• Journal of Fashion Business
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• v.21 no.4
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• pp.1-20
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• 2017

Fashion film has become a significant communication medium in the $21^{st}$ century. Fashion film, that tells unique quality stories, is a means of communicating brand value emotionally. To examine characteristics of storytelling according to types of fashion film, this study categorizes fashion film and investigates storytelling elements in terms of content, form, and communication. For methodology, a literature review was conducted to examine the concept of storytelling and types of fashion film storytelling. Empirical research was conducted on 32 fashion films from 2007 to recent years of 2017. Results are as follow. First, theatrical fashion film, based on linear narrative structure and closed-ending, is characterized content-based storytelling. Second, avant-garde fashion film, based on unconventional and experimental cinematic techniques, is characterized form-based storytelling. Finally, documentary fashion film that minimizes distortion and reproduces reality of designers' originality, refers to interactive communication-based storytelling which using digital technologies.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.191-200
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• 2014

This study represents "an artialization of fashion" that may be regarded similar to art with a focus on luxury fashion brands. In the $20^{th}$ century, fashion began to share a similar language with art and became a central part in popularizing art. Fashion and art were drawn to each other in mutual fascination. Fashion studies arouse from disciplines like anthropology, sociology and art history as well as from aesthetic experiences and commercial characteristics. Fashion is very complicated phenomenon; therefore, a study on the artialization of luxury fashion brands needs to be approached for aesthetic and commercial aspects simultaneously. This study combines a literary survey with a case analysis of the relation of fashion and art as well as inquires on the artialization of luxury fashion brands based on discourses. The discourses are: first, fashion is an art, second, fashion and art differ in relation to the intention, third, fashion and art have mutual-borrowing. In view of the results achieved in this study, luxury fashion brands can achieve increased effectiveness through art. This study reveals the effects that luxury brands achieve through art versus a discussion on if fashion is art or not and if the relationship is moral or not.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.652-668
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• 2020

The purpose of this study was to analyze trends in sustainable fashion research and to guide its the development by examining previous research projects conducted by the UK Centre for Sustainable Fashion. A literature review and case studies were conducted from which the following results were identified. It was shown that the CSF has cooperated with fashion, arts and technology businesses and other external organizations. The CSF has contributed to improving the economic durability of the fashion industry, the convergence of both local and the international fashion communities, and the development of cultural sustainability. Moreover, it incorporates various academic fields into its research and has developed advanced researching methods for sustainable fashion. The CSF has embraced the new perspectives by utilizing student ideas for the development of sustainable fashion. The conclusions of this study are as follows. First, the CSF studied the sustainability of fashion from a more organic perspective through multidisciplinary research. Second, it has expanded the possibility of sustainable fashion research through research formats, research fields and research operations. Finally, it has evoked values and responsibilities that the fashion industry should pursue in modern society and has become an exemplary case of sustainable fashion research, providing creative studies for sustainable fashion research in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.2
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• pp.315-329
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• 2016

The $21^{st}$ century is the age when the revolution of digital technology enables two-way communication and when emotional values are emphasized. Thus, it exerts influence on the fashion industry and fashion communication. Along with fashion shows, advertising and displays, many fashion brands have increased the use of fashion films. For that reason, this study examines the characteristics of fashion films made by fashion brands, based on the frame work of persuasion communication. For the research, literature reviews and internet website research were done and films of Chanel, Prada, Kenzo and Alexander Wang were analyzed. The definition and types of fashion films were redefined as terminology varied throughout previous studies prior to analyzing each case. As a result, a fashion film would be redefined as 'a digital image which a fashion brand publishes to consumers for the promotion of brand comprehension'. Also, five fashion film types, 'short film', 'campaign film', 'animation film', 'brand film' and 'show film' were redefined. The analysis provided three communication characteristics: reliability, engagement and intuition. First, reliability is attained when a fashion brand (sender) delivers brand message to consumers (receiver) consistently and unitedly. Second, engagement is attained when the type of fashion film (channel) delivers creative image features such as format, music, video technique to attract consumers' interest. Lastly, intuition is attained when a fashion brand (sender) delivers a message akin to brand identity and deepens consumers' understanding. In addition, this study tried to identify the unique usage tendency of brands that could serve as practice guidelines for other fashion brands.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.952-964
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• 2007

This study is about the design for environment which is central social interest in recent days. This study focused on both experimental designs which convey meanings and practical designs which can be produced within the fashion industry and then influence on the wide range of consumer, human and surrounding environment. The purposes of this study are to categorize national and global fashion designs for environment, to analyze data based on the fashion pipeline from planning to discard, to suggest systematic actions, and to establish fashion design for environment model. Through these processes, this study helps in making fashion designs for environment more understandable, and demonstrates one future direction for using environment as fashion industry's innovative strategy. This study attempts to create business and at the same time suggests design actions based on social belief. The results of this study are following. Fashion designs for environment were categorized by organic fabric, new-to-the-world fabric, reduce, multi-function, reproduce, order-made, recycle, and reuse. The results show that fashion designs for environment have been implemented throughout the fashion pipeline, and applied the concepts of design for environment including green, sustainable slow, and natural design principles. Furthermore, labelling and service from supply side, green purchasing from demand side, and integration from both sides are suggested as company's and society's systematic actions.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.2 s.150
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• pp.266-274
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• 2006

This study aims to examine the effect of mass media on fashion leadership of make-up and fashion products. The subjects of the study were 168 women consumers who lived in Seoul. Data were collected during September in 2003. Statistical analyses used in this study were frequency, Cronbach's $\alpha$, ANOVA, Duncan test, t-test, and multiple regression. The results of this study were as follows; 1. As a result of multiple regression for the effect of mass media on fashion leadership of make-up, there was a significant effect of movies on fashion leadership of make-up. 2. As a result of multiple regression for the effect of mass media on fashion leadership of fashion product, there were significant effects of magazines, internet, and movies on fashion leadership of fashion product. 3. In regard to the effects of consumer characteristics on fashion leadership, there were significant effects of consumer characteristics on fashion leadership of make-up and fashion product.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.833-843
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• 2016

Due to the rapid expansion of fashion, consumers easily purchase fashion products, the period of wearing apparel is shortened, and the occurrence of clothes piling up in the closet is increasing. In order to induce and suggest rational consumption and disposal actions, research focused on the factors influencing difficulty discarding and disposal behavior toward a fashion product is needed. Thus, this study considered fashion-shopping orientation as a variable affecting difficulty discarding and disposal behavior toward fashion products. A total of 325 questionnaires were collected, and 11 were discarded due to partial responses or missing data. Finally, a total of 314 survey questionnaires were analyzed. Frequency, exploratory factor, reliability, and multiple regression analyses were employed for data analysis using SPSS 23.0. The study results were as follows. First, hedonic and economic shopping orientation positively affected difficulty discarding a fashion product, whereas rational shopping orientation negatively affected difficulty discarding a fashion product. Second, hedonic, economic, and conspicuous shopping orientation positively affected reuse behavior among disposal behavior toward a fashion product. Third, trend-seeking and convenient shopping orientation positively influenced handover behavior. Fourth, economic and conspicuous shopping orientation positively affected separation discard behavior. The results of this study provide various guidelines for manufacturers and retailers of fashion products.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.50-61
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• 2014

Fashion has been compared to art since Japanese avant-garde fashion designers expanded the thoughts about conceptual fashion in late 1970s. The fashion designers focused on the materiality of fashion textiles by placing more importance on it than the shapes. This bears a striking resemblance to contemporary art of 1960s and 1970s as many artists used soft materials like felt, fabric, rubber to emphasize themselves. This study establishes the materiality of fabric, which can be found in both contemporary art and fashion. The classification of materiality consists of flexibility, humanizing and temporality. In this work, there is a significant disparity between contemporary art and fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.8
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• pp.1319-1330
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• 2010

This study examines the underwear purchase behaviors of female consumers based on fashion leadership. Data research was conducted on 348 females in their 20s and 30s located in the city of Seoul & the surrounding Gyeonggi provincial area. The SPSS 17.0 software program was used to conduct data analyses such as descriptive statistics, frequency analysis, factor analysis, cluster analysis, ANOVA, and Scheffe's test as a post-hoc analysis. The results of this study are as follow. 1. Fashion leadership was identified with four factors; fashion opinion leadership, fashion innovation, confidence of fashion, and potential fashion leadership. Customers were segmented into the following three subdivisions: fashion leaders, fashion followers, and fashion laggards. 2. The factors derived from the factor analysis of underwear purchase motive included pursuit of fashion, economic, and fashion coordination. Fashion leaders highly regarded the pursuit of fashion & fashion coordination, but fashion laggards regarded economics highly. 3. The factors derived from the factor analysis of selection criteria included design attributes, brand attributes, functionality of clothes, and practicality. Fashion leaders regarded the attributes of design and brands highly; fashion followers regarded design attributes highly. 4. The factors derived from the factor analysis of underwear attitude included fashion/shopping orientation, fashion coordination orientation, and wear sensation/modesty orientation. Fashion leaders regarded fashion, shopping, design, and fashion coordination orientation highly relative to fashion followers and fashion laggards. 5. Fashion leadership showed significant differences in purchase motives, selection criteria, and underwear attitude.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.53-61
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• 1993

The purpose of this research was to find out relationships between the use of fashion information, preference of fashion advertising and fashion leadership. This research was carried out by both the theoretical and empirical study. For the theoretical study, the research of Fashion Leadership was based on the fashion opinion leadership and innovativeness. The study include the analysis of variables influencing fashion leadership, such as use of fashion information preference of fashion advertising, and demographic variables. For the empirical study, fashion leadership was measured by fashion opinion leadership and innovativeness. The variables influencing on the fashion leadership were measured by use of fashion information (marketer-dominated information, consumer-dominated information, neutral information), preference of fashion advertising (dramatic type, feeling type, goods demonstration type), demorgraphic variables (age, years of education, family income, job, marriage). Data were obtained from 313 female in chungbuk area by self-administered questionaire. The datacollected through the questionaire were analyzed by the stastical technique - ANOVA and Duncantest, t-test, stepwise multiple-regression. The results of the study were as follows; 1. There were significant differences on the fashion leadership, fashion innovativeness, fashion opinionleadership according to the marketer dominated information and neutral information. There were significant differences on the fashion leadership, fashion innovativeness, fashion opinion leadership according to the preference of dramatic type. There were significant differences on the fashion opinion leadership according to the preference of goods demonstration type. 2. 30 percent of the total variance of fashion leadership was explained by the six variables: fashion magazines, TV & Radio advertising, clothing of TV talent & singer, years of education, dramatic type, catalogue. 3. When the subjects were divided into five groups(innovative communicators, innovators, opinion leaders, followers, indifferents) according to their innovativeness scores and opinion leadership scores, there were significant differences among groups in most of use of fashion information, preference of fashion advertising variables and in some of demographic variables. 4. There were significant interactions between marketer-dominated information and dramatic type and were significant interactions in goods demonstration type, marketer-dominated information and dramatic type. There were significant interactions between consumer-dominated information and dramatic type. This ariables has the effect on Fashion Leadership by the interactions.