• 패션비즈니스
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• 제8권2호
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• pp.1-14
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• 2004

The purpose of study is to analyze the consumer attitude toward original brand and imitation goods. To carry out this purpose, the study examined consumers' purchase frequency, degree of concern, future purchase, intention, other people's evaluation and self-satisfaction. The results of experiment can be summarized as follows: First, the consumers didn't show high degree of purchase frequency, of concern, of future purchase but they showed positive attitude in other people's evaluation and self-satisfaction. Second, they showed high degree of the purchase of imitation goods but they didn't show high degree of their degree of satisfaction. Third, with regard of their purchase intention, they purchased imitation goods because they were cheap, regardless of image, quality and design which original brand name goods had. Finally, to figure out the correlation between original brand name goods and imitation goods, their purchase intention of original brand name goods was surveyed according to their satisfaction with imitation goods after they purchased them. According to the result, they answered that they would purchase original brand name goods when they satisfied with imitation goods.

• The International Journal of Costume Culture
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• 제5권3호
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• pp.173-183
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• 2002

The main focus of this study is to understand realities of postmodern consumer culture by deconstructing fashion advertisements, Calvin Klein's ck One and cK be. The metaphysics of critical theory, visual and textual analysis are used to deconstructing the ads applying one of the postmodern cultural critics, Baudrillard' s notion of hyperreality. Through deconstructing the ads five postmodern characteristics representing hyperreality were found. First, there is no message regarding functional characteristics of the product offered in the ad, which is far from the modernist's utilitarian Point of view. Hyperreality in Postmodern consumer culture is consumption centered and focuses on the product's symbolic meanings. Second, especially for cK be, the ad uses atypicai, irrelevant models and images, which are introduced as a concept of ‘real people’ rather than the ideal person or body type. Third, there are transformations of the meanings from cK one to cK be such as the notions of globalization and gender which clearly represent ongoing reality in the Postmodern culture. Fourth, there are hidden meaning of hedonism and relativism, which are prevalent in postmodern ideology. Finally, models' bodies are used to convey messages as well as form the ground and figure in the ad that is a significant characteristic of postmodern consumer culture. In conclusion, the study of Calvin Klein's fashion ads supports the notion that advertising mirrors reality in postmodern consumer culture, which is hyperreality.

• 한국의류산업학회지
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• 제21권5호
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• 복식
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• 제57권4호
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• pp.70-80
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• 2007

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify transfiguration in fashion design. In order to inquire tile formative style and aesthetic values expressed in transfiguration in fashion, my study examines subjects from the discourse on the body to the fashion collections of the late 20th and 21st century. The results of the study are as follows. Transfiguration signifies absence of body which questions the three dimensional construction of the body in more conventional clothing system. Transfiguration is expressed in non-figural forms which implies metaphorical plasticity and abstract extensity. Transfiguration in fashion stresses a will-to-form rather than mere bodily proportion and structure, which explores trans-extensity that goes beyond the boundary of the body. Ultimately, this phase also betrays the correspondence between signifiant and $signifi\acute{e}$ in sartorial convention. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in transfiguration in fashion, focusing on the relationship between the clothes and body.

• 복식
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• 제56권9호
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 한국의류산업학회지
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• 제12권3호
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• pp.310-317
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• 2010

Middle aged women these days not only consider themselves as younger than actual, maintain figures and looks of younger women, but also show a big interest to fashion goods as younger generations. The TV media has a big influence on this trend. This study is conducted to figure out how the TV media involvement of middle aged women affects their difference age, youth-pursuing clothing behavior and fashion leadership. After the survey, a total of 326 questionnaires completed by women of their 40s and 50s were used to this analysis. The results are as follows, 1. The highest cognitive age of middle aged women was the look age, and the lowest was the feel age in the 40s, and the interest age in the 50s. And it was shown that the difference age were 7.05 years for the 40s and 9.10 years for the 50s. 2. The TV media involvement had a significant influence on the difference age as its antecedent. And the TV media involvement affected directly the youth-pursuing clothing behavior and fashion leadership. The higher the TV media involvement was, the higher difference age and fashion leadership were shown. 3. The difference age was shown as mediating the TV media involvement and the youth-pursuing clothing behavior, and the TV media involvement and fashion leadership only partially. 4. The youth-pursuing clothing behaviors were influenced by TV media involvement and difference age. Conclusionally, this study revealed that the TV media had a great influence on middle-aged women's clothing behavior, supporting the cultivation theory of TV media.

• 한국의상디자인학회지
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• 제20권4호
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• pp.31-40
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• 2018

The purpose of this study is to identify the body type characteristics of fashion models by comparing body dimensions and body types of fashion models with ordinary women in their 20s in Korea. To that end, the study selected 71 people, with 28 being female university students in the Seoul area and 43 professional fashion models. One hundred and fifty-seven ordinary woman were selected who ranged from 20 to 29 years old, and 588 women from the 7th Size Korea fit for research purposes. Body measurement items were selected for the direct measurement data for Size Korea, which included 20 items of body size and 10 items of calculation needed for clothing production. The results of the study were as follows. According to the analysis of fashion models and ordinary woman in their 20s, their body size showed significant differences in 25 out of 30 items. The five items that do not show significant differences are bust point-bust point, waist back length, front interscye length, hip circumference-bust circumference, and neck point to bust point to waistline-waist front length. If you integrate the results, the fashion model is much taller than the ordinary woman, has a longer lower body, and has an 8.05 head figure. Also, the fashion model found itself to be the ideal type that ordinary women prefer because of the slimmer waist and bent shape, which is more than that measured in normal women.

• 한국의류산업학회지
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• 제19권3호
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• pp.320-330
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• 2017

People have recently became interested in eco-friendly cycling that attracted further attention as a sport activity. The number of high school cyclists has increased due to the popularity of cycling; however, high school cyclists have trouble choosing cycling suits because there is no professional cycling suit for high school cyclists in Korea. Therefore, it is necessary to develop a professional cycling suit for high school cyclists because sportswear for athletes is an important means to improve performance. This study suggests a standard sizing system for high school student athletes' cycle tights. The subjects were 111 high school cyclists. The 3 clusters were categorized by cluster analysis, and the sizing system was classified according to three lower body types. The size intervals of waist girth, hip girth and height were 5cm, respectively. The most frequent sizes were 75-100-175 in figure type 1, 70-90-170 and 75-95-170 in figure type 2, 70-90-175 and 70-90-180 in figure type 3. The sizing system, which had frequencies more than 3.6%, was classified into 9 cases, 8 cases, and 5 cases, respectively by lower body types. The results will contribute to the development of athletic performance cycle wear for high school cyclists.

• 패션비즈니스
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• 제24권5호
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• pp.125-139
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• 2020

The fashion industry that perceived the severity of environmental pollution, has sought various methods of sustainable fashion. However, most of the businesses paid attention to the development of materials using industrial waste, or vegan material. Thus, this study aims to present the methods for improvement in creativity for inversely developing the design from patterns and present new approaches by applying the contrarian development of proto to class under the limited condition of material concerning general design, selection of material, and production of sample. In the case of three student teams enrolled in the first semester of the second year, the fabric and used clothing donated by industry were used as material. The whole cut for cutting a single fabric in connected state, and Zero Wastes Design within a rectangular frame of fabric, upcycling of used clothes, and cutting out of Geometric Form are suggested. The team(A) produced a zero-wastes coat and whole-cut Pancho that could be variously represented. The team(B) produced two kinds of asymmetric dress by utilizing used check-patterned shirts through upcycling. The team(C) utilized the fabric in geometric forms such as rectangle, trapezoid, and atypical figure by drawing design within donated fabrics. The items were a dress, blouse, and skirt. Consequently, an opportunity for both academia and industry to present more concrete methods for sustainable fashion and deeply perceive the sustainable fashion is presented along with novel methods for creation by carrying out the composition of pattern and design at the same time.

• 패션비즈니스
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• 제2권1호
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• pp.25-34
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• 1998

This study has it's purpose in examining the materialized background. characteristic of African traditional costume and the A fro fashion of the year 1960. and it's influence on the contemporary fashion. Then the findings are applied to suggest a new way of image creation. 1960' s was the year in which people tried to free oneself from the ruling culture of the social standards. war. and the development of science. By such movement. people started to get interested in the environment and ecology. This then lead to the interest of the rights of the minority. With the youngs as the central figure A fro hair style and dashiki appeared as the street fashion. The characteristics of African costume applied to A fro fashion in 1990' s is as below. First. the North African style. Djellaba. and wrap style in the most common silhouette. Second. heavy materials such as stone. copper. silver. and gold are used. Necklace can be classified according to it's simple but. modern style. delicate but grand style. Bracelets are however. broad in width and many rings are worn widely. Third. Multi colored stripe and prints inspired by tattoo and deformation using red brown. dark beige. and orange are printed on textiles such as see through. Fourth. image of tattoo and deformation are applied to make-up. A fro hair and corn beads are also African taste. Fifth. African taste in recent fashion showed off the black beauty by appointing black models at the collection. In analyzing the study done above. characteristic images of African costume. accessaries and body painting was applied in presenting 3 creative designs. The first design named "Geometric I", took it's motif from the geometric pattern of the body painting with the afro hair. "Geometric II", the second design, showed it's application of geometric pattern of mutilation and the silhouette of the costume by using the see through. The third design called the "Geometric III" showed that the aesthetic and decorative side of clothing can be satisfied by applying various form and color of accessaries as the motif. A fro fashion is chosen as one of the folklore mood and it's beauty is conveyed on till today.