• Journal of Fashion Business
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• v.26 no.6
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• pp.47-63
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• 2022

This study aimed to examine the changes in women's fashion, focusing on the repercussions that bicycles had on women's life and fashion, centered on France in the 19th century, and then it examines the significance of the period to women's cycling clothing and its contribution to fashion. The research is based on literature and visual materials extracted from 19th century French newspapers, magazines, and posters. As a result of this study, the appearance of bicycles in the 19th century contributed to fashion as follows. First, the need for clothing suitable for outdoor activities promoted development of new designs with practical and functional features. Second, the clothing worn by female cyclists contributed to the introduction and propagation of new clothing, and pioneering wearing trousers. Third, the boom of bicycles in the 1890s led to the expansion of ready-to-wear items in department. The significance of the period to women's cycling clothing in the 19th century France is as follows. First, the era challenged customs and attitudes towards women's bicycle clothing and led to modernization. Second, a new and reasonable clothing design was presented that required a compromise to be accepted by the public. Third, although the clothing reform movement was not active in France, bloomer-style bicycle clothing was popular among fashionable women in Paris, revealing only its visual status as the capital of fashion in the 19th century.

• Journal of Fashion Business
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• v.20 no.1
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• pp.17-34
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• 2016

This research is a construct to understand CSR and pro-social consumption behavior of fashion consumers which classifies CSR efforts of fashion company and conducts positive analysis of the relationship between such characteristics and social relationship behaviors(sharing of values, consciousness of kind, consciousness of future expectation) and pro-social consumption behavior. For this path analysis was conducted utilizing a sample of 430 consumers who have experience of CSR efforts of fashion brands. The result is as follows. First, as a result of the path relationship among CSR efforts & sharing of values of fashion brands, consciousness of kind and consciousness of future expectation, economic efforts, relational efforts and cyclical efforts meaningfully affected sharing of values, whereas creative efforts did not. Also, relational and creative efforts meaningfully affected consciousness of kind, whereas economic and cyclical efforts did not. Furthermore, economic, relational and cyclical efforts meaningfully affected consciousness of future expectation, when creative efforts failed. Second, as a result of the analysis of path relationship among sharing of values, consciousness of kind, consciousness of future expectation and pro-social consumption behavior of social relationships, sharing of values had a meaningful impact on consciousness of kind, consciousness of future expectation and pro-social consumption behavior. And finally consciousness of kind and future expectation showed meaningful influence on pro-social consumption behavior.

• The Journal of Economics, Marketing and Management
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• v.12 no.2
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• pp.19-26
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• 2024

In recent years, entrepreneurship has become a significant movement in Vietnam. Vietnamese youth has paid more attention on entrepreneurship. Local brand fashion is currently booming in Vietnam. Many young Vietnamese choose to start up in local brand fashion. Vietnamese government has show strong commitment to support entrepreneurial movement among young people. Purpose: The research focused on assessing the determinants of entrepreneurial intentions in local brands fashion in Vietnam. Research design, data and methodology: The sample size consist of 293 young Vietnamese who are passionate on starting up their business in fashion. The research method employ Exploratory Factor Analysis (EFA) and SPSS software is used to analysze the collected data. Data collection involved a mixed-methods approach, combining surveys and case studies. Results: The research findings confirm the determinants of entrepreneurial intentions in local brand fashions are Attitude towards behavior, Subjective norms, Cognitive behavioral control, Entrepreneurship education, and Capital. Conclusion: The study not only delved into the influencing elements for starting a business but also examined the current landscape of the youth-oriented local fashion brand market. Managerial implications are provided to promote entrepreneurial intention among young Vietnamese in fashion industry. Limitations and further research are also discussed to provide recommended research directions for future studies.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.2
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• pp.267-278
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• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.

• Fashion & Textile Research Journal
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• v.23 no.1
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• pp.13-30
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• 2021

The research expects that textual sources such as reading texts with additional information in the form of texts can be effective inspiration sources for fashion design ideation and development process. This research analyzes how efficiently textual sources work along with individual internal sources, such as sociocultural influence, design fixation, and during the design process. Six fashion design graduate students shared 2 inspirational experiences under 2 different studies (4 experiences in total); in addition, in-depth interviews were conducted based on individual design sketches. The result shows that textual sources provided a positive effect on all 6 participants with different intensities based on various backgrounds and individual tastes. This result demonstrates individual 'influence' (their sociocultural capital such as personal preferences, likings, habits, and past experiences) and 'inspiration' mutually work together to make an effect on fashion designers' ideation and development process for the design, sometimes one working more than the other (or vice versa), respectively. This paper makes important practical contributions by identifying and discussing the design behavior performed (especially in fashion design) by fashion design students during the design process with new sources of inspiration provided such as textual sources. The research revealed how textual sources can be an effective inspiration for fashion design students and provide insight to fashion design educators and professional fashion designers.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.

• The Research Journal of the Costume Culture
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• v.26 no.6
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• pp.994-1014
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• 2018

The objective of this study was to evaluate the characteristics of the fashion narrative from the commercial and artistic viewpoints by identifying and evaluating the attributes of the fashion narrative and analyzing the fashion narrative focusing on various cases according to fashion media. Louis Vuitton, a brand of the Louis Vuitton $Mo{\ddot{e}}t$ Hennessy (LVMH) group that operates the entire fashion community platform, is recognized as an influential luxury company with enormous capital and capabilities. This study targeted Louis Vuitton to examine the fashion narrative. The common results of Louis Vuitton's fashion narrative according to the communication platform are as follows. First, it emphasizes well-designed craftsmanship and artistry to convey the value and meaning of the brand. Second, it expresses the lifestyle of the bourgeoisie using traveling for finding life purpose, nature, and freedom as common denominators. Louis Vuitton connects, shares, and engages with customers by crossing the communication platform and trying multi-sensory changes based on the fashion narrative of the 'artification' message encompassing craftsmanship, innovation, and travel. The fashion narrative of Louis Vuitton applies tools (e.g., design, direction, stage, and props) differently according to the nature of media. In other words, the fashion narrative in the form of transmedia storytelling is a marketing communication strategy that indicates the representation means and direction of a brand's goals by remediating the brand narrative in various ways through the communication platform.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.33-47
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• 2017

The purpose of this study is to provide fundamental data for the development of new course on 3D printing in the fashion design department. In order to investigate the perception of and educational needs in 3D printing, the data were collected from 266 students (female 68.8%, male 31.2%) majoring in fashion design aged 18-25 living in the capital area. The results of this survey showed that when investigating perceptions of 3D printing, it was found that 68.8% of answerers had indeed heard of 3D printing. Regarding the path they came to know about 3D printing, mass media such TV was the most frequent answer (54.6%). On the other hand, to the question asking about their intention to take the subject if given, approximately 71% said "Yes". Also, if a modeling class were given, the division that they wanted to explore most in the fashion industry was fashion jewelry. Finally, to the question asking interest in starting a business, 71.1% answered that they had interest. Out of those that answered that they had interest, when questioned about in which field they wanted to start a business, the most frequent answer was fashion online shopping mall. Finally, NCS-based 3D printing courses were suggested in the Fashion Design area. As 3D printing techniques are actively applied to the fashion industry overseas, creative education is needed through the integration of fashion and 3D printing technology by introducing 3D printing related programs in colleges.

• The Journal of Asian Finance, Economics and Business
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• v.8 no.9
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• pp.249-260
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• 2021

This research explores the effects of intellectual capital on knowledge management processes (creation of information, knowledge sharing, and use of knowledge) and innovation performance. The data was gathered from 224 fashion accessories in Thailand using a questionnaire. The population was collected on December 16, 2019 (https:/www.ditp.go.th) from a list database of the Department of International Trade Promotion, Ministry of Commerce of Thailand (2019). A questionnaire mail survey technique was used to collect data. Executives or managers were the key participants in this study. The statistical technique used to analyze is the ordinary least square regression. The findings show that intellectual capital has a significant positive effect on information management systems. Likewise, information management techniques have a significant positive effect on innovation performance. Moreover, increasing the use of information tends to make staff willing to use the knowledge to improve the quality and quantity of the service. This tendency contributes to productivity gain. Through the interaction of processes of information use, self-reflection, and input from customers, employees tend to increase the production of knowledge that eventually develops the results of the innovation. Hence, organizations should value knowledge management process elements to improve efficiency, and thus innovation.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.147-165
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• 2001

Haute couture denotes a luxurious made-to-order dressmaker's shop. In principle, it refers to a place that is registered with the Paris Apparel Association and has met the size and criteria specified by the association. The features of modern fashion expressed in haute couture have been contemplated by categorizing them into mixed impression appearing in haute couture work pieces. turning the collection event into a spectacle and commercialization for the succession of haute couture. Mixed impression manifested in the haute couture has engendered (1) the creative and dynamic feature (2) eclecticism with popular culture (3) mixed impression of reactionism (4) ethnic characteristics. From the above considerations, one could say that the factors drive the very existence of haute couture and comprise three elements of impeccable backgrounds, They are (1) organizing ability and protective policies of the French fashion industry, (2) relentless experimental spirit of the haute couture designers and (3) Paris that supports creativity and fashion fabrication, have coincided with rising up of the value of persistence on originality of work pieces in accordance with diversifying cultural transformations. consumer-oriented patterns by way of capital symbolized by consumers and restructuring of company operation by each shop. This report describes comprehensive understanding of haute couture, creativity and dynamic power of the haute couture work pieces. Akin to the efforts to maintain the existence of high-grade cultures throughout the overall cultures themselves, haute couture, on the basis of these factors, should also become the motive power through which luxurious culture in fashion is created in the days ahead.