• Journal of Fashion Business
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• v.21 no.4
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• pp.1-20
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• 2017

Fashion film has become a significant communication medium in the $21^{st}$ century. Fashion film, that tells unique quality stories, is a means of communicating brand value emotionally. To examine characteristics of storytelling according to types of fashion film, this study categorizes fashion film and investigates storytelling elements in terms of content, form, and communication. For methodology, a literature review was conducted to examine the concept of storytelling and types of fashion film storytelling. Empirical research was conducted on 32 fashion films from 2007 to recent years of 2017. Results are as follow. First, theatrical fashion film, based on linear narrative structure and closed-ending, is characterized content-based storytelling. Second, avant-garde fashion film, based on unconventional and experimental cinematic techniques, is characterized form-based storytelling. Finally, documentary fashion film that minimizes distortion and reproduces reality of designers' originality, refers to interactive communication-based storytelling which using digital technologies.

• Korean Journal of Human Ecology
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• v.22 no.2
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• pp.329-342
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• 2013

As mobile phone has acquired a status of a fashion item expressing one's character, it is necessary to understand the fashion needs for this new fashion product. The purpose of this study was to apply the fashion orientation construct developed in the clothing research field to mobile phone and explore its validity. The multi-dimensional construct of fashion orientation which most widely represented the fashion aspects was examined for the two product categories of clothing and mobile phone. Data were collected from an online questionnaire survey, and a total of 1,136 responses were analyzed. The construct structure of fashion orientation of mobile phone resulted in individuality, innovation, and fashion was different from that of clothing extracted to interest/importance, fashion/innovation, and individuality. Fashion sensitivity and an early adoption of a new product were two different dimensions in mobile phone while not separable in clothing. Despite a higher predictability of the fashion/innovation orientation of clothing on fashion orientation rather than on innovation orientation of mobile phone, innovation orientation was more important to purchase behaviors of mobile phone. The study still implies that it is valid to use clothing fashion innovative consumers for mobile phone marketing.

• The Research Journal of the Costume Culture
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• v.22 no.4
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• pp.565-578
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• 2014

This study is about the cases in fashion figure appearing the contemporary fashion and their characteristics. The work aims at providing a further active research opportunity for fashion figure in the modern fashion field and finding several possible utilizations to help the overall fashion industry through examination. Research methodology was followed up with the related literature review and empirical work through the case study of multiple fashion figures denoted in the contemporary fashion. The results showed in the following way for types of fashion figure in the modern fashion. The first type is that its figure was used for stage apparatus in fashion collection, various properties, or garment tool as doll shifted to a certain object. The second type is that art toy or fashion doll was used as specially added product via way of cooperation with fashion brand to be applied as fashion figure alone or other properties for T-shirt or something like that. The third type is the case that multifariously sized figures were applied to show window or shop display. This type of fashion figure is basically an imbedded fashionistic feature, reflecting the rarity, publicity, playfulness, and artistic value.

• Journal of the Korean Society of Costume
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• v.51 no.1
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• pp.129-143
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• 2001

Particular historic events such as revolution and wars have given rise to fashion. Luxurious costume representative of the aristocratic culture since the French Revolution was changed into popular look with the collapse of the royal regime. With the restoration of the royal regime by Napoleon, rapid changes associated with the reemergence of the costume of aristocratic brought an opportunity for the revolutionary fashion of bringing about new fashion in the fashion field. Especially, the New Look Presented by Christian Dior in 1947 shortly after the Second World War would be the typical style of revolutionary fashion. Accordingly, this study attempted to analyse the characteristics of new fashion regarding how new fashion occurred and developed in changes in revolutionary fashion after the Revolution and the War, in conjunction with the zeitgeist(time split) of rapid social changes. The ultimate purpose of this study was find out the significance of fashion as to how and why fashion changed in relation to the factors of changes in fashion in the history and create new future fashion by reinterpreting new aesthetic consciousness about the characteristic of new fashion found in changes in revolutionary fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.191-200
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• 2014

This study represents "an artialization of fashion" that may be regarded similar to art with a focus on luxury fashion brands. In the $20^{th}$ century, fashion began to share a similar language with art and became a central part in popularizing art. Fashion and art were drawn to each other in mutual fascination. Fashion studies arouse from disciplines like anthropology, sociology and art history as well as from aesthetic experiences and commercial characteristics. Fashion is very complicated phenomenon; therefore, a study on the artialization of luxury fashion brands needs to be approached for aesthetic and commercial aspects simultaneously. This study combines a literary survey with a case analysis of the relation of fashion and art as well as inquires on the artialization of luxury fashion brands based on discourses. The discourses are: first, fashion is an art, second, fashion and art differ in relation to the intention, third, fashion and art have mutual-borrowing. In view of the results achieved in this study, luxury fashion brands can achieve increased effectiveness through art. This study reveals the effects that luxury brands achieve through art versus a discussion on if fashion is art or not and if the relationship is moral or not.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.652-668
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• 2020

The purpose of this study was to analyze trends in sustainable fashion research and to guide its the development by examining previous research projects conducted by the UK Centre for Sustainable Fashion. A literature review and case studies were conducted from which the following results were identified. It was shown that the CSF has cooperated with fashion, arts and technology businesses and other external organizations. The CSF has contributed to improving the economic durability of the fashion industry, the convergence of both local and the international fashion communities, and the development of cultural sustainability. Moreover, it incorporates various academic fields into its research and has developed advanced researching methods for sustainable fashion. The CSF has embraced the new perspectives by utilizing student ideas for the development of sustainable fashion. The conclusions of this study are as follows. First, the CSF studied the sustainability of fashion from a more organic perspective through multidisciplinary research. Second, it has expanded the possibility of sustainable fashion research through research formats, research fields and research operations. Finally, it has evoked values and responsibilities that the fashion industry should pursue in modern society and has become an exemplary case of sustainable fashion research, providing creative studies for sustainable fashion research in the future.

• International Journal of Costume and Fashion
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• v.14 no.1
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• pp.1-15
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• 2014

Fashion leadership is divided into visual influence, linguistic influence, and dual leadership. We refer to people exercising such influential power as fashion innovators, fashion opinion leaders, and fashion double leaders, respectively. Scholars and marketers have raised continuous questions on this issue: who are these fashion leaders and what characteristics do they have? In this study, social network analysis is applied to grasp the existence of three types of fashion leaders in college clubs, examine their positions in fashion process networks and investigate their individual and social characteristics. For this study, three college clubs were recruited through convenience sampling and surveyed online. Peer nomination questions for structuring fashion process networks and self-evaluation questions for measuring personal characteristics are included. Two fashion networks, an opinion leadership network and an innovativeness network, embrace four to six leaders and illustrate similar structure patterns in the three groups, which indicates that dual leaders enjoyed the lion's share in college clubs. The number of fashion innovators tends to be fewer compared to that of fashion opinion leaders, and we infer that peer relationship appears to intervene with fashion opinion leadership. Other personal characteristics supporting results from previous studies are also confirmed in this study.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.111-126
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• 2014

The purpose of this study is to identify the antecedents of the attitudes toward purchasing fast fashion brands. As antecedents, fashion consciousness, eco-fashion consumption decision, ongoing search behavior, and shopping enjoyment were considered. It was hypothesized that fashion consciousness influence the attitudes toward purchasing fast fashion brands both directly and indirectly through eco-fashion consumption decision, ongoing search behavior, and shopping enjoyment. Data were gathered by surveying university students in Seoul, using convenience sampling. Three hundred five questionnaires were used in the statistical analysis, exploratory factor analysis using SPSS and confirmatory factor analysis and path analysis using AMOS. The hypothesized relationship test proved that fashion consciousness influences the attitudes toward purchasing fast fashion brands both directly and indirectly through ongoing search behavior and shopping enjoyment. In addition, eco-fashion consumption decision influence directly influences the attitudes toward purchasing fast fashion brands. The results suggest some effective marketing strategies for marketers in the fast fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.491-505
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• 2019

This study analyzes global fashion clusters to provide insight for the domestic fashion market to form a competitive fashion cluster. We examine formation factors and operation types of the global fashion clusters to understand their characteristics. We also explore the effectiveness of each global fashion cluster by investigating the stage of development in fashion clusters. Fourteen cases of global fashion clusters are collected and analyzed. First, global fashion clusters show three types of formation and operation: self-formation, self-formation & government based development, and government, institute, and enterprise based formation & development. Second, the characteristics of global fashion clusters are based on functions related to space, learning, innovation, network, and knowledge. Third, there are four steps in the development stage of global fashion clusters: professional clusters, industrial clusters, learning clusters and innovative industrial clusters. In particular, innovative industrial clusters, the final stage of development, have high levels of effectiveness in terms of co-growth and collaboration among fashion-related businesses in fashion clusters. The results of this study can help guide the development of local fashion cluster in Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.3
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• pp.459-474
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• 2023

Contemporary fashion criticism tends to rely solely on the established art criticism process without consideration of the distinctive characteristics of fashion. Thus, this study aims to reveal the unique roles and characteristics of fashion criticism by recognizing it as an independent field in contemporary art with its own social significance. This study will first apply traditional art criticism models to analyze and explore contemporary fashion criticism's empirical content before uncovering the uniqueness of contemporary fashion criticism by content analysis. Contemporary fashion criticism discusses not just physical objects but various topics and ideas, as well. Accordingly, the existing criticism model was modified in this study to fit contemporary fashion criticism and organized into five stages: description of historical fashion, form description, external evaluation, interpretation, and internal evaluation. Commerciality, the human body, coordination, the critic's individuality, trends, and fashion-related persons were identified as key factors of contemporary fashion criticism's uniqueness. In conclusion, rather than build a single contemporary fashion model, this study found it more effective to create individual fashion criticism models suitable for detailed fields, as these enable the discussion of multifaceted topics in the fashion field. This study is expected to serve a meaningful guide for the fashion discourses.