• 대한가정학회지
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• 제45권2호
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• pp.63-75
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• 2007

The purpose sof this study was to examine consumer's addictive buying through the TV home shopping, focused on materialism, show host and credit card use consumer. Two hundred four female consumers who had purchased fashion items in TV home shopping had participated for this study. For data analysis, descriptive statistics, factor analysis, t-test, and multiple regression were used for the study with SPSS 12.0 program. The result were as follows. First, the addictive buying group was 13.2% among respondents while non-addictive buying group was 86.8%. Second, materialism was classified into 3 factors: happiness, success and possessiveness. Show host was classified into 3 factors such as visual presentation, image and communication skill. Credit card was classified into 3 factors: sales promotion, late payment and method payment. Results of multiple regression revealed that happiness and possessiveness from materialism, credit card late payment, and show host communication skill were significantly related to addictive buying. Based on these results, this study would provide fashion marketing strategies for reasonable and reasonable consuming culture, since addictive buying has been not only individual problem but also social problem. Based on these results, this study would provide fashion marketing strategies for reasonable and reasonable consuming culture, since addictive buying has been not only individual problem but also social problem.

• 한국의류산업학회지
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• 제23권3호
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• pp.307-322
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• 2021

This study examined the influence of social media on the beauty industry and analyzed beauty-related content on social media in China, Thailand, and Indonesia. The existing literature was reviewed and four social media platforms that display the active sharing of beauty-related content in the three stated countries were selected. Five information sources were then chosen from each social media platform and 115 top posts from these sources analyzed. Beauty-related material was shared on discrete social media platforms in the three countries. Differences were found in the presentation types, themes, and message strategies of the content depending on the type of product and services provided by each social media platform. The content on Xiao Hongshu in China consisted of images showcasing product specifications along with a focus on honest and detailed empirical product review messages from its general users. From Taobao Zibo, Wang Hong conveyed powerful and influential information that communicated instantly with viewers and delivered entertaining and sensory messages. In Thailand earnest reviews of beauty products were offered, along with firsthand testimonials through traditional content uploaded on YouTube. In Indonesia, beauty influencers posted creative and sensational photographs of makeup products on image-centered Instagram. This study expands the current scholarship on social media platforms and extends the scope of the extant research on beauty-related content in Asian countries. The practical implications of this study include useful indications on how beauty brands can use social media to promote their products.

• 디지털융복합연구
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• 제19권11호
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• pp.267-278
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• 2021

본 연구는 중국내 1인가구의 증가 및 소비패턴 등의 변화에 따른 라이프스타일 샵이 급부상하고 있는 현 상황에서 중국의 라이프스타일 샵을 선정하여 기존 선행연구와 차별화를 두었고 또한 VMD 구성요소 특성 분석을 통해 중국 진출을 희망하는 국내 라이프스타일 샵의 VMD전략수립을 위한 기초자료를 제시하는데 목적이 있다. 연구결과는 다음과 같다. 중국 라이프스타일 샵-GAROSU, CH'IN, NOME의 VMD의 진열적요소에서 집기와 소도구는 상품컨셉과 디자인에 따라 차별화된 형태 및 재질을 이용하고 있었고, 비주얼이미지의 정보내용, POP의 내용에 있어서 라이프스타일샵의 컨셉에 따라 차이가 있는 것으로 보였다. 또한 연출적 요소에 있어서도 VP, PP, IP에 있어서 매장 상품군 및 상품의 진열량에 따라 VP의 형태와 PP, IP의 연출방법 등에 있어 차이가 있었다. 후속연구에서 국내 라이프스타일 샵에 관한 연구 및 중국과 국내 라이프스타일샵의 VMD 비교분석 연구를 진행해 보는 것도 의미가 있을 것으로 사료된다.

• 패션비즈니스
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• 제16권3호
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• pp.63-77
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• 2012

This study action drama TV drama 'Ya-ha'(夜叉) the actual work practices of the pre-consultation stage through the Writers, Producer, Art directors and in consultation with the opinion of the character set the record of the contents and character changes over time in accordance with characters makeup the design elements were analyzed. The methods of study was used local and abroad related books, studies, publications and cases and the subjects were limited to be four male make up characters in drama 'Ya-cha'. As a result, TV action drama 'Ya-cha' make up design elements and representation techniques were classified as description of skin tone, wound, the shape of eyebrows, hair type, shape of beard and materials and carried out an important role in the character representation. First, presentation techniques changed skin tones depending on character and position and described wound shape as expression technique and materials were analyzed. Second, the shape of eyebrows was based on the physiognomy of the form. And hair type changed volume, thickness, length and texture depending on character. Third, shape of beard is expressed different kinds of volume, thickness, length and texture depending on character. There fore, that systematization of the make-up design elements is useful to express stable characters and make drama for make up in various image genres.

• 한국의류산업학회지
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• 제15권4호
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• pp.642-648
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• 2013

This study investigates the changes inconsumer sensibility and product preferences according to theirecofriendly productperceptions. Stimulants (released by three companies of sport casual brands)include three shirts made of recycled polyester and three made of organic cotton. A surveymethod was used to respond to the emotion and image while watching the presented pictures of the clothes. The change in the reactions was analyzed before and after the presentation of eco-friendliness information. The questionnaire consists of sensibility adjectives, open-ended questions about the associated image of eco-friendliness, color attractiveness, product favorability, price satisfaction, and reasons for an eco-friendly productpurchase. The survey was conducted on 200adult male and female participants. Two factors ('eco' and 'design')were identifiedthrough the factor analysis of image adjectives. There was a statistically significant increase in the evaluation of sensibility, color attractiveness, product favorability, and price satisfactiondue to the re-evaluation of the same products after consumers recognized the eco-friendly information of apparel products. When consumers recognize products aseco-friendly, they evaluate the products more positively than before. The result of the analysis of the increases by textile materials shows no significant difference in the sensibility changes depending on the materials. However, with regard to 'eco', the increase of sensibility change for organic cotton products was larger than for recycled polyester products.

• 대한가정학회지
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• 제48권5호
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• pp.17-24
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• 2010

Although design, color, and material are important elements in stage costumes, stage lightning also plays significant role in the presentation of stage costumes. Costumes color, material and perception can be significantly influenced by visual effects. Stage illumination can be arranged or managed so that colors are closely related to or enhanced or change the effects of costume colors on the runway or display at specific times. The results of this thesis are as follow; 1) Fabric tone, name, brightness, and chroma of colors were changed by the colors of stage lighting. 2) An achromatic color was changed to a chromatic color after being combined with colors of stage lighting. 3) Stage illuminations can make fabric, colors look similar to stage colors. 4) Plain satin silk fabric which reflects light shows high brightness and chroma after being influenced by stage lighting its shining effects and color changes were clear and apparent. 5) Velvet pile fabric which absorbs light shows low brightness and chroma after being influenced by stage lightning its shining effects and changes of colors were not clear and apparent. In conclusion, natural lights did not significantly influence fabric colors and perception, while artificial lights had wide range of effects on fabric colors and perception.

• 패션비즈니스
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• 제21권5호
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• pp.136-150
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• 2017

3D printing has grown tremendously as the most noteworthy new technology in the manufacturing industries. In addition, the rapid development of computer science technology with 3D printing has created a new paradigm called Fractal Geometry, or a new form of digital art. This study explores the formative characteristics of 3D printing jewelry based on presentation of fractal geometry by classification of 3D printing jewelry's morphological types that except for producible shape with traditional mold manufacturing methods. The results of the study are as follows. The morphological characteristics of 3D printed jewelry are divided into their constitutive shapes by the repetition of the unit. The organic shape determined by superposition or overlapping, the systematic shape by distortion caused by distortion, and the variation in scaling by scaling. The formative characteristics, which are drawn from a study on the shape expression of 3D printed jewelry design using fractal geometry, consist of continuity, geometrical characteristics, and exaggeration. Continuity creates a new and self-assigned new space through a recursive structure through a cyclic structure that is formed along a single directional basis. The geometry of the geometry forms a three-dimensional and constructive structure comprised of the same size and structure of the same sized unit under the mathematical order of the geometry of Fractal's geometry. Exaggeration demonstrates the informal beauty and the maximization of the shape by expanding the scaling or superposition of a unit, by scaling the scale or he distortion of the units.

• 복식
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• 제20권
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• pp.179-190
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• 1993

In the history of fashion, few designers have interpreted the background of the time more accurately and energetically than did Elsa Schiaparelli. She understood the new role of women and believed clothes should suit one's life style. Schiaparelli begun with sportswear, later included suits and dresses. She produced them of great elegance and extreme chic. Simplicity of line was the key to her distinctive and elegant silhouette. Even her simplest designs had elegance. Her concept of clothes was architectual : the more the plane of the body were respected, the more the garment acquired vitality. Schiaparelli combined her knowledge, timing, and sense of daring in the presentation of her designs, colors, fabrics, and embroideries. For V, the garment was not only the medium for the couturier's craft but also the place for artistic expression. Her self-conscious equation of designer's objectives with that of artist is at the heart of her work. Schiaparelli's work is an expression of desire, not merely of design.

• 한국의류학회지
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• 제16권3호
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• pp.197-207
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• 1992

Expressionism, is as diverse as the artists invo)ved, in a very broad sense two main tendencies may be noted. The first is that of the Action painters, concerned in different ways with the gesture of the brush and the texture of the paint. It included such major artists as Arshile Gorky, Jackson Pollock, Willem De Keening, and Franz Kline. The other group consisted of the Color Field painters, concerned with the statement of an abstract sign or tranquil image in terms of a large, unified color shape or area. Here must be included Mark Rothko, Barnett Newman, Ad Rdinhardt, as well as, to a degree, Adolph Gottlieb, Robert Motherwell, and Clyf(ord Still. In this paper, 1 selected two artists Arshile Gorky and Jackson Pollock independent charac-teristics and studied the influence of their Action painting on the fabrics of modern fashion. However, it should be noted it was never the intention of the critic Harold Rosenberg, in coining this term, to imply that Action painting was a kind of athletic exercise. Nor is it true that the furious and seemingly haphazard scattering of the paint involved a completely uncontrolled, intuitive act. There is no question that, in the paintings of Jackson Pollock, Arshile Gorky and many of the other Abstract Expressionists, the element of intuition or the accidental plays a large and deliberate part; this was indeed one of the principal contributions of Abstract Expressionism which had found its own inspiration in surrealism's 'psychic automaton'. However, nothing that an experienced and accomplished artist does can be completely accidental. Aside from their intrinsic quality, the spun-out skeins of poured pigments contributed other elements that changed the course of modern painting. There was the concept of the all-over painting, the painting seemingly without beginning or end, extending to the very limits of the canvas and implying an extension even beyond. The feeling of absorption or participation is heightened by the ambiguity of the picture space. The colors and lines, although never punctur-ing deep perspective holes in the surface, still create an illusion of continuous movement, a billowing, a surging back and forth, within a limited depth. To study the influence of Abstract Expressionism on the fabric of modern fashion, 1 selected and examined four fashion magazines: Collezioni published in France, Bazaar in Italy, Gap in Japan and Vogue in the U.S.a. froim January 1989 to June 1991. As a result of this review I found that some fabrics used in modern clothing are printed in a dripping, pouring and splashing style without any meaning or form. Slides included in the presentation show that modern fabrics which are printed in such a style were influenced by Abstract Expressionism. The slides also show that these abstract prints are well suited to modern fashion design.

• 무역상무연구
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• 제69권
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• pp.407-426
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• 2016

The Marine Insurance Act 1906 (MIA 1906) has been a successful piece of legislation, having rarely been amended and having established, or served as an influence in the development of, the basis of marine insurance legislation in several countries. However, it has been recognised that some parts of the MIA 1906 have begun to show their antiquated nature, especially where established principles which were once thought to reflect undoubted propositions of law are now being openly criticised. Since 2006, the Law Commission and Scottish Law Commission (the 'Law Commissions') have been engaged in a major review of insurance contract law, finally leading to the Insurance Act 2015. The Insurance Act 2015 received Royal Assent on 12 February 2015, and was based primarily on the joint recommendations of the Law Commissions. The 2015 Act made substantial changes to several main areas of marine insurance law & practice: (i) the replacement of the pre-contractual duty of disclosure with a duty to make a "fair presentation of the risk"; (ii) the abolition of the "insurance warranty" under the Marine Insurance Act 1906, s.33, and provision of a new default remedy of suspension of liability until the breach is cured; (iii) partial codification of the fraudulent claims rule in insurance contract law, etc. The Act did not provide for any new statutory duty for insurers to investigate or pay claims in a timely fashion, although this may be revisited in the next Parliament. Moreover, the Law Commissions have reopened their consideration of the doctrine of insurable interest. The 2015Actmay not then signal the end of the legislative programme in this area.