• The Research Journal of the Costume Culture
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• v.21 no.5
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• pp.613-628
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• 2013

This study aims to identify characteristics of neo-naturalism coming from periodical changes in the 21th society, culture based on naturalism and analyze the expressional and design characteristics of neo-naturalism on 2000s. For a research method, this study researched development of naturalism in fashion, and searched digital naturalism and ecology which are design paradigm effecting on neo-naturalism through literature research and preliminary study. Analyzing preliminary study on architecture, interior, fashion about digital naturalism and ecology design, concept of neo-naturalism identified and four expressional characteristics of neo-naturalism was classified, actual examples of neo-naturalism in 21th fashion were extracted and drew design characteristics. The results are as followings. Firstly, naturalism described nature as it is and developed according to the values and needs of the times. Naturalism in fashion showed natrual human body's curve, nature pattern and used natural materical focused on ideal beauty of nature. Secondly, neo-naturalism renews with the foundation of digital culture and ecology design paradigm, and focuses on the flexible possibility to express nature with digital, new media and formative art, and made the artificial nature uniting human-nature-environment as organic whole by ecology design paradigm. Thirdly, design of neo-naturalism divided four characteristics, nature's organic form, combination with the technology, ethical harmony with nature, global local design. The first characteristics of the nature's organic form are expressing silhouette of the nature's organic volume abstractly, the second ones of the combination with the technology are reinterpreting primitive nature contemporary with artificial sensibility of high technology, the third ones of the ethical harmony with nature are showing simple design and high-touch, and the forth ones of global local design are expressing cultural hybrid preserving vernacular design.

• The Research Journal of the Costume Culture
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• v.27 no.5
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• pp.415-432
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• 2019

The purpose of the present study was to generate a list of business ethics components according to business area for small and medium-sized fashion companies. Based on the literature review, 21 components of business ethics components were identified within five business areas. Ten CEOs(Chief Executive Officers) each participated in an in-depth interview, sharing ethical and unethical cases from their own businesses. Constant comparative analysis was used to generate important business ethics components from those cases. In results, important business ethics components for each business area are: 1) using human-friendly materials, strengthening sustainable technologies, using vegan materials, concerning safe process, and reducing waste in the material production and sourcing area, 2) enhancing an efficiency in design, developing recycle/reuse designs, avoiding to copy designs, and using messages for public interest in the product design area, 3) concerning fair-trade, reducing harmful substance, saving energy, and using ethical supply channels in the distribution and logistics area, 4) acquiring certifications, promoting consumer protection, avoiding exaggerative/false advertisements, and promoting social contributions in the management and marketing area, and 5) promoting workers' rights, complying with the law, and investing on employee educations in the labor management area. All of the ethical and unethical cases of the ten companies have involved aspects of the 21 components, thereby enhancing understandings on how each issue is being seriously considered and/or handled in the small and medium-sized fashion companies. Study findings may provide a basis for development of a research model for quantitative studies and/or educational programs related to business ethics in the fashion industry.

• The Research Journal of the Costume Culture
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• v.32 no.2
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• pp.247-259
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• 2024

This study assessed the effectiveness of brand image communication on consumer perceptions of cruelty-free fashion brands. Brand messaging data were gathered from postings on the official Instagram accounts of three cruelty-free fashion brands and consumer perception data were gathered from Tweets containing keywords related to each brand. Web crawling and natural language processing were performed using Python and sentiment analysis was conducted using the BERT model. By analyzing Instagram content from Stella McCartney, Patagonia, and Freitag from their inception until 2021, this study found these brands all emphasize environmental aspects but with differing focuses: Stella McCartney on ecological conservation, Patagonia on an active outdoor image, and Freitag on upcycled products. Keyword analysis further indicated consumers perceive these brands in line with their brand messaging: Stella McCartney as high-end and eco-friendly, Patagonia as active and environmentally conscious, and Freitag as centered on recycling. Results based on the assessment of the alignment between brand-driven images and consumer-perceived images and the sentiment evaluation of the brand confirmed the outcomes of brand communication performance. The study revealed a correlation between brand image and positive consumer evaluations, indicating that higher alignment of ethical values leads to more positive consumer assessments. Given that consumers tend to prioritize search keywords over brand concepts, it's important for brands to focus on using visual imagery and promotions to effectively convey brand communication information. These findings highlight the importance of brand communication by emphasizing the connection between ethical brand images and consumer perceptions.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.9
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• pp.1069-1084
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• 2011

This study investigates the main trend of LOHAS, examines and analyzes the LOHAS marketing cases of the fashion industry, and proposes an effective LOHAS marketing strategy for the domestic fashion market. Data were collected from Naver, Google and Daum from 2005 (when LOHAS began to be recognized) to October $31^{st}$ 2010. We searched the research material with keywords related to the research subject (such as eco, green, well being, echo-friendly, LOHAS, sustainable, environmental management, and green management) to conduct a theoretical and exploratory study through qualitative analysis. The data are analyzed with three types such as personal value of eco-friendly fabric, economical value of recycled fabric and re-use or re-form, and social-ethical value of distribution and promotion. The research results show that LOHAS marketing activities focused on personal values and social-ethical values (rather than economical value) and from an eco-friendly management centered on merchandise; in addition, an eco-friendly supply chain management incorporated with a management system were applied. LOHAS marketing strategies at home and abroad revealed some differences in the cases of eco-friendly fabric, recycling, and fair trade.

• Fashion Information and Technology
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• v.6
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• pp.54-62
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• 2009

• Fashion & Textile Research Journal
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• v.14 no.1
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• pp.13-23
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• 2012

"Sustainability" and buzzword as in many areas of products produced and studies in progress, in situations of domestic "green fashion" of the Progress and identify problems and advanced in value sustained growth that can be done fashion design, the future of the gauge view there is need. For the purpose of environmental protection and resource conservation of the eco-fashion trend, "recycling" of the low-growth, emphasizing the ethical responsibility to pursue by the aesthetics may be limited in terms of avoided. Environment, most notably an "issue" fashion emerged as a growing, destroying a temporary fashion trend as a "recycling" of the limitations and pro-technology and design of the added value of recombinant and advanced recycling design trends, attracting attention "upcycle" Case of the aesthetic value and spiritual value of the designer by giving understanding and a new aesthetic values to the area you want to raise the possibility of extension.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.708-717
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• 2017

Industrial innovation in Britain, during the eighteenth and nineteenth centuries, stimulated the introduction of the factory system and the migration of people from rural agricultural communities to urban industrial societies. The factory system brought elevated levels of economic growth to the purveyors of capitalism, but forced people to migrate into cities where working conditions in factories were, in general, harsh and brutal, and living conditions were cramped, overcrowded and unsanitary. Industrial developments, known collectively as the 'Industrial Revolution', were driven initially by the harnessing of water and steam power, and the widespread construction of rail, shipping and road networks. Parallel with these changes, came the development of purchasing 'middle class', consumers. Various technological ripples (or waves of innovative activity) continued (worldwide) up to the early-twenty-first century. Of recent note are innovations in digital technology, with associated developments, for example, in artificial intelligence, robotics, 3-D printing, materials technology, computing, energy storage, nano-technology, data storage, biotechnology, 'smart textiles' and the introduction of what has become known as 'e-commerce'. This paper identifies the more important early technological innovations, their influence on textile manufacture, distribution and consumption, and the changed role of the designer and craftsperson over the course of these technological ripples. The implications of non-ethical production, globalisation and so-called 'fast fashion' and non-sustainability of manufacture are examined, and the potential benefits and opportunities offered by new and developing forms of social media are considered. The message is that hand-crafted products are ethical, sustainable and durable.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.9
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• pp.1515-1526
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• 2010

Consumer expectations for ethical businesses have become increasingly high in recent years; the fashion industry is working to implement greater corporate social responsibility (CSR). This study establishes the effects of the evaluation for participation in fashion brand CSR on perceived purchase values. In particular, the process for the evaluation for participation that affect the perceived purchase value through consumer-brand identifications (personal/social) was verified and how the consumer regulatory focuses would influence this process was identified. For this study, an on-line survey was conducted that included a series of filtering questions that measured the level of social concern of respondents. Valid data from 505 female consumers were analyzed for the structure equation modeling. The empirical results suggested that the evaluation for participation in fashion brand CSR positively affected the two dimensions of consumer-brand identification; personal identification and social identification. In addition, consumer-brand identification played a role as a mediating variable in the path to influence the perceived purchase values of CSR brands. Lastly, there were differences in reactions to CSR activities by consumer groups with different regulatory focuses. The effect of the evaluation for participation in fashion brand CSR was shown to be higher for consumers with promotion focuses than on consumers with prevention focuses. The results of this study will help fashion companies understand the importance of the consumer participation in CSR by having consumers participate in ethical consumption.

• Journal of Fashion Business
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• v.13 no.3
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• pp.40-48
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• 2009

Counterfeiting is a fast growing market worldwide. The purposes of this study were to examine adolescents' attitudes toward counterfeits, their ethical beliefs, and reference group influence on purchasing counterfeits. Two hundred thirteen high school students in Seoul and subside, South Korea, voluntarily participated in the study. As the results, approximately 30% of the adolescents had purchased counterfeits. Also, the adolescent buyers of counterfeits tended to purchase counterfeit goods as more alternative of genuine products than non-buyers, and did have more positive feeling toward counterfeits than non-buyers of counterfeits. In addition, adolescent buyers of counterfeits had lower consumer ethics than non-buyers. Finally, adolescents who have purchased counterfeits were more influenced by their peer group than those who have not. The findings would benefit marketers and educators in understanding of adolescents' purchasing counterfeit products, and contribute to develop strategies regarding counterfeits. Based on these results, some strategies for marketers and educators would be suggested.

• Journal of Fashion Business
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• v.27 no.5
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• pp.13-25
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• 2023

The implementation of ESG practices in the fashion industry has been accelerating, and its significance has been growing across all industries. This paper aims to examine the strategies for ESG implementation in domestic fashion brands and analyze how ESG principles are applied in the context of domestic conscious fashion. To analyze conscious fashion as a means of ESG implementation, the evaluation criteria of ESG from the Textile Fashion Policy Research Institute were utilized as analytical tools. As a result, five categories of domestic conscious fashion emerged: animal-free vegan fashion, eco-friendly plant-based vegan materials, upcycled fashion, regenerated fiber fashion utilizing waste materials, and fair trade fashion. The characteristics of these ESG practices in conscious fashion were identified with four key features. Firstly, the adoption of environmentally friendly materials demonstrates a tendency towards resource conservation, minimizing environmental degradation, and protecting ecosystems. Secondly, technology-driven circular practices are predominant in vegan and upcycled types, evident in the development of fashion materials and secondhand content. Thirdly, design practices based on scarcity incorporate characteristics of upcycling and fair trade. Lastly, the practices of social and ethical values underlie the philosophies of three types of conscious fashion. With the acceleration of ESG practices in the fashion industry and the increasing importance thereof, it is expected that domestic conscious fashion in South Korea will diversify in the future.