• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.2
• /
• pp.342-352
• /
• 2016

This study examined the fashion culture of 20-30s working women through clothing norm relationships in the workplace. A literature research was conducted along with qualitative research, in-depth interviews in order to understand the domestic working environment and fashion culture such as lifestyle and consumer culture characteristics of 20-30s working women. The results were: First, it showed that the increased number of members having various inclinations caused subcultures through an increase of women's economic activities and transition to a knowledge-information society in domestic work places that changed into a business casual that recognized employees' autonomy and diversity. Second, in the working place, clothing norms coexist as stipulated by statutes, company rules, and official documents as well as others implied by experiences of sanction against members. Workplace closing norms are classified into norms of exposure that draw attention to clothes and casual clothes. Third, it showed that factors pressuring clothing norms are classified as external pressures and by spontaneous self-censorship that cause conflict and confusion with working women's fashion according to the degree of pressure. Two kinds of pressure by others (or types of departments and members) were observed.

• Journal of the Korean Society of Costume
• /
• v.60 no.4
• /
• pp.18-29
• /
• 2010

For the Gwangyang Ume Flower Festival, this study sought to develop competitive fashion culture goods design and to activate regional culture festival by reinterpreting ume flower image in accordance with current trends, manufacturing motive patterns, and applying them to neckties, scarves, and T-shirts. In terms of method, four basic motives were set that showed new figurative images of ume flowers using Adobe Illustrator 10. The repetitive units of each motive we combined with the ume flower motives and the geometrical patterns, such as quadrangle, triangle, and circle. The basic direction of design was set so that color and texture could have colorful, modern, and natural images using pastel tone and gradation. The set patterns were applied to the repetition, the repetition of the transformed patterns of 45 angle, and the strife patterns, making it possible to display various images in the fashion items such as neckties, scarves, handkerchiefs, or T-shirts. The development of such fashion culture goods seems to be more significant, since they can be easily accessed by general festival participants. Accordingly, the Gwangyang Ume Flower Festival seems to develop not into food-led festival, but into a cultural festival that can publicize more various programs and create profits.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.21 no.3
• /
• pp.607-620
• /
• 1997

The purpose of this study was to identify the variables which could predict advertisement preference and intention to purchase product in sexuality-oriented fashion advertising. The data were collected using questionnaires which contained nine advertisements of Guess jeans, selected from Vogue magazine published from 1990 to 1996.441 college students (female= 225, male=216) living in Seoul, Korea participated in the study. The data were analyzed by factor analysis and stepwise elimination method of multiful regression analysis. The results of this study were as follows: First, seven factors of New Young Generation oriented characteristics were identified: fashion, individuality, preferences of caffa or reggae bar with affective mood, expression of emotion, individualism, preferences of a foreign-made product/western culture oriented tastes and activity of fan club/chatting through personal computers. Three factors of fashion advertising involvement were identified: social involvement, hedonic involvement and utilitarian involvement. Second, the variables which predicted preferences of advertisements in sexuality-oriented fashion advertising were perceived eroticism levels, hedonic involvenent, prior brand attitude and preference of a foreign-made product/western culture oriented tastes in the case of females, while perceived eroticism levels, hedonic involvenent prior brand attitude, preference of a foreign-made product/western culture oriented tastes and activity of fan club/ chatting through personal computers were identified as predictor variables for males. Third, the intention to purchase product was predicted by preference of a foreign-made product/western culture oriented tastes, prior brand attitude, hedonic involvenent and fashion for females, and by perceived eroticism levels, fashion opinion leadership, hedonic involvenent and prior brand attitude in the case of males.

• Journal of Fashion Business
• /
• v.11 no.5
• /
• pp.110-123
• /
• 2007

This study aims at analyzing the characteristics and the mode of deconstructionism expressed in fashion design centering on review of literatures and precedent researches. Through the review of previous studies and various articles, three major features with regard to deconstructionism were found: indeterminacy of meaning, decentralization, and inter -textuality. In fashion, the feature of indeterminacy of meaning expressed by non formula way such as unfinished, layering, obi or straight line cutting and it was divided into unstructured and unorganized factors. The feature of decentralization expressed by disorganization of sex, race, culture and humanism such as trans-gender, third world costume, sub-culture, posthumanism. Last, the feature of inter-textuality expressed by employing the fashion texts more than two simultaneously such as mixture of unmatched or unusual various clothing items, fabrics, patterns and styles. Non formality features in fahsion which divided into unstructured and unconstructed factors. The decentering of meaning means that disorganized the existing concepts of sex, race, culture and humanism features in fashion which divided into cross-gender, subculture, and post-humanism. Lastly, the feature of inter-textuality means that employed the fashion text more than two which is classified into factors of mixing mode and mixed styles. Unstructured factors were expressed by destroying the design principles such as balance, harmony and unit in fashion. Unconstructed factors were expressed by ignoring the basic costume structures and components in fashion. Cross-gender was expressed by manish and duality style in fashion and 3rd world costume was expressed by folk costume style. Anti fashion was expressed by anti aesthetics in fashion such as kitch, punk, and hippie styles. Post-human was expressed by futurism and the 4th Sex style in fashion. Mixing mode were expressed by mixture of item, and unmatched materials and pattern in fashion. Mixture of style were expressed by mixture of pastiche expression of various styles.

• International Journal of Costume and Fashion
• /
• v.11 no.1
• /
• pp.1-13
• /
• 2011

Research on the influence of foreign culture influx on fashion has a significant meaning as a reference for predicting future fashion trends affected by globalization. Therefore, this study examined the transformations in Turkish costume in the 13th to 18th century when Turkey was most thriving in history. As the Ottoman Turk Empire expanded its territory, its costume changed by embracing both western and Islamic cultures and presented exotic styles in terms of fabric, pattern, color, design and details.

• The Research Journal of the Costume Culture
• /
• v.21 no.4
• /
• pp.562-575
• /
• 2013

The purpose of this study was to test the determinants of fashion savvy. As determinants, this study examined fear of negative evaluation by others and self esteem as subject-related variables and consumer confidence in fashion decisions as the product-related variable. It was hypothesized that fear of negative evaluation and self esteem influence fashion savvy both directly and indirectly through consumer confidence in fashion decisions. Data were gathered by surveying university students in Seoul metropolitan area, using convenience sampling, and 311 questionnaires were used in the statistical analysis. In analyzing data, factor analysis and path analysis were conducted. Tests of the hypothesized path show that one factor of fear of negative evaluation and self esteem influence fashion savvy directly and indirectly through consumer confidence in fashion decisions. More specifically, 'fear of negative impression and judgment' factor negatively influences 'marketing literacy' and 'consumer selfefficacy' of fashion savvy, whereas self-esteem positively influences 'consumer self-efficacy' of fashion savvy. In addition, consumer confidence in fashion decisions influences all six factors of fashion savvy. The implications of these findings and suggestions for future study are also discussed.

• The Research Journal of the Costume Culture
• /
• v.28 no.3
• /
• pp.330-343
• /
• 2020

This study defines the concept of the fashion meme, which has recently emerged as a fashion trend, influential fashion keyword. After analyzing the concepts and characteristics of traditional memes from prior studies, examples of fashion memes were collected from online community and social network services, while a literature study and case study analysis were conducted in parallel drawing on related articles and journals. Modern fashion memes refer to fashion-related symbols and fashion images that are spread online by word-of-mouth, together with fashion styles and items that spread as a result of being worn. Fashion memes in cyberspace are mainly spread through social network or message services, and sometimes combine text, images, videos, hashtags, and emoticons. Fashion memes are a type of collective action of the people in response to social problems in the world, and often involve humorous antics, satire, shock, and eccentricity. Shared fashion memes reflect the expression of personality expression and fun, and at the same time are used as an expression of designer and brand creativity and are integral to marketing. Fashion memes are classified into four types, based on two central axes as follows: non-commercial/commercial and anti-fashion/fashion-friendly. Unlike traditional memes, Internet-based fashion memes emphasize elements of transformation through creativity as well as imitation, which has become a persisting contemporary trend beyond temporary phenomena.

• The Research Journal of the Costume Culture
• /
• v.29 no.4
• /
• pp.488-504
• /
• 2021

This article examined the historical evolution of changes in the democratization of fashion, identified its characteristics, and defined 'fashionocracy - fashion democracy'- by analyzing various phenomena in the global fashion industry. This research will expand the field of fashion research and spark academic debates about fashion democracy. The democratization of fashion can be summarized in five periods; birth, introduction, early growth, growth, and maturity. The characteristics of the democratization of fashion include individual autonomy, accessibility that many people can access and enjoy, and diversity. According to the principles of democracy- "of the people, for the people, by the people" - which are based on freedom and equality, we have achieved fashion of the people and for the people so far. Furthermore, social media has shifted the balance of power to influencers and bloggers; as such, the masses who have consumed and enjoyed fashion democratization are becoming producers and promoters by actively participating in the process of making fashion, creating a new era of fashion democracy (fashionocracy): - by the people. Ultimately, fashionocracy consists of the '6P's' ; people (active and productive consumers), planet (society and environmental sustainability), products (genderless, ageless, inclusive), price (reasonable), place (multi-channel distribution, virtual spaces), and promotion (horizontal).

• Fashion & Textile Research Journal
• /
• v.20 no.3
• /
• pp.287-292
• /
• 2018

The present study proposes a model for literature-based instruction within the context of a fashion design curriculum at a Korean university. The fashion design market continues to grow. The fashion design market now requires more cultural-bound strategies and efficient communication skills. The literature provides authentic resources and is highly relevant to the development of students' culture awareness as well as language awareness. Alice's Adventures in Wonderland written by Lewis Carroll contains various cultural contexts of the Victorian Era. The text provides explicit knowledge of the era depicted in both illustrations and satire languages. This study instructs students to analyze and interpret texts and illustrations so that they can engage critically and analytically in reading text to increase culture awareness and language awareness. The integration of literature and fashion design can provide students an opportunity to explore language choice and acquire refined knowledge of the target culture. Along with the text, illustrations in the literature provoke student's imaginative and creative thinking skills. Students can think and discuss many issues that deal with Victorian values and reinforce creative thinking skills. In the final stage, students can design fashion inspired by Victorian values and present their own designs using the acquired languages. This eventually leads students to adapt to a new notion for the fashion market and become competent communicators in the fashion world.

• Journal of the Korean Society of Costume
• /
• v.60 no.7
• /
• pp.103-116
• /
• 2010

Recently, the art of the Latin America Culture is being actively introduced into our country. Many concepts in the fashion field contain Latin American culture and their influence is growing. This present study, based on a correct understanding of and research on Latin American culture, is an attempt to expand the expression of fashion design and explore the use of works of art in fashion. The case study is on Frida Kahlo (1907~1954), who was a Mexican woman painter who gives us some inspiration in contemporary fashion design. The scope of this case study investigates the Haute couture and the Pr$\hat{e}$t-$\grave{a}$-porter women's wear collections and photos from 1998 to 2009 which were greatly influenced by Frida Kahlo and analyzes through the formative elements of dress, color, form, pattern and material. Frida Kahlo was a painter whose composition of surrealism held the world of life and death, pain and pleasure, love and parting, thought and freedom, and tradition and modern, etc. As a design inspiration, her influence reaches into accessories, and hairstyles, as well as the Pr$\hat{e}$t-$\grave{a}$-porter. This current study for the correct understanding of the new culture and the introduction of art into the fashion design might be helpful in making fashion a work of art and in extending the expression of the fashion design concept which is based on commercial art.