• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.1
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• pp.112-123
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• 2002

The purpose of this study was to establish the strategy for Internet fashion homepage advertising that attracts consumers attention and discloses clothing brand to consumers continually. In this paper, the following subjects were set up: (a) to classify the structure and evaluation factors of the fashion homepage advertising, (b) to analyze the effect of demographic variables and clothing involvement of consumer on fashion homepage advertising structures and evaluation factors. A random sample of 553 people in the age group 16-34s living in Seoul and Kyungki region during March 2000 was selected from Internet users. SPSS package was used for data analysis. Frequency, Percentage, Factor analysis, ANOVA, Duncan test and regression analysis were applied. The results of this research were as follows: First, in the process of classifying the dimension of the fashion homepage advertising, homepage advertising structure was composed of 5 factors: interactive, amusing factor, professional information, fashion information and useful information. And homepage advertising evaluating factors were interesting, information and irritation. Second, it was found that clothing involvement influenced fashion homepage advertising. High involvement group preferred the fashion information factor of the homepage advertising structure and low involvement group was useful information factor of the homepage advertising structure. Both high and low involvement groups preferred interesting factor of the homepage advertising evaluation. Third, demographic variables also influenced fashion homepage advertising Females manifested greater interests in informative factor of homepage advertising than males. Findings from this study provide an insight into fashion homepage advertising strategy related to consumers clothing behavior.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.101-117
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• 2013

The purpose of this study is to consider the works of Nick Knight, the most influential fashion visual maker, to find out the characteristics of his works. For the research method, literature reviews were done by studying his book, viewing the articles on his official web site, reading journal review of his works and his interview articles. For the work analysis, fashion brands 'Christian Dior', 'Alexander McQueen', 'Martin Margiela', 'Hussein Chalayan' and 'Gareth Pugh' that have worked with Nick Knight were selected. The characteristics of his fashion works were derived from overall analysis of fashion visual works. The characteristics of Nick Knight's works are as follows. First is the 'innovation of image expression'. He used digital infra in advance and introduced digital images at the initial stage. He used fashion films as the means of communication and tried new image expressions in 3D. Second is 'breaking down the boundaries of creating process'. He worked with various field experts to make high quality works. He invited the public to participate in his creative process through the internet. Third is 'breaking down the categories of aesthetic expression'. He provided a wide variety of aesthetic standard and refused aesthetic stereotype. He broke the boundaries between fashion and art with a unique technique and high values.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.238-254
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• 2009

The purpose of this study were to examine fashion information acceptance and fashion information sources and to analyze the difference according to clothing shopping orientation among digital generation male consumers. The subject were 349 male who were belonging to digital generation as the digital era's new consumers familial with internet and various kinds of digital media. A self-administrated questionnaire was developed based on the results of previous researches. The data were analyzed by using frequency analysis, factor analysis, cluster analysis, ANOVA, Duncan test, $\chi^2$ test, multiple regression analysis by SPSS WIN 12.0 package. The results of this study are as follows: First, clothing shopping orientation of digital generation males were classified into 6 factors: fashion oriented, impulse buying, aesthetic pursuit, individuality pursuit, practical type and reasonable economy. Based on the factor scores, 3 clusters were identified; independent, unconcern, high involvement. Second, the high involvement shopping group utilized various information sources. On the other hand, the unconcerned shopping group was passive in utilizing information sources. Third, the fashion information acceptance of digital generation was classified into 5 factors: searching, leading, following, non-accepting, and delaying acceptance. All fashion information acceptance factors were affected by the information and communication media. Finally, The high involved type of shopping group accepted fashion information at its most and actively.

• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.699-706
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• 2004

In today's fashion industry, directions for new products and high value added of fashion goods, product changes according to cycles, the shortening of life cycles, added value, planned obsolescence, and presentation is focused on fashion trends that will be selected by many consumers at the point of selling time. Therefore fashion information poses great importance and its weight is growing bigger everyday. Fashion information recognized to be important is reflected practically in the prediction of fashion changes in the fashion industry; especially, it is the first stage of the merchandising process that is the course of new product development. Presently, with some differences according to the size and specialized area of a firm, domestic fashion menufacturers obtain information from sales data of competing brands and their own, market information, consumer information based on primary data, shared fashion trend information given by domestic fashion information providing companies. Firms can not produce differentiated images and product concepts using such shared information. Although the types, importance and reflection of used information vary according to merchandising processes, all experts engaging in the merchandising of fashion products use the same shared information.

• Archives of design research
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• v.12 no.3
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• pp.93-103
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• 1999

This study is investigated the formative characteristics of Rap Music and Hiphop fashion, and I try to comprehend about the fashion mind and fashion culture of teenager 1. Teenager's Hiphop Fashion is subcultures, the fashion culture of teenager reflects their unique identity. 2. The formative characters of Rap Music and Hiphop Fashion are the incompatibility ignored their body size and the popularity caused street fashion imitation, the unbalance ignored a principle of fashion design. 3. Hiphop Fashion is consist of jump-style jacket, hood -shirt, stripe T-shirt and drum pants, baggy pants, snowboard pants and so on. 4. The characters of Hiphop Fashion is the breaking of rule and the destruction. 5. They select something which they like, even though the price is high, so they is tendency to editing coordinate 6. Fashion business for teenager, it needs an ideal conversion not for 'company' but for 'individual' As this results, fashion culture of teenager came out to the surface of water, because of Hiphop Fashion.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.171-187
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• 2002

The purpose of this study is to grasp the meanings of retro-fashion, to research the design characteristics and background on the birth of repro-fashion. It can help to confirm the importance of aesthetic marketing which is based on human feelings, the roles and cultural and industrial meanings. Reto-fashion Is one of the mediums between the expression of Post-modern fashion and emotional sympath of human beings as consumer and fashion creators. So this inspiration is the way of fashion creativities. The backgrounds of appearance repro-fashion are reflection about materialism and technique and 20th century, the sense of instability and finding new ideas from the past. The characteristics of retro-fashion designs are as follows : First, the styles have been come from 50's. 60's, 70's, and 80\`s. It means that the styles not just expressed to return to the past simply but an expression the emotional state for missing the past. Second, the colors and materials are various also as like styles. Third, the decorations of repro-fashion are more crafts by human. The roles of retro-fashion are for creation of high valued product in fashion design, expression of individuality with disharmonized coordination and application as a fusion style. The cultural and industrial meaning of repro-fashion are endowment of aesthetic marketing using human feeling in fashion marketing area and pursuing of the Renaissance of fashion culture and industry. Therefore it is needed that design critics and analysis going side by culture and industry condition for fashion study with human feelings in 21th century.

• Journal of Fashion Business
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• v.18 no.2
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• pp.95-112
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• 2014

This study analyzed the type and item of collaboration, national form and purpose_of collaboration in both the domestic and foreign fashion industries in oder to study the trend of collaboration that has appeared in a the field of the recent fashion industry. The analysis focused on 221 collaboration cases from designers in the domestic and foreign fashion industries during the period of January 2012 to December 2013. The cases were collected and analyzed focusing on publications related to newspapers on fashion, internet articles on fashion information sites etc. According to the results of the study, the characteristics of collaboration shown in the recent fashion industry are as follows. First, it can be observed that a portion of collaboration in the two different industries was very high. Second, through the high portion of cases where collaboration between foreign companies was made, it could be found that the world fashion market is enormous: moreover, domestic brands tended to borrow foreign brand images. Third, it was known that fashion companies are very interested in establishing a positive company image and sharing feeling with consumers by implementing collaboration in oder to appeal to consumers' emotions. Therefore, it shoud be done an effective collaboration implement for the development of fashion industry that an understanding of partner, a study of fashion image through development item, an established image foundation of domestic brand, a correct analysis for reflecting artistic image, an effective collaboration implement for the development of fashion industry.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.11
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• pp.1219-1228
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• 2003

This research was conducted to find out what the general globalization trends of Korean fashion enterprises are, and what the factors required the Korean fashion enterprises to improve the global competitiveness under the globalized circumstances are. The data were collected from the survey by questionnaire on Korean leading fashion enterprises and the Directory of Companies Branching out abroad in 2000/2001(Korea Trade-Investment Promotion Agency, 2000). The Results of the research are as follows: first, Korean fashion enterprises expanded evenly worldwide in the sales and distribution functions while relying heavily on Asian countries for manufacturing functions; Secondly, the globalization of Korean leading fashion enterprises was progressed, but still remains at the stage of the sales of manufacturing capability or the sales of low costs products rather than at the stage of manufacturing products of high added-value or the sales of design or marketing capability. Thirdly, the factors for the global competitiveness of the Korean fashion enterprises are related to capability of low cost, quick response, product development, marketing, internationalization and high value added.

• Fashion & Textile Research Journal
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• v.1 no.1
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• pp.18-25
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• 1999

The purpose of this study was to identify the relationship between clothing involvement and fashion leadership of early adolescents. A questionnaire was administered to 232 9th grade students living in Taegu during April of 1998. Data were analyzed by using Factor analysis, Correlation, t-tests, ANOVA, Scheffe test, and Regression analysis. Clothing involvements were factor analyzed resulting five factors such as interest, importance, fashionability, symbolism, and risk perception. Four factors except risk perception factor were used in data analysis. Four clothing involvement factors showed highly positive relations with total clothing involvement. Interest, importance, and fashionability factors showed highly positive relationship each other. Fashionability and interest factors had effect on fashion leadership. Female adolescents were more concerned about clothing interests than male. Adolescents who were high clothing-interested and fashion-oriented purchased more clothing items. Adolescents who showed high clothing involvements such as interest, importance, and fashionability paid much more on purchasing clothes.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1163-1176
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• 2011

The purposes of this study was to identify characteristics of total coordination in the pursuit fashion sensibility among women their 20's. A self-administered questionnaire was used for data collection from 410 women in their 20's. Data collection was conducted Aug. 5 to Aug. 15, 2009. Most women emphasized on clothing for total coordination and utilized clothing color and style as a selection criteria. They tried to match makeup and clothing, and spent more time considering makeup, hair styles, and fashion accessaries than clothing for their total coordination. Factors of fashion sensibility included luxury and fashion, casualness and ethnicity, modernity, sociality, activity, and sexual attractiveness and women were segmented into fashionably sensible intermediate, low, and high groups according to their fashion sensibility. The fashionably sensible intermediate group predominantly encompassed women who were unmarried or in their late 20's, unemployed, highly educated, or of low economic status, preferred to mixing and matching colors, and who utilized their individuality or makeup color for total coordination. The fashionably sensible low group encompassed homemakers, in their early 20's, high school graduates or university students, who utilized their clothing or hair color within their total coordination criteria. The fashionably sensible high group encompassed unmarried career women in their mid 20's or of high economic status, who spent much money on their clothing, makeup, hair styles, and fashion accessaries, who preferred achromatic, warm or cool colors, and utilized their individuality or fashion color.