• 복식문화연구
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• 제27권1호
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• pp.64-71
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• 2019

Climate change and global warming are the biggest challenges of the current generation. Every industry has contributed to the climate change and global warming. Even the apparel industry cannot avoid the criticism regarding fast fashion and its contribution to the pollution. The transition to the decarbonized economy is in progress. All aspects of business functions are influenced by climate change. Sustainable development and climate change are closely linked, and business plays the key role in addressing and finding solutions to the challenges of climate change. Luxury brands are the trendsetters and tastemakers. They are the leaders in the fashion industry and therefore responsible for improving on sustainability as well. Even luxury business cannot avoid environmental issues. The relation between luxury and sustainability is explored with the Burberry case based on the Triple Bottom Line (TBL) framework. There are various ways for luxury brands to excel in sustainability and affect other companies' practices. The companies can incorporate the concept of sustainability in their brand stories as part of the branding process. They can also improve demand planning accuracy and produce upcycled goods. Centering on Burberry's case, this paper aims to explore the current sustainable practices of luxury business along with its future direction toward sustainable development. Its contribution and directions for both researchers and business practitioners are discussed.

• 대한가정학회지
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• 제45권5호
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• pp.1-13
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• 2007

The purpose of this study was to explore the well-being attitude and use the expectation-disconfirmation model to assess consumer satisfaction with well-being products. The consumer expectations, performance and disconfirmation scales were composed of 7 items of 5-likert scales. Consumer satisfaction with well-being products was measured with one-item-measurement scale. The results of this study are as follows. 1. The well-being attitude consists of 4 factors. : consumption of the well-being products, pursuit of mental well-being, criticism of commercial fashion, and pursuit of harmony with natural life. 2. Well-being attitude influences the consumers' expectation, performance, and satisfaction with well-being products. 3. Consumer expectation for well-being products has no influence on satisfaction, but performance and disconfirmation have a high degree of influence on satisfaction.

• 한국의상디자인학회지
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• 제6권3호
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• pp.185-199
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• 2004

This study is intended to examine Honore Daurnier's realism formativeness, review it in connection with socio-cultural conditions, analyze costume designs by a style of realism formativeness, in order to find the value. For the study, the procedure included the review of Daurnier's works and world, together with realism formativeness. Then, Daurnier's realism formativeness applied to costume designs were categorized and found the features of each style. Finally, it sought the implication of realism formativeness in costume designs. Honore Daumier, a realist of France in the 19th century, has been reputed that he pursues plain reality with a satire, uses all the conditions of humans as his object, and observes the vanity, desire, and foolishness of humans to represent his own expression techniques as cold as a stone. Realism formativeness is characterized by adherence to observing reality and engagement in reality, an effort to represent the world as it is as what we sense it without diluting or omitting it, nor any deception. The following terms can be used to describe the three styles of intentional recreation, satire on reality, and real existence; For intentional recreation in costume may be featured by the avant-garde, the pursuit of autonomy, reconstruction, rediscovery, recombination, reinterpretation, neutralized representation (reality ＋ the abstract), transformation, distortion, shock, and unexpectedness, etc. For satire on reality in costume, satirical criticism and mockery in a coexistence of time and space, dualism due to the combination of the exterior and the interior, reality reflecting the actual reality, and irony are those words. Real existence in costume may be described with objectivity, ordinariness, correctness of representing a theme, impersonality excluding subjectivity, clearness, certainness, and preciseness, etc.

• 복식문화연구
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• 제9권4호
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• 패션비즈니스
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• 제6권1호
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• pp.31-42
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• 2002

The purpose of this study is research on the characteristics of post-modernism expressed on western hair styles in the late 20th century. Therefore this thesis analyzed the relationship of modernism & the hair styles of that mage and post-modernism & the hair styles of that mage. That will re-illuminate the same beauty worth of same age as to accurate the concept of post-modernism & the hair styles of that mage. And the last, criticizing the post-modernism design and that hair design, helping to find new trends. The method of this study was the literature research & analysis of visual materials focus on upper bust image that can know the relationship of modernism & the hair styles of that mage, and post-modernism & the hair styles of that mage. First, the literature research is composed of analysis of theses, magazines on art, clothing and cosmetology having the contents of 20th century western culture, art and hair styles. Second, the analysis of visual materials is composed of analysis of video films, slide films and photographs of books, magazines, and internet home-pages. Modern western hair styles, appeared after 1910's, is represented as a short cut & permanent wave. That express experimentalism, functionalism, and purism, that is same as the other art's trend of same age. Post-modern western hair styles, appeared after 1960's, also show the same trend with same age's. This summarized & characterized 8 categories; historical method, pluralism, negotiation, escape from the formality, recovery of humanity, ornament, connection with race, metaphor & symbolism. But post-modernism concentrating pluralism makes easy making low quality art and absence of criticism, so this thesis criticised it 5 categories; absence of ideas, absence of the social sense of responsibility, lost of one's characteristics, decline of skills, decline of worth of usages.

• 한국의류학회지
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• 제6권1호
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• pp.1-8
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• 1982

The purpose of this study was to investigate the relationship between self-concept and clothing behavior of adult males. Measures selected for this study consisted of the clothing satisfaction, clothing exhibitionism and fashionability scale developed by author and Chung self-concept scales. The questionnaires were distributed to the three groups of adult males in Seoul. Data from 532 respondents, (171 bankers, 181 businessmen and, 180 teachers) were analyzed by correlations and F-tetss. The results were: 1) A significant positive relationship was found between total positive self and the satisfaction of clothing. 2) A significant positive relationship was found between self-criticism and the exhibitionism of clothing. 3) A significant positive relationship was found between physical self and the exhibitionism of clothing. 4) Significant difference was found on an aspect of clothing behavior among the occupational groups: the bankers and businessmen were more interested in fashion than the teachers. 5) As for the criterion used on the purchase of clothing for five occasions, comfort was most important factor for the clothing selection.

• 복식
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• 제66권7호
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• pp.17-33
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• 2016

Consumption of faux fur is a part of ethical consumption, and is valuable in terms of protecting and caring for animals. The purpose of this study is to understand the meaning of consuming faux fur (i.e., characteristics of faux fur consumption and how consumers relate faux fur with ethical issues) from the perspective of consumer culture theory. Data were collected through semi-structured in-depth interviews with those who have purchased faux fur. Two overarching themes emerged in regards to consuming faux fur, altruistic and egoistic orientation. Regarding the altruistic orientation, participants were sympathetic to animals, and considered consumption as part of practicing social responsibility and ethics. Participants had concerns for animal rights and conflicts with others who consumed actual fur. They viewed faux fur as an alternative to actual fur. Regarding egoistic orientation, participants isolated themselves from ethical issues in order to be free from guilt. Despite the preference for actual fur, they compromised between their desire and social criticism. Furthermore, their intention was to pretend as if they were wearing actual fur or move onto a completely different style, and had a negative outlook on social change regarding the adoption of faux fur. The findings contribute to a better understanding of consumer culture of consuming faux fur. Further research on diverse aspects of ethical consumption is warranted.

• Journal of Information Technology Applications and Management
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• 제30권1호
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• pp.115-126
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• 2023

In various fields such as art, design, music, film, sports, games, and fashion, NFTs (Non-Fungible Tokens) are creating new economic value through trading platforms dedicated to NFT art and content. In this article, I analyze the current state of blockchain technology and NFT art content in the context of an expanding market for blockchain-based NFT art content in the metaverse. I also propose several tasks based on the economic and industrial logic of technological innovation. The first task proposed is to integrate cultural arts on blockchain, metaverse, and NFT platforms through digital innovation, instead of separating or distinguishing between creative production and consumption. Before the COVID-19 pandemic, there was a clear separation between creators and consumers. However, with the rise of Web 3.0 platforms, any user can now create and own their own content. Therefore, it is important to promote a collaborative and integrated approach to cultural arts production and consumption in the blockchain and metaverse ecosystem. The second task proposed is to align the legal framework with blockchain-based technological innovation. The enactment and revision of relevant laws should focus on promoting the development of the NFT trading platform ecosystem, rather than merely regulating it for user protection. As blockchain-based technology continues to evolve, it is important that legal systems adapt to support and promote innovation in the space. This shift in focus can help create a more conducive environment for the growth of blockchain-based NFT platforms. The third task proposed is to integrate education on digital arts, including metaverse and NFT art contents, into the current curriculum. This education should focus on convergence and consilience, rather than merely mixing together humanities, technology, and arts. By integrating digital arts education into the curriculum, students can gain a more comprehensive understanding of the potential of blockchain-based technologies and NFT art. This article examines the digital technological innovation such as blockchain, metaverse, and NFT from an economic and industrial point of view. As a limitation of this research, the critical mind such as philosophical thinking or social criticism on technological innovation is left as a future task.

• 영어영문학
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• 제55권3호
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• 디자인학연구
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• 제11권3호
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• pp.137-146
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• 1998

역사적으로, 삶의 환경의 변화에 따라 사물과 타인을 보는 시선이 변화되었다. 따라서 현대사회의 시선의 성격을 분석하고 시각디자인이 티율적인 시선을 생산, 분배하는데 일조한다는 관점에서 본 논의를 서술하고 있다. 현대사회의 일상을 이루고 있는 시각환경인 도시경관, 패션, 소비제품, 각종 인쇄물, 광고등은 대중에게 특정한 방식의 시선을 보내고 대중은 자본주의적 소비관습에 감연된 시선으로 대상을 보게 된다. 이러한 시선의 기원은 19세기말 자본주의 체제에서 자본형성에 '가시적 체계' 가 개입함과, 근대 시민사회 형성에 있어서 '시선' 이 체계유지적 권력으로 작용함으로써 대중은 권력의 객체가 되어 타율적인 시선을 내면화시켰다는 관점에서 출발한다. 시선이 몰입을 통하여 동선으로 이어지는 과정에서 욕망이 창출되는 방식에 70년대 이후 본격적 소비자본주의사회에서의 유효수요 창출로서의 '상품미학' 이 관여한다. 상품미학의 작동은 역으로, 대상인 상품이 대중에게 보내는 특정한 시선이 성립되는 방식으로서, 대상이 '볼거리' 로 전환될 때 대중에게 유혹의 눈길을 보내어 대중을 소비자 혹은 관음증의 시선을 가진 구경꾼으로 만든다. 이러한 논의를 통하여 광고를 중심으로, 시각디자인에서 생산된 이미지에 내재한 상품미학적 시선의 역기능이 노출된다. 따라서 권력으로서의 시선에 대한 탐사를 통한 자율적 시각표현전략이 요구되며, 사회문화적인 위상을 지니고있는 시각디자인물의 자기성찰적 비평이 요구된다.