• 복식
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• 제64권5호
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• pp.18-29
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• 2014

Modern male has displayed an increased desire to express their social influence and image, and the male fashion market has had to provide various styles and images to fill these needs. The current domestic menswear market, however, is unable to satisfy the needs of male consumers who have a need for diversity in a rapidly changing society; more segmented fashion images and styles are needed. The purposes of this study are to classify fashion images and to establish character of the types. This study was done by performing a literature review and a survey. This study proposed 10 categories of fashion style images. Men's fashion style is classified into the classic image, sophisticated image, urban casual image, chic modern image, mods modern image, basic casual image, ethnic image, avant-garde image, active & outdoor image, and street-kitsch image. In the case of the classic images, common in formal setting, men's formal wear is the main focus with the classic suit. The sophisticated image is that of a colorful formal wear seasoned with elegance. Urban casual image is contemporary image, and therefore is meant for city life wear. Chic and modern image conveys an urban image by seeking a simple and chic feel. Mods modern image is retro yet dandy, giving off a sense of youthfulness compared to the other classic images. Ethnic image expresses the exotic quality of folklore as the main representatives of the character casual wear. Avant garde image portrays strong character casual wear with oversized silhouettes or exaggerated details. Active & Outdoor image is leisure life wear conveying active, functional images. Street Kitsch image is men's street casual wear with graphic patterns such as pop art and graffiti. This study's significance lies in its presentation of fashion style data, which can be utilized in the design and marketing of fashion targeted to males.

• 복식문화연구
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• 제17권6호
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• pp.947-959
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• 2009

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

• 패션비즈니스
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• 제9권5호
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• pp.1-14
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• 2005

The purpose of this study was to analysis the perception of men's wear brands (Intermezzo and Rogatis), for developing the possibility & strategy of the nichi-market in men's wear market for the apparel marketers and manufactures. For this study, the data obtained from 312 respondents were analyzed by descriptive statistics, ANOVA. The results from the study were as follow ; The perception of the 2 brand images revealed that Intermezzo accounted for 79.8% of the frequencies, and Rogatis accounted for 99%. Also, results revealed the total evaluation of Intermezzo accounted for 3.86 of the mean rated on 5 point Likert-type scales in the 9 features, and Rogatis accounted for 3.28. And then, results revealed that there were signifiant differences in 2 cluster of Rogatis that the purchasing cluster accounted for 3.46 of the mean, and the perceiving cluster accounted for 3.07. The brand images of Intermezzo and Rogatis were evaluated and rated on 5 point Likert-type scales of 17 pair adjectives. As a results, the image characteristic with Intermezzo was considered with more dynamic, trendy than the image characteristic with Rogatis. Also, results revealed that The Image with Intermezzo was considered with urban, lively, chic, modern, and sophsticated image-features, and the Image with Rogatis were evaluated mannish, urban, sophsticated, luxury, and static image-features.

• 패션비즈니스
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• 제15권6호
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• pp.71-84
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• 2011

This study is purposed to categorize external image types of Korean male idol stars, and to understand characteristics of fashion and beauty design for each type and through such, the study is meant to identify the various types of male image and to provide data of image making. As part of the empirical study, it selected well-known 15 groups of male idol stars who were active during February of 2008 and August of 2010, categorized the image types by their photographic data, and analyzed characteristics of fashion and beauty design for each type. In order to measure the degree of image types, a survey was also conducted. The image types of male idol stars, which were classified through a workshop by a group of image-related experts, were categorized with 6 types that are Elite, Urban Chic, Charisma, Rebellious child, Toy boy, and Homme Fatale. The six types of male idol stars have a great relation with the modern male trends and images, and that the male idol stars have been leading the trends and presenting the image by the public preference. In addition, as shown the above, the recent male image appears as a mixed image of femininity and masculinity, showing a complex aspect that does not dominates with one image, and that it was found out to constantly be changing in the flow of times.

• 복식
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• 제63권4호
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• pp.118-131
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• 2013

The purpose of this study is to take a look at the fashion frame of Korean women in their twenties and thirties to sort the actual fashion image and the ideal fashion image according to the fashion frame of Korean women in their twenties and thirties, and also to find out the standards and features that divide such a classification. For this study, we used the Q method, which is valued as an effective way to assess subjectivity. This helps to objectively classify the perception the fashion images of and the response to them as well. The analyzed materials were divided into two actual fashion frames and two ideal fashion frames, and classified them into 12 fashion image types in total, that is, six actual fashion images and six ideal fashion images, and we named each type of the fashion images and analyzed the features of each fashion image type through the in-depth Q workshop in which 14 professionals participated. The results of this study are as follows: First, the actual fashion frames of Korean women in their twenties and thirties was largely divided into 'Fashion Gold Girl', the fashion frame of mainstream and 'Indi-idol', the fashion frame of subcultures, and this was further divided into six fashion image types: 'Basic Casual', 'Vintage Performer', 'Easy Chic', 'Ladies' Look', 'City Office Girl' and 'Club Mania'. Second, the ideal fashion frame of Korean women in their twenties and thirties was divided into 'Urban Refinement', the fashion frame of the mainstream and 'Mismatched Style', the fashion frame of subcultures. It was also divided into six fashion image types: Power Fashion', 'Fashion Conservative', 'Semi-culture', 'Fashion Otaku', 'Sweet Darling' and 'Fashion Panic'. Third, The characteristics of the fashion images' colors are recognizable according to the type of fashion images.