• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.87-98
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• 2002

The purpose of this research is to investigate the difference on c1othing image evaluation in the ratings between men and women. For this study, pilot test was conducted to 50 clothing majored university students to explore the stimulus of 'cute', 'casual', 'sexy', 'elegant', 'intelligent', 'formal', 'romantic', 'individual', 'refined' for the 9 each image styles from the 32 spring wears in fashion magazine $\ulcorner$FARBE$\lrcorner$(March. 2000). On the basis of the preliminary survey, the question items explored the 15 pairs of polar adjectives as seven-point Likert Scale. The main survey was preceded 94 female and 111 man of university students from March 13 to 24 in 2000, twice for 7-days interval. There were significant differences between the two sexes for each style image ratings. It was found that the female was recorded mote ordinary, stable. refined. superior, plain, like than the male for intelligent style. Meanwhile, the intelligent style was evaluated well on in years by female, but male young. The female tended that elegance style was more stable, warm and less young than the male. The cute style was evaluated more light, tender, feminine, young by the female than the male, find the female looked warm while the male cool. The formal style was more stable, unrefined. solid, unfamiliar dislike, old by the female than the male. The casual style was revealed plain and warm by the female while splendor and cool by the male, the female more active, tender, familiar than the male and individual, attractive and poor quality than the female. The sexy style was evaluated more active, good appearance, young than the female, tender than the male and the female dislike a bit while the male like. The female evaluated the refined style for more stable. refined. superior good appearance and nature than the male. The romantic style was evacuated more like, refined, superior, good appearance nature and familiar by the male, but the female a bit unfamiliar. The individual style was revealed that the female evaluated cool and a bit dislike while the male warm and like, and the male more refined, feminine, young than female.

• Journal of Fashion Business
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• v.14 no.4
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• pp.111-131
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• 2010

The purpose of this study is to compare the difference between Beijing and Seoul in women's winter street fashion, and suggest strategic methods to improve new competitiveness of the Korean fashion industry. The research was conducted by literature review and empirical research and photographs of winter street style were directly taken by a digital camera from December 28, 2008 to January 8, 2009. The survey was made at 9~11 A.M., 12~1 P.M., and 3~5 P.M. during midweek and weekend. Then 530 photographs(265 each city) of women of the 20s and 30s were selected by random sampling and five fashion professional including this researcher classified styles in accord with majority opinion on careful investigation. The results of comparing the 2008 winter street fashion in Beijing and Seoul show the highest frequency of easy casual style. In detail, while high frequency was found in romantic, classic, feminine, and romantic casual style in Seoul, easy casual and character casual style was prevalent in Beijing. The same frequency of sport casual style illustrates no differences between two cities. Unlike the prediction of the fashion industry that the preference of sport casual style would be increased under the influence of the Beijing Olympics 2008, high preference of easy casual reflects that Chinese women were more sensitive to the changes of their consumption trend. In clothing color, the achromatic color was prevalent in street style in Seoul, whereas multi-color were preferred in Beijing, suggesting a great difference. In the case of accessories, both areas preferred a tot bag but Beijing women preferred active shoulder bag and cross bag in sport casual style. Seoul women preferred pumps and sneakers, whereas Beijing women liked boots of different length according to style.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.1-21
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• 2015

The purpose of this study is to investigate the self-image of men and the characteristics of their fashion styles, as they are fast becoming an influential consumer group. Men in the thirties and forties who had a higher-than-average interest in fashion were surveyed online and the results from this study are as follows. In terms of variations of self-image connected to situations, we found that there were strong relationships between the preference of the "charming & romantic" image to private meet-ups with acquaintances, "intelligent & classy" to official events, "rational & realistic" to everyday work in an official setting, and "modest & ordinary" to complex situations including family occasions and customary events. Those who aimed for "urban refinement - sensitive" appeal also preferred a "charming & romantic" self-image, while pursuing a "classic & modern" fashion style for official settings and a "gentle & charming" style in private settings. Those who aimed for "stable elegance - intelligent" youth" image preferred the "intelligent & classy" image, while pursuing a "stable & intelligent" fashion style in official settings, and an "intelligent yet active & young" style in private settings. Those who aimed for "rational practicality - comfortable activity" image preferred a "rational & realistic" self-image, while pursuing a "rational & practical" fashion style in official settings, and a "comfortable & active" style in private settings. Those who aimed for "ordinary modesty - plain simplicity"preferred a modest and ordinary self-image, while pursuing an ordinary fashion style, and a simple style in private settings. The various situational assessments used in this study to analyze the fashion-related circumstances for male consumers can be utilized in upcoming studies, and can be an effective indicator of situational consumer preferences in terms of men's fashion marketing and product planning strategies.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.2
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• pp.270-279
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• 2004

The purpose of this study is to make a basic resource in developing a design satisfying male consumers＇ fashion inclination by examining the features of the men＇s fashion style shown in the fashion collections. Collected were 1,291 photos relating to the suit style through the analysis on the men＇s fashion collections for 8 years(1995-2002). Representative men＇s fashion images are extracted from these photos, then figurative features were analyzed and typified according to image, and finally representative fashion styles were presented and its meaning was analyzed. Representative men＇s fashion images are Sophisticated, Casual, Elegant, Active, Natural, Classic, Romantic, Ethnic, Military, Marine, Colonial, and Avant-garde. With the subcategories such as detailed shape of jacket and trousers, the relationship of color between upper and lower clothes, type and organizing method of material quality, type and arranging method of pattern, and coordination, the extracted fashion images were analyzed the figurative features. After finding out the common and different features, four men＇s fashion styles were suggested. Formal style maintains the typical suit style and has the feature expressing the men＇s authority, tradition, and honor. It includes Sophisticated, Elegant. and Classic image. Casual St Sporty style has the feature that there is a change in the volume of suit by adding activity to the typical suit style. It includes Casual, Active, and Natural image. Uniformed style is that political and social environment such as war has an influence on the suit design. It includes Military, Marine, and Colonial image. Deformed style has the feature that it suggests new type instead of adhering to the typical suit design. It includes Ethnic, Romantic, and Avant-garde image.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.97-114
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• 2009

The purpose of this thesis is to contribute to the fashion industry of Korea and China by providing the basic informations of Korean fashion company planning to launch into the Chinese fashion market, and also presenting the Korean fashion style to the China, by the way of searching the sameness and differences of the casual style. The direct picturing method and comparative analysis were applied for the methods of study. The whole body pictures were taken from the major fashion streets of Seoul and Shanghai, then clear 250 photos were selected in each city. The period for two weeks from 1st, July to 14th, July 2008, and from 10AM until 5PM. The results of study are as follows. The sequential order of frequency is easy casual, jean casual, romantic casual and character casual in Seoul and Shanshai. In case of easy casual, there were many similarities of the preferences in the items, colors and coordinations, while showing the differences in the styling of the clothing. Taking the jean casual, there were no specific differences in items between two cities except the styling of clothing in which the tidy style were more prevalent in Seoul, while the sexy style were more predominant in Shanghai. The main item of romantic style was the one-piece dresses. This was preferred in the style of A-line or H-line with short length, in Seoul while X-silhouette showing the body line with knee-length skirts were more popular in Shanghai. Finally the frequency of character casual is below 5% in both cities. In the items, the skirts were more preferred as a bottom in Seoul in contrast with the pants being more prevalent in Shanghai, the sleeveless top popular in both cities. The modest style were noted in Seoul, the sexy style were more prevalent in Shanghai. However many similarities between two cities were found in the speed of acceptabilities of fashion.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.133-144
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• 2000

The purpose of this study is to examine a distinctive feature and meaning of Reggae fashion and to establish a form of design on the basis of the Reggae style appeared in the 1990s. For the study, we review a formative background and stream of the Reggae fashion. And then, characteristics of the Reggae fashion is clarified through analyzing street fashion and High-fashion. The result of the analysis demonstrates that the Reggae fashion as a general term of the fashion style is connected to the Reggae musci emerged from Such socio-cultural changes as the tendency of the anti-fashion , the influence of the Afro-fashion , and the popularity of the Reggae music. The reggae fashion has been altered in terms of its style with the lapse of time-Rastafaran style, Raggnuffins and Bhangra style, Hip-hop Reggae style. The Reggae fashion emerged in the 1990s falls into three styles ; Afro-Reggae style, Feminine Reggae style, and Sporty Reggae style. The above mentioned results demonstrate that the design of Reggae fashion targets fro a youth in one's early 20s following a tendency in the 1990s and the 2000s. The design concept represents Romantic Reggae.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.1 s.149
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• pp.137-145
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• 2006

This study offers the basis of the image making in categorizing one's personal style and investigation its features and image differences, according to the image making on the subject of Korean female entertainers. The image factors are Activeness, Attractiveness, Extroversions and Intimacy that has occupied by $56.34\%$ out of total. The type of the personal style of Korean female entertainers are classified into five groups and nine small groups that refer to Elegant style(Noble, Sophisticated), Natural style, Tough style, Romantic style(Cute, Delicate), Sexy style(Vivid, Cool, Healthy). The image according to the type of personal style has presented meaningful differences in all composed factors, in particular, the most significant differences are shown in the factors of Attractiveness and Activeness. The axis of the personal positioning far Korean female entertainers are divided into Elegant-Active, Cool-Warm, Weak-Tough. Artificial -Natural.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.59-72
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• 2005

Architectural embodiment of a national identity has long been a significant topic in Korean architectural circles. For this reason, it must be helpful to examine the so-called, 'National Romanticism' of Finnish architecture around 1900 in that Finnish architects of the time struggled to embody their national identity through their projects. Considering the historical and linguistic affinities between Finland and Korea, the Finnish architectural situation draws . our additional attention. This paper aims at showing its historical background, the meaning of each type of buildings in the stream, and limitations it implies. The atmosphere of Finnish nationalist movement, which was provoked by [Kalevala] publications (1835; 1845) and shown in Karelianism, was heightened by Tsarist Empire's Russification programme of Finland in the late 19th century Architecture was one of the most important genres expressing her national identity. Finnish national romantic architecture could be divided into three. The first is a log house style for artists' studio house, motivated by the Finnish vernacular farmstead - especially by Karelian farmhouse. This type of building signifies the Finns' will to return to their motherly soil. The second is a stone architecture style for public buildings, inspired by Finnish church or castle of an early medieval time. By using roughly-cut granite as the main exterior material, buildings of this type symbolise the toughness of legendary heroes and Finns' desire for national Independence. The third type of building was based on both of the former or more dependent on architects' Imagination and creativity. However, Finnish national romantic architecture has been criticised by some critics owing to its decorative, eclectic and self-indulgent characteristics. Probably, it was not really national but rather inter-national because of the Influences of English Arts and Crafts Movement, the American Richardsonian architecture and the continental Art Nouveau. And the negative images of 'national' and 'romantic' made some historians coin other terms like 'national realism' or 'material realism'. As another limitation, one raises the low degree of its contribution to the entire architectural history. Despite these criticisms, however, this paper argues that Finnish national romantic architecture is meaningful in itself, particularly because it illustrates vividly Finns' struggle to search for their national identity and, after all, their craving for national independence.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.3
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• pp.33-48
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• 2014

Based on the advent and dissemination of new developments concerning information & telecommunications technology, web services have brought new paradigms into society, thus facilitating the birth and evolution of various service industries to society as a whole. This study is aimed at investigating the expansion of the first Birthday party culture and design examples of the first Birthday partywear appearing in social media, through an inquiry into the communication functions inherent in social media. Also, the development of the first Birthday partywear designs for women aged 20 to 30 years was accomplished by categorically analyzing design characteristics in preferred fashion styles uploaded and shared within online childcare communities. First, it can be concluded that due to the bidirectional flow of information between corporations and consumers occurring from the expansion of social media, the entire structure of the market is undergoing great changes. Next, the need for the supply of professionalized the first Birthday partywear can be proved by the influx of party planners and caterers into this new industry. Third, Through a categorical analysis of these 523 photos, elegance style was the most preferred while classic and romantic styles followed. Last of all, 5 pieces of partywear reflecting contemporary consumer lifestyles which focus on 'enjoying one's own life' were created under the concept of 'Romantic chic'. The created designs aim to present a style which follows the predominant trend of elegance, classic and romantic, whilst keeping sensitivity in moderation. In this context, this study has aimed to present fundamental research data in the field of online the first Birthday partywear, through the development of the first Birthday partywear design based on the first Birthday party consumer characteristics gleaned from various forms of social media.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.161-175
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• 2014

This paper investigates the differences between characteristics of street fashions due to regional and cultural differences in southern and northern region of China. Beijing and Shenzhen were chosen as representative cities for the two areas. Empirical research and literature study were performed for this study. Empirical studies were performed by using a total of 708 images of dresses, which were collected through direct imaging. Through discussion with experts, the collected data were classified into five categories; Modern trendy, Romantic, Easy casual, Ethnic, and Classical/Traditional. The data was analyzed by using cross tabulation and frequency analysis. Content analysis for each category was also conducted. As a consequence of this study, a significant difference between Beijing and Shenzhen were observed. As a city, which puts emphasis on practicality and modernity, Beijing showed a higher frequency of modern and trendy style than the other city. On the other hand, Shenzhen showed a higher frequency of romantic style and was distinguished as a city of femininity and decorative preference of fashion style. This study intends to contribute to the academic community of Chinese fashion and to help Korean clothing companies to be launched in Chinese market in the future.