• The Research Journal of the Costume Culture
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• v.18 no.4
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• pp.626-639
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• 2010

The club culture is not something unified. Rather, it is a group of subcultures which share intertwined areas. And it keeps its own dress code, dance style, music genre along with series of authoritarian and unlawful rituals. For young adults, a club is a new cultural space to enjoy in reasonable price and they can express themselves without thinking much about others. A club creates its unique mass culture by producing continuously changing and experimental fashion styles. As the club culture’s influence becomes powerful, the club market was established and experimental fashion styles are wide spread among general public, young adults who try to express their unique characters and even fashion-leading industry. The study results are as follows. First, dance club and its derivative, rave is symbolic axles and the center of social activity. They are also defined as culture which is related to specific space that continues to present and change sound and style. Second, the definition of clubber in a dictionary is club member or a person who is united with others. Third, based upon clubbers' fashion styles in Hongdae and Kang-nam areas, there are 5 different images including sexy casual, lingerie, dynamic, chic style and feminine style. Fourth, based upon case study above, to take unique life style of fashionista that leads fashion with trendy fashion style into account, we suggested five designs which are unique, sensitive and trendy. Fifth, through analyzing clubber generation and design factors of clubbers' fashion style combined with various trend, unique brand was developed to meet the demands of clubbers who want differentiated images and leading styles.

• Fashion & Textile Research Journal
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• v.22 no.2
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• pp.139-148
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• 2020

This study classifies black fashion-mania by each type based on their motivation for wearing black fashion as well as verifies how they express their style. To achieve the objectives of this study, the research questions are as follows. First, the images of black fashion-manias are classified. Second, each type of black fashion enthusiasts' motivations for wearing black fashion are verified. Last, black fashion-mania style are analyzed according to image types. In order to answer the research questions, a literature review and in-depth interviews (total 30 respondents (male 15, female 15) were executed. As a result, black fashion-manias use black fashion for self protection, their self-images such as charismatic professional image, modern sophisticated image, body-conscious sexy image, avant garde image which is an anti-fashion norm and unique image. The strong reason why black fashion-manias insist on black fashion is to 'look cooler'. The expressions could be articulated from sophisticated styling techniques that appear to be undecorated rather than an overt decorated styling. It is helpful information to plan black fashion products and to establish a design direction that requires an understanding of why black fashion is pursued, while promoting an understanding of groups of black fashion-mania.

• Journal of Fashion Business
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• v.19 no.5
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• pp.17-33
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• 2015

The purpose of this study was to evaluate the role of political image and the phenomenon of fashion politics on the style of women presidents, with focus on the President of Argentina, Cristina Fernandez de Kirchner. The results of the study were as follows. First, the political image of President Cristina Fernandez is identified with the second image of Eva Peron and Kirchnerismo, in terms of political issues. Second, fashion style includes the power and sexy images of glamour style that emphasizes the body line of suits and dress form. Vivid colors and black fashion reflects the Kirchner government's charisma and identity. Fernandez's iconic Rolex watches, expensive jewelry, and luxury accessories such as brooches that replicate Eva Peron's brooch were instrumental in forming a second image of Eva Peron. Third, the phenomenon of fashion politics appeared to equate the phenomenon of recreating the image of Eva Peron with displays of power and wealth for the successor to Kirchnerismo.

• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.134-146
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• 2006

Modern society is a multi-cultural consumer society, and there are multiple trends to cater to the tastes of diverse consumers with different sociocultural background. To grasp fashion trends in fast-changing society, how consumer life is changing and what sort of trend is prevailing should be understood above all. A major fashion trend keeps on changing in every season, and that is an extensive and compound measure of what affects the lives and values of cultural receivers who take the lead in it. The purpose of this study was to delve into what sorts of trends were presented in the 21st century's different cultures, how those cultures were reflected in fashion trends, and how design elements predicted by fashion trends could serve as the sources of design that could create a new fashion. The findings of the study were as follows: First of all, the theories of popular culture and trends were reviewed to describe how general receivers found meaning and delight in the products of cultural industry in their own way and how the products were converted into diverse cultural media. Secondly, consumer styles were discussed by classifying consumers into six groups, twixter, duppie, Ubi-Nomad, NONOS, LOHAS and chav, who were generated by changing cultural codes. Thirdly, sociocultural trends and consumer changes brought a lot of diverse changes to fashion trends. The visual materials about the 2005 S/S, F/W Collection were examined to track how changing trends affected fashion style.

• Journal of Fashion Business
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• v.10 no.4
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• pp.29-44
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• 2006

This study was aimed at giving help to the people intending to change hair fashion feeling for making their own hair style design and also providing the academic guide line to the cosmetic circles for developing new hair design and promoting sales by producing hair styles following the results from the statistical analysis based on the theoretical study on the face contour groups & hair fashion feeling groups. The researching methods were composed of following 3 steps ; prior theoretical research, statistical analysis, and hair style production. At first, the prior theoretical research was accomplished by analysis of literatures, magazines and internet sites about face contour, total & hair fashion feelings, hair style productions. Second, the prior statistical analysis were done about hairstyle images & their charateristics based on fashion feelings, and characteristics of fashion feeling group. And the third, hair style productions were done coordinated by face contours(oval, circle, long, square, reverse triangle) and hair fashion feelings(natural, sexy, sophisticate, ethnic, romantic pretty, elegance, sporty, avant garde) following the statistical results. But owing to the limitations to change hair length and color, these changes are modified by wigs and photoshop 7.0 program. So we could know there was no confirmed hair fashion feeling of one's best, but one could change one's hair fashion feeling and express one's beauty if one could adjust one's hair styles properly to one's face contour. This study would be very helpful to the people trying to change their own hair fashion feeling and be useful to the cosmetic circles for developing new design and promoting sales by comprehending hair design market and also be valuable to develop the methodology of 3 step research.

• Journal of the Korean Society of Costume
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• v.50
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.2 s.2
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• pp.59-70
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• 2004

The purpose of this study were to find out appeal types and variation of make-up image and make-up style in cosmetics advertising. The research of this study were collected from cosmetics advertisement printed in Amole Pacific Cosmetic industry from $1970{\sim}2004$. The results were as follow: 1. A cosmetics advertisement appeal were three types. it were models and products appeal advertisement as emotional appeal, products-appeal and mixed appeal advertisement. 2. A variation of make-up image were different by the time. In the 1970s make-up were model empersis eye-line and colorful make-up were classic and active make-up image. From the 1980s various color make-up were used and persuited of individuality and started to appeal that were romantic and elegance image. In the 1990s multi-color make-up image were manish and modern used ambivalence and multi-message, and in the $2000{\sim}2004$ natural and romantic-sexy remarkable make-up image were used of new concept of beauty.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.7
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• pp.833-842
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• 1998

The purpose of this study is to (1) investigate on the impulse purchase tendency of women who buy women's character clothing brands and (2) to clarify the relationship between the women's impulse purchase tendency and the marketing factors, and the brand image. The subjects were 203 women in their twenties and thirties who had purchased the women's character clothing brands in last six months living in Seoul. The data were collected by self-administered questionnaire and were analyzed by frequency, percentage, t-test, clustering analysis and MDS(Multi-Dimensional Scale). The results of the study were as follows: (1)66.0% of the women were categorized as the group of high-degree of impulse purchase tendency and 34.0% of the women were identified as the group of low-degree of impulse purchase tendency. (2) In identifying the relationship between the marketing factors and the impulse purchase tendency, the group of the high-degree of impulse purchase tendency was affected by the marketing factors such as new and fashionable products, status of display, advertising and discout selling. (3) Brand image was not statistically significant according to the impulse purchase tendency. As a whole, 'Obzee' was recognized as unique-style and sexy brand, 'Time' and 'Mine' were thought as the reasonable-prince and basic-style brands, 'Deco' were clarified as the intellectual-image brand, and 'Ego' and 'Telegraph' were revealed as high-price-image brands.

• The Research Journal of the Costume Culture
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• v.27 no.3
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• pp.239-250
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• 2019

Recently, young people wearing hanbok are highly visible in the palace and in Hanok Village. However, there is much controversy regarding whether the hanbok the young people are wearing is traditional. Young people in Korea are exposed to hanbok through a variety of ways such as school education, games, webtoons, television shows, and movies. In this study, we presented teenagers with illustrations of hanbok to see which they preferred and which if any they recognized as traditional. The study respondents most preferred the hanbok from the 18th century, but they considered the hanbok from the 20th century to be the traditional style. We next used text mining to analyze the students' freely written, open-ended responses regarding the hanbok they preferred and the one they considered traditional. The hanbok from the 18th century, the one the teenagers preferred, was a sexy, cool style related to gisaeng that emphasized the waist, whereas the hanbok they believed was traditional, the $20^{th}$-century hanbok, was simple, neat, comfortable, and plain. Among the young people's responses regarding which hanbok was traditional, the text mining extracted the following repeated words related to both the 18th- and 20th-century hanbok: "dramas," "mass media," "historical dramas," and "movies." For the 18th-century hanbok only, we extracted "webtoons" and "Hanok Village," and for only the 20th-century hanbok, we extracted "textbooks."

• The Research Journal of the Costume Culture
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• v.24 no.1
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• pp.67-78
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• 2016

The Indonesian population is estimated at 250 million and ranked as the world's fourth-largest. It is also one of the world's largest Muslim nations. Seventy percent of the population of Indonesia is young consumers in their 20s and 30s. In additions, Indonesian consumers have recently developed a great interest in fashion in general and Korean fashion in particular. This paper addresses issues related to young Indonesian consumers' clothing behavior in terms of clothing image, clothing style, body image, clothing and attitudes toward Korean fashion brands. The survey method was used as a primary research instrument. All measurements were adapted from the existing scales from previous studies. A total of 172 questionnaires were used for the final statistical analysis. Empirical results showed that Indonesian consumers' preferences regarding clothing image were new, casual, humorous, futuristic, soft, interesting and active. In terms of style, Indonesian consumers scored high in their preferences of casual and classic styles. With regard to body image, Indonesian consumers have significant concern for their appearance and body, but at the same time they are more satisfied with their body shape. More than half of the respondents had experience in purchasing Korean fashion products. Indonesian consumers recognized the clothing image of Korean fashion brands as new, futuristic, and hi-tech. Furthermore, they perceive the clothing style of Korean fashion brands as casual, feminine, and sexy. Korean fashion brand purchase intension was significantly influenced by recognition and preference of Korean fashion brand.