• 한국의류학회지
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• 제38권5호
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• pp.743-754
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• 2014

This study identified the internal motives for the purchase behavior of Korean male consumers in multi-brand fashion stores by conducting in-depth interviews with 8 men in their 20s and 30s. All respondents had significant experience with this type of store. Data were analyzed in an inductive way and compared with Bohemianism to interpret and described the results as a recent phenomenon of men's fashion. The five internal motives were extracted from analysis: the pursuit of freedom of expression, the counter-cultural resistance to department stores and domestic fashion brands, which tend to copy designs from international brands, the pursuit of mobility and adventure for trying to search and wear a new fashion style, the pursuit of pleasure through store experience, and the pursuit of artistic value by considering goods purchased in multi-brand fashion stores as artistic and cultural goods.

• 복식문화연구
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• 제30권6호
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• pp.898-918
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• 2022

Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers' collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun's collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

• International Journal of Costume and Fashion
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• 제6권2호
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• pp.28-42
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• 2006

In present modern society, media contributes more to the constructing of personal identities than any other medium. Music video, a postmodernism branch among a variety of media, offers a complex experience of sounds combined with visual images. In particular. fashion in music video helps conveying contexts effectively and functions as a medium of immediate communication by visual effect. Considering the socio-cultural effects of music video. gender identity represented in fashion in it can be of great importance. Therefore, this study is geared to the reconsidering of gender identity represented through costumes in music video by analyzing fashions in it. Gender identity in socio-cultural category is classified as masculinity, femininity, and the third sex. By examining fashions based on the classification. this study will help to create new design concepts and to understand gender identity in fashion. The results of this study are as follows: First. masculinity in music video fashion was categorized into stereotyped masculinity, sexual masculinity. and metro sexual masculinity. Second, femininity in music video fashion was categorized into stereotyped femininity. sexual femininity, and contra sexual femininity. Third, the third sex in music video fashion was categorized into transvestism, masculinization of female, and feminization of male. This phenomenon is presented into music videos through females in male attire and males in female attire. Through this research, gender identity represented in fashion of music video was demonstrated, and the importance of the relationship between representation of identity through fashion and socio-cultural environment was reconfirmed.

• 감성과학
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• 제11권4호
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• pp.489-500
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• 2008

본 연구는 남성소비자들의 패션라이프스타일 유형에 따른 넥타이 문양디자인 선호도와 구매 의도를 파악하고자 하는데 그 목적이 있다. 남성소비자들의 패션라이프스타일 유형은 '유행 지향', '보수 전통지향', '과시적 브랜드 지향', '개성 지향', '실용 지향', '패션 무관심' 형으로 분류되었다. 각각의 패션 라이프스타일 요인들을 군집 분석하여 남성소비자들의 패션라이프스타일에 따른 집단을 '개성 추구', '실용 & 브랜드 추구', '보수 전통 & 개성 추구', '유행 추구', '패션 무관심' 집단으로 구분하였다. 남성소비자들의 패션라이프스타일 유형에 따라 넥타이 문양 선호와 구매 의사에는 차이가 있는 것으로 나타났다. '실용 지향'형은 '무지단색', '원', '페이즐리'의 넥타이 문양을 선호하는 경향이 있는 반면, '꽃' 문양은 선호하지 않는 것으로 나타났다. '보수 전통지향', '과시적 브랜드지향', '실용 지향'형은 '줄', '체크'의 넥타이 문양을 선호하는 경향으로 나타났고, '유행 지향', '과시적 브랜드지향', '개성 지향'형은 '무지단색', '꽃', '동물'의 넥타이 문양을 선호하는 것으로 나타났다. '유행 지향'형은 '무지단색', '꽃', '동물'의 넥타이 문양에 대한 구매 의사가 있는 반면, '실용 지향'형은 '원' 문양에 대한 구매 의사가 있는 것으로 나타났다. '실용지향'형은 '원' 문양에 대한 선호 및 구매 의사가 동시에 있었고, '유행 지향'형 역시 '무지단색', '꽃', '동물' 문양에 대한 선호 및 구매 의사가 동시에 있는 것으로 나타났다. 반면, '보수 전통지향' 및 '과시적 브랜드 지향'형이 '줄', '체크' 문양에 대한 선호가 높았으나, 구매 의사는 '페이즐리' 문양에 있는 것으로 조사되어 선호하는 넥타이 문양과 구매하고자 하는 문양 간에 차이를 보였다.

• 패션비즈니스
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• 제18권1호
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• pp.80-100
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• 2014

As men have started to show more desire to express themselves through clothing and accessories also they learn by themselves and take diverse experiences about fashion. At the same time, men's fashion-consciousness is growing together. The role of male consumers' is becoming significant in the fashion market, and there has been more research on their clothes and fashion is increasing, however research on the male casual clothing for their 30~49 years old group is still insufficient. This study aims to examine the casual brands for men in their 30~40s and their characteristics among other men's brands recently appearing in Korea. The results of the study found: first, regarding the questionnaire to give men's casual brand names, 30s males' answers showed clearer recognition about the casual brand than those of 40s males. secondly, the factors affecting attitude of male consumers' towards casual brands are designed 'aesthetics', 'surroundings' and 'price', and the men in their 40s put more important than men in their 30s on 'aesthetics' and 'surroundings'. third, when men were actually buying casual brand, they then took five characteristic factors into account namely: 'the external environment', 'functionality' design 'aesthetics', 'symbolic' and 'price'. Men in their 30s did not show much difference in actual purchase characteristics in regards for the brand factors but men in their 40s showed interest when asked about 'buying product with noticeable brand logo or trademark' item among 'symbolic' factors than men in their 30s (p< .01 of significant difference).

• 패션비즈니스
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• 제14권4호
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• pp.102-110
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• 2010

The purposes of this study were to examine the relationship between brand sensitivity and public self-consciousness, and the effects of gender and age on brand sensitivity and public self-consciousness. The subject used for this study were three hundred and thirty-five college students (118 male students and 217 female students). For data analysis, descriptive statistics, Cronbach's alpha, multiple regression, and t-test were used. As the results, first, there were the significant differences between male students and female students on brand sensitivity and public self-consciousness. Female students had higher scores on brand sensitivity and public self-consciousness than male students as expected. Second, there were the significant differences between younger college students and older college students on brand sensitivity and public self-consciousness. Older college students had higher scores on brand sensitivity and public self-consciousness than younger college students. Finally, public self-consciousness influenced on brand sensitivity the most significantly, followed by age variable. Based on these results, brand management marketing strategy of fashion products would be provided.

• 한국의류산업학회지
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• 제6권6호
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• pp.740-748
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• 2004

The purpose of this research is to observe the face types of types of haircut design that is the basis for the completion of a hair styling mainly with case of male college student. For the purpose of this, I carried out direct and indirect observation and measurement for faces of 293 male college student who attended universities in Busan, and measured face types which were classified by the group analysis preferred hair style in order to do actual hair cut design. The result of this research is as follow. This paper conducted the element analysis in regard to the direct and indirect items of face, and it pulled out 5 elements. As a result of group analysis with elements as independent variables, they are classified into4 types. For actual hair cut design, 4 types classified by group analysis and nearing models analyzed. This research bring accurate information classified face types.

• 복식문화연구
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• 제23권6호
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• pp.1038-1050
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• 2015

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan's gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan's triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

• 복식문화연구
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• 제24권4호
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• pp.457-470
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• 2016

The purposes of this study were to: 1) identify sub-factors of fashion shopping orientation (FSO) in adults aged 20 through 39, and analyze the differences among those FSO factors according to classified groups, which were based on gender and purchase frequency in a mobile shopping mall, and 2) to investigate the effects of FSO factors on mobile purchase intention according to the same classified groups. The questionnaire was conducted from November 10, 2015 to November 20, 2015 and its 432 respondents were classified into four groups, which were male/heavy purchaser, male/light purchaser, female/heavy purchaser, and female/light purchaser. The results of this study were as follows: First, fashion shopping orientation consisted of five sub-factors, which included "conspicuous brand pursuit", "economic pursuit", "pleasure/trend pursuit", "impulse shopping", and "convenience pursuit". Second, There were significant differences in three factors of FSO between male purchasers and female purchasers. Male purchasers showed higher tendency than female purchasers in "conspicuous brand pursuit", while female purchasers showed higher tendency than male purchasers in "economic pursuit" and "convenience pursuit". All the factors of FSO showed significant differences among the classified groups. Third, "economic pursuit", "pleasure/trend pursuit" and "convenience pursuit" affected mobile purchase intention in the case of male purchasers while "economic pursuit" and "conspicuous brand pursuit" had a influence on mobile purchase intention in the case of female purchasers. Fourth, the factors of FSO affected mobile purchase intention partly in each group. In conclusion. "economic pursuit" was proven to be the main influential factor to induce consumers to have a mobile purchase intention.

• 한국의상디자인학회지
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• 제20권4호
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• pp.17-30
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• 2018

This study discusses the ambivalence and ambiguity in the relationship between the women's body and fashion drawings in respect to post-feminism perspectives. Deconstructivist post-feminists, perceiving the body as a passive subject, asserted that women internalize the male gaze by becoming the object of male desire, then manipulate the body to conform to that ideal. In this perspective, corsets assumed the role of the tool for forcing women's body to be obedient, restraining and suppressing the body. On the other hand, in the essentialist post-feminist perspective, which regards the women's body as an active object, insists that fashion, in its essence, is not necessarily about sex, nor is it devised to attract the male gaze. In such a viewpoint, the women's body functions as a vehicle for empowerment; by wearing corset women gain power and embraces the cultural norms of dominant beauty. As investigated in this study, the corset is both a tool for oppressing the women's body, as well as a vehicle for the voluntary expression of femininity. This ambivalence in the perception of the corset in the post-feminist theory represents the double-sided perspective in fashion as being both a subordinate construction and a powerful tool for self-expression.