• Journal of Fashion Business
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• v.14 no.2
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• pp.42-56
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• 2010

The purpose of this study is to provide the fundamental data through researching on the actual condition of foreign consumers, the image of DongDaeMun fashion market, the customer satisfaction measurement of DongDaeMun fashion market, and the degree of satisfaction of DongDaeMun market's products. The results of this study are as follows: 1. The analysis on gender who visits DongDaeMun fashion market reveals that female(77.6%) was more than male, and the each age group has a priority in orders of 30s, 20s and 40s. The Japanese shoppers has more willing to visit again and a number of visitors has visited more than twice and many of them came by for the purpose of shopping. Japanese shoppers get the information of DongDaeMun fashion market from families or advertisements by media, while Chinese customers get the information through travel agencies. 2. The image of DongDaeMun fashion market by foreigners is generally positive. They were satisfied with the facilities of DongDaeMun fashion market, the convenience of transportation, business hour and ambience of store, and fashion of clothes. Foreign customers who visited Korea on purpose to do shopping and frequent visitors to Korea have a similar image of DongDaeMun fashion market with that of domestic visitors. 3. The degree of satisfaction to the DongDaeMun fashion market for clothing was usually high. There were only few differences between Chinese shoppers and Japanese shoppers. The higher the satisfaction to the DongDaeMun fashion market was the more they had bought and high intention of visiting. And the more experiences of visiting to the DongDaeMun fashion market showed the higher degree of satisfaction.

• Journal of Fashion Business
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• v.21 no.3
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• pp.43-57
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• 2017

This study concerns visual humor in fake technique fashion. While previous studies focused mainly on expression techniques of fake technique fashion, this study analyzed visual humor in fake technique fashion based on classification criteria of visual humor expression techniques, differenting this study from other studies. The purpose of this study was to derive visual humor in fake technique fashion by classifying cases of fake technique fashion, and re-classifying outcomes of primary classification based on criteria of visual humor expression techniques. As for methods, this theoretical study was conducted on humor, expression techniques of visual humor, fake fashion and fake expression techniques through literature review. Subsequently, 485 fake technique fashion images obtained from research were classified by expression techniques, and cases of fake technique fashion were analyzed. In addition, by combining this theoretical study with case studies, fake technique fashion was re-classified according to criteria of visual humor expression techniques to derive the characteristics of visual humor in fake technique fashion. Based on visual humor expression techniques, visual humor in fake technique fashion was created by distortion and transformation that made the fake look real by distorting or transforming the fake, enlargement and reduction that created new forms by altering familiar forms, and typeplay that added fun by changing familiar luxury logos into various forms.

• Journal of Fashion Business
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• v.8 no.5
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• pp.75-84
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• 2004

Fashion Illustration has become a key method in expressing Fashion, and is being applied in various fields of the modern world, where changes are so rapid that prescribing trends are meaningless. Fashion Illustration was stimulated through progress of wood block printing and development of printing techniques, and grew with fashion magazines. Fashion Illustration advanced along with the appearance of newspapers and magazines that were emerged due to historical demands such as development of printing techniques, spacial spread of human life, obliteration of traditional societies, diffusion of education systems, progress in postal systems, and appearance of commercial broadcast. Fashion Illustration showed growth and decline along with the influence of mass media such as magazines and photography, and the general publics demand. In this study, the author reviews Le Nouvau Mercure Galant, the magazine that first dealt with Fashion Illustrations. The author analyses the magazine in six stages of formation, growth, revolution, golden-age, decline, and reconstruction, to develope a theoretical analysis of Fashion Illustration and to give direction of use of Fashion Illustration in the future.

• Journal of Fashion Business
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• v.23 no.4
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• pp.24-37
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• 2019

This study focused on the fashion designer brand 'Alexander McQueen' to determine how butterflies are used in modern fashion through the sensibilities of certain designers. To this end, both a literature review and empirical research were conducted. First, we examined the origin of the word and appearance characteristics of butterflies based on prior research and a book, and also surveyed the tendencies used by the fashion designer brand Alexander McQueen. Second, out of 239 items announced by the fashion designer brand "Alexander McQueen" RTW (Ready to Wear) ranging from the S/S Collection in 2008 to the 2018-9 F/W collection, 73 pieces deemed to be fashion using butterfly images were collected through www.samsung.net and www.firstview.com, then analyzed based on timing and aesthetic characteristics. Results. The analysis by time period was divided into fantasy, handicraft, mix and match, and aesthetic characteristics shown in the order of compromise beauty, rhythmical beauty, and voluptuous beauty. The purpose of this study was to determine how butterflies are expressed in fashion based on the sensibility of a specific designer in modern fashion, the fashion designer brand 'Alexander McQueen'. Based on the results of this study, we hope that the information presented herein on fashion of natural images will serve as a basic material for similar research or design ideas as an example of designs based on butterfly images.

• Journal of Multimedia Information System
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• v.3 no.3
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• pp.85-90
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• 2016

We firstly tried to understand consumers' purchasing tendencies and mainly focused on designing a platform model that offers integrated support. C2B (Customer to Business) orders integrate with a consumption platform of a B2C (Business to Customer) model, and integrated support aims at design, supply, processing, and distribution of a fashion business. All the information such as orders, sales, production, supply, and settlement of accounts is synchronized under the C2B, B2C, and O2O (Online to Offline) environment so that accurate information can be shared in real time. Our platform automatically handles with a net income of a product designer, manufacturer, and shipping company once shipping is confirmed.

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.19-20
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• 2004

• 한국생활과학회:학술대회논문집
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• 2009.05a
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• pp.139-140
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• 2009

• 한국생활과학회:학술대회논문집
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• 2009.05a
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• pp.163-164
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• 2009

• Journal of Fashion Business
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• v.24 no.4
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• pp.30-47
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• 2020

The purpose of this study is to derive the type of image pursued by men at work and to present the fashion style element as a method of expressing the image to be pursued. The was carried out by deriving the types of seeking images of men at work through literature research and questionnaire on seeking images and analyzing cases through FGI. The results of the study on fashion style elements for each type of image pursued are as follows. First, the reliable image appeared a gentle and formal fashion style, and colors and items were identified as the main elements of expression. Second, the refined image appeared in a chic and dandy fashion style, and colors, fabrics and items reflecting trends were identified as the main elements of expression. Third, the neat image was identified as a simple and minimal fashion style, and details, fabrics, and colors were identified as the main elements of expression. Fourth, the luxurious image was found to have an intellectual feeling in a classic fashion style, and color and material are the main elements of expression. Fifth, the dignified image appeared in a fashion style that was well-dressed and felt classy and heavy, and colors, patterns, and items were identified as the main elements of expression. Sixth, the energetic image emerged as a business casual style, except sporty or active functional styles, with overall comfortable and cheerful feeling, fit, color, and items were noted as the main elements of expression.

• Journal of Fashion Business
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• v.28 no.2
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• pp.1-14
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• 2024

Within the metaverse platform, users engage in communication with others through 'avatars' reflecting their own identities. Users experience various virtual fashion items through avatars, and the fashion industry anticipates avatars wearing virtual fashion items as an emerging business opportunity. Many fashion brands are currently releasing virtual fashion items specifically designed for avatars. In this study, we examined the impact of user identification with their avatar on their perception of the attributes of virtual fashion items (investment attractiveness, scarcity, playfulness, and aesthetics) and its influence on behavioral intentions. The research involved a survey of 250 females with prior knowledge of the metaverse. Structural equation modeling analysis was conducted to examine research hypotheses and validate the model. The results confirmed that as users within the metaverse perceive greater identification with their avatar, they also perceive the attributes of virtual fashion items more favorably. This finding affirms the self-reference effect, where users positively evaluate objects associated with themselves. Additionally, perceiving the attributes of virtual fashion items was found to be positively linked to purchase intentions for virtual products and actual interest in the brand. Lastly, a higher intention to purchase virtual fashion items was associated with forming a more favorable attitude toward the respective brand. Consequently, this study provides academic and practical implications for marketing strategies within the metaverse, emphasizing the active utilization of avatars and elements that facilitate user-avatar identification for effective engagement.