• Korean Journal of Human Ecology
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• v.23 no.5
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• pp.905-917
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• 2014

This study clarifies that Scytian waistband had flowed into the Jeoseon Dynasty, and it was settled down to saezodae(which is male belt) and norigae(which is female accessory) and pocket in the Joseon Dynasty. Historical records and relic materials are examined and analyzed by quality assessment. 5 experts performs sensory evaluation for 17 pictures of Scytian waistband, and 42 of norigae, 24 of pocket, 6 of small knife, 11 of belt in the Joseon Dynasty, and finally similarity in form and purpose of use between both of them are come out. Research results are summarized as follows: First, Scytian waistband made with leather and metal was carried in the girdle. Men in the Joseon Dynasty carried various forms of belts as position and jobs such as saezodae, kwangdahae, dongdahae, doa. Trinkets of hopae, jangdo, pocket, etc. are put on belt or separately attached. Belt was not put on the women dress, but more various trinkets were used than those on men dress. Norigae, pocket, and jangdo were used practically and decoratively. Second, The types of Scytian waistband were excavated from the tumulus in the age of three states in Korea, and their form and function are same. Belt of the Joseon Dynasty carried below their chest and up navel, of which the wearing position went upper than before. As women jeogori was shorter, their belt is not necessary and various trinkets were put in their skirt. Finally, this study conclude that Korean traditional belt and trinkets come down from Scythian waistband.

• The Research Journal of the Costume Culture
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• v.16 no.1
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• pp.33-47
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• 2008

The purposes of this study were to extract the effects of emotional labor, self-efficacy and burnout on customer-oriented selling behavior of salesperson by literature review and to examine the effect variables on customer-oriented selling behavior empirically. The questionnaire was administered to 400 salespersons who were selling clothes, cosmetics, shoes, leather products and accessories in department stores located in Kwang-ju city during August 18-24, 2006. Data collected from 307 salespersons were analyzed by using descriptive statistics, factor analysis, t-test, ANOVA, Duncan-test, correlation, regression analysis and path analysis. The results were as follows: First, Salesperson's emotional labor was composed of two factors; emotional labor toward the customer and emotional labor toward the organization. Second, Salesperson's emotional labor had negative significant influence on customer-oriented selling behavior. Specifically, the emotional labor toward the organization negatively influenced on customer-oriented selling behavior, but the emotional labor toward the customer positively influenced on customer-oriented selling behavior. Third, Salesperson's emotional labor positively influenced on burnout. Specifically, emotional labor toward organization significantly influenced on burnout, but emotional labor toward customer did not influenced on burnout. Fourth, Salesperson's self-efficacy positively influenced on customer-oriented selling behavior. Fifth. Salesperson's self-efficacy negatively influenced on burnout. Finally, Salesperson's burnout negatively influenced on comer-oriented selling behavior. The direct effect of salesperson's self-efficacy on customer-oriented selling behavior was large than the indirect effect of salesperson's self-efficacy mediate burnout. But the indirect effect of salesperson's emotional labor mediate burnout was large than the direct effect of salesperson's emotional labor on customer- oriented selling behavior.

• Journal of the Korean Society of Costume
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• v.61 no.3
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• pp.20-35
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• 2011

The purpose of this study is to investigate war helmets that were worn by high navy officers during the period of Japanese Invasion of Korea(1592~1598). War helmets worn during the War are classified into three types depending on whether they have a visor or 'cheom' and tongues or 'drim'. The war helmets of circumferential type has neither cheom nor drim. Those of cheom type has cheom, but not drim. And those of drim type has both drim and cheom or jeonbi. The war helmets of cheom type consist of a gamtu which is made of steel and looks like a reversed bowl and cheom that surrounds the entire circumference of gamtu. The war helmets of drim type are reclassified into two types in accordance with the shape of the gamtu and whether they have ganju. Of the two types, one type looks like a reversed bowl and has decorations on the top without ganju. The other type looks like a bottle neck and has ganju on the top, decorations above ganju. War helmets were in transition during the period of Japanese Invasion of Korea. Both the war helmets of cheom and drim types were worn during the War. At that time, the officers also wore war helmets having no ganju and looking like a reversed bowl and those having ganju and looking like a bottle neck. During the period, most war helmets were made of steel, but in the 18th and 19th centuries, most of them were made of leather.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.9_10 s.146
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• pp.1349-1358
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• 2005

Generally apparel products were recognized as an incongruent product type which direct search was needed for. But nowadays apparel products were ranked as a second product type next to electronics in sale amount of internet shopping mall. Therefore more detailed study on which attributes of fashion products are more successful and suitable in internet shopping mall is necessary. This study was executed to analyze common attributes of successful apparel in internet shopping mall on the basis of real sale data, and then to help internet apparel marketer plan marketing strategies more efficiently. Common attributes of successful apparel products in internet shopping-mall in terms of product, price and promotion attributes were identified. 240 products which were loaded in bestseller section of internet shopping-mall for 8 weeks from November to December, 2004 were analyzed. The results are as follows. First, products ratio for women ($76.7\%$) were higher than for men($18.3\%$). And the amount of each apparel product types purchased by consumers were ranked in the order of leather/fur coat, woven coat, inner wear, jacket, T-shirts, pants, training wear, suit, knit wear etc. and basic style dominated in $74.2\%$. General brands ($69.2\%$) that had price competitiveness were preferred to famous designer brand, national brand and PB brand. Preferred level of price was ten thousand to fifty thousand won. For promotion skill, in order of just one product, product adding promotion product and package set were preferred. Regular price, less than $50\%$ off and more than $50\%$ off price showed no difference in preference. Product planning strategy for internet apparel marketer was followed on the basis of these results.

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.103-114
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• 2020

On-arrival duty free will prevent Korean outbound passengers from keeping the duty free items they purchased at the departure during their travel. Most Korean tourists have requested the airport authority to install on-arrival duty free since the grand-opening of Incheon int'l airport. Considering the fierce hub airport competition in the North East Asian region, the Korean government's decision to install on-arrival duty free is regarded as a well-timed intervention. The purpose of the research was to analyze sales correlation based on a comparison of sales of both departure and on-arrival duty free and to propose an administrative implication. Compared to business conglomerates running departure duty free, on-arrival duty free operators, who are small or medium companies, have weakness in product composition, marketing, and merchandising capabilities. According to the analysis, outbound passengers, who purchased fashion accessories and leather products at the departure duty free, tended to purchase cosmetics/perfume or liquor on the arrival duty free. Such complementary purchasing behavior of passengers showed there is barely a negative correlation between departure and on-arrival duty free.

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.525-532
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• 2024

This study explores the impact of physical characteristics (e.g., shape, color, material, size, weight, technical features) of smart wristbands and smartwatches on consumers' perceived functional, aesthetic, and symbolic values using an extended technology acceptance model. An online survey was conducted with adult residents of the United States who had experience using smart wristbands or smartwatches. Participants were asked about various physical characteristics of products they had used in the past year or were currently using, and their evaluations of these characteristics. The results revealed that the shape of the front display shape significantly influenced symbolic value, with circle shape and square shpae showing significantly higher symbolic value than rectangle shape. Wristband materials also had a significant impact on symbolic value, with metal and leather showing higher symbolic value among various materials. Additionally, an increase in product size was associated with higher symbolic value. Moreover, certain technical features such as activity tracker, alarm clock, and distance tracking influenced perceived functional value, while functions like time display, GPS, and email influenced perceived aesthetic value. Pedometer, GPS, and email were found to enhance perceived symbolic value. These findings provide valuable insights into consumer preferences for smart wristbands and smartwatches, serving as valuable information for product improvement and new product development.

• Asia Marketing Journal
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• v.15 no.1
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• pp.1-22
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• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.