonic could delay coloration and reduced the color changes of hyponychium showing that tonic was effective for preventing coloration and discoloration of nail in addition to nutrition.

• Journal of the Korean Society of Costume
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• v.13
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• pp.21-37
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• 1989

In May 1987, 11 clay icons and other stone products were excavated in an abandoned ancient tomb which was located in 541-1 Hwangsung-dong, Kyungju. 6 clay figures of them were depicted realistically man's features and postures, costume at that time that they gave a lot of significance to the fields of Korean Costume's Academic Society. The main purpose of this thesis is to study the background of costume history when it was made and its formal characteristics with the study of those 6 clay figures. Shilla accepted the customs and attires of Sui and T'ang by means of frequent in coming and out going Chinese envoy as well as Shilla's envoy, monks, hostages, and students in China. From that period, the diversity of Shilla's costume began to develop by introducing Tang's style into Shilla's costume. Crested hat of men's clothing of the clay figures in Hwangsung- Dong is Bokdu Men's figure II wore Bokdu which Hugak is attached to Byunhyung. The garment is a Po and it is a tight sleeve and silhouette's Banryungpo. The horizontal line of hemline of men's figure 1 can be presumed by expression of Ran though it is not as accurate as the clay figues in Yongg-ang-Dong. As for torso part 1, it can not be known the style of the crested hat because the head part was damaged, but it were shoes, belt and common sleeve, Banryungpo on tight sleeve shirt and tight trouser. The hair style of the women's clothing in Hwangsung-dong clay figure is Bukkye peculiar to Korea. The costume was slim silhouette that people wore tight sleeve and short blouse and long skirt and belted on their bosom which dresses style was in vogue from late Sui dynasty to the early years of the Tang period. The silh ouette of slim silhouette's high waist which can be seen in the women's dresses is mainly worn by Chinese and affected Shilla's costume. Therefore the dresses style of the clay figures in Hwagsung-Dong, it is considered it is a dresses style of tight sleeves and slim silhouette together with the adaptation and abolition of foreign elements on the basis of Shilla's own elements like Bukkye hair style and tight sleeve and silhouette. The style of Yonggang-Dong's clay figures expresses spherical gei and common sleeve, loose silhouette of flourishing Tang's costumes planly whereas the style of Hwangsung-Dong's clay costumes expresses refined spirit of the Shilla(Shillaism) though it is extremly simple.