• Title/Summary/Keyword: wearing styles

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The Analysis of Fashion Styles from Global Plus-size Woman's Power Blog -Focused on Analysis of USA Market- (글로벌 플러스 사이즈 파워 블로그에 나타난 여성 패션 연구 -미국 시장을 중심으로-)

  • Ryu, Jinyoung;Syn, Hye-young;Im, Jooyeon;Lee, Inseong
    • Journal of the Korean Society of Clothing and Textiles
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    • v.40 no.5
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    • pp.830-843
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    • 2016
  • The world wide increase of obesity and demands for various plus-size fashion are expanding the global plus-size fashion market. This study is to understand the market status of the US (the biggest plus-size fashion market) as well as analyze women's fashion shown in power blogs on the plus-size fashion trend. For research methods, photos from the top 10 globally ranked plus-size power blogs on Alexa.com were collected and divided into 5 plus-size body types based on: design factors, style, color, item, and texture. Pants with tops or completed outfits including pants, tops, and outer were the most common for casual styles; in addition, a tendency to pursue comfortable and naturally fitted clothes was also indicated. As for colors, the most common were blue colors and white or pastel toned colors; in addition, soft, hard, and transparent were all evenly used for materials. One-piece items were the most popular formal style that were mostly a one-tone color made with hard materials indicated by the pursuit of the fanciness and formality of a dress for a formal occasion. Black was the most common color, and the color variation was less diverse compared to that of casual styles. The most common for semi-formal styles were outfits with movability and more fanciness such as wearing a casual outer on top of a formal one-piece. When examining the fashion in plus-size blogs, there are differences in the frequency of design factors due to the diversity of body-types; in addition, different items were shown to be preferred in accordance with styles. The results of this study will help fashion companies who want to enter the global plus-size women's fashion market (including the US market); in addition, research on plus-size fashion that is changing the fashion and aesthetic paradigm is expected to contribute to academia.

Why Genuine Luxury Brands Are Consumed? Counterfeits? Examining Consumer Identification

  • Suh, Hyunsuk
    • Asia Marketing Journal
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    • v.14 no.3
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    • pp.69-102
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    • 2012
  • Owing to increased number of luxury brand users, both genuine and counterfeit luxury product consumption continues to increase every year. Luxury brand is defined as use or display of a particular branded products which brings the ownership prestige apart from its functional utility(Grossmand and Shapiro 1988). Some luxury brands have imitations sold in marketplace due to their popularity. These imitations or counterfeits have been jumping on the bandwagon of the upturn in sales of their originals. The purpose of our study is to understand consumer's underlying motives to consume luxury brands, genuine and or counterfeits. To do this, we propose functional theories of attitudes, decision-making styles, and life attitudes to form the determining causes for different consumption choices of luxury brands: genuine brands, counterfeit brands, both genuine and counterfeit brands, and no consumption on luxury brands types. In proposed causal pathways, we examine moderated effects of socio-psychological factors to further investigate if consumer profiles would exert influences in causal relationships. From the existing theories of functional attitudes: value-expressive and social-adjustive attitudes, we developed and introduced a new measure of rationality-consumptive attitude. From the existing eight decision-making characteristics of consumer styles inventory(CSI), three measures of high-quality, hedonic-shopping, and price-shopping styles were primarily applied in the study along with newly introduced measure of 'high-price' being added, which makes four total. Seven life attitude measures of life purpose, life control, will to meaning, goal seeking, future mean to fulfill, life satisfaction, and religiosity were applied. Finally, such socio-psychological measures as age, gender, marital status, income, and age-gap between couples were assumed to function as moderators. With 430 valid study samples, ages from 20s to 50s, with more females(316) than males(114), with average personal possessions of 5 genuine and 9 counterfeit luxury brands, we conducted questionnaire survey. Results indicated that social-adjustive function is totally disappeared in the relationship due to current social trend of widespread consumptions on both genuine and counterfeit brands which in turn, make consumers feel less special on wearing or carrying them unlike in the past. Self-expressive function and rationality-consumptive functions act as strong catalysts for genuine brand consumption and counterfeit brand consumption, respectively. On consumers' decision-making styles, high-price sublation is the most powerful indicator anticipating counterfeit consumption, even more powerful than personal incomes. In life attitude, the overall model fit was not validated, and only life control and life satisfaction are proven to be significant on both genuine and counterfeit product consumptions. Employment of socio-psychological factors in the model improved understanding of users further. Young consumers tend to go for genuine products over counterfeits. Consumers in different income groups; low, medium and high, all significantly consume genuine products for reasons of different decision-making styles. The results indicated that consumers whose personal disposition is predisposed to consume products in the form of reflection of his or her personality, go only for genuine brands for quality reason, while consumers who rationally consume products for its function or usability, go only for counterfeits for high-price sublation reason. Meanwhile, both product users support for high-price orientation who are not well off.

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Estimation of Historical Dates of the Clothes Excavated from 'Euiin'-Park's Tomb (진주류씨 배위 의인박씨 묘 출토복식의 연대 추정)

  • Song, Mi-Kyung
    • Journal of the Korean Society of Costume
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    • v.59 no.5
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    • pp.135-151
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    • 2009
  • This study aims to estimate the chronical year of 'Euiin'-Park's clothes excavated costumes from the tomb of 'Lady Euiim-Park's which has been stocked in Gyeonggi Provincial Museum. The methods of this study is, observed structure and style of clothes and characterize and compared with other similar clothes excavated from other tombs. The result showed Park's clothes was estimated to be from the mid to late 16th century. The elements that enable us to estimate the period are first of all the wearing of women's Dan-ryung, and the shape of the gore and sleeve. Second the shape of Jegory's collar, and Gyron-ma-gi. Third the form of layered skirt and Somaja[hat]. Fourth tiger hyung-bae which embroidered patches on the breast and back of official uniforms. Last, the style and types of Jinju-Ryu's who's the spouse clothes. It will be useful to estimate the chronical year of clothes excavated from unidentified tombs when refer this styles of clothes.

A Research on the Actual condition for Development of Uniform Design -Focuse on the Daejeon Area- (유니폼 디자인 개발을 위한 실태조사 -대전지역을 중심으로-)

  • 양리나;최나영
    • Journal of the Korea Fashion and Costume Design Association
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    • v.4 no.1
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    • pp.85-98
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    • 2002
  • This study aims to present basic data on current uniforms for the practical improvement and quality betterment of their design by investigating and analysing the uniform designs worn by employees working in department stores, shopping malls and financial firms. For the research, after taking pictures of employees wearing uniforms from various occupations in Daejeon area from April 15 to May 24, 2001, the uniform styles, and the shape, color and pattern of each item were analysed by a group of four costume experts. The result is as follows: First, the uniform forms are classified by the style, and silhouette. It was found that the overall silhouette mostly consisted of hourglass silhouette, and two-piece suits. Second, for the color of each item, black was the most common color for the jacket, skirt, pants and white for the one-piece dress. Third, plain, abstract, and striped patterns, and polka dots were used for the uniforms. Among them the plain pattern accounts for the highest rate.

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Conventional Female Donor Costume of Cave 79 of Kumtura

  • Shenya, Shenyan
    • The International Journal of Costume Culture
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    • v.12 no.2
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    • pp.210-214
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    • 2009
  • Cave 79 of Kumtura grottoes, is the best preserved cave, which has an important meaning for research on Uighur costume. This paper is intended to analyze the costume characteristics of female donors in Cave 79 by comparing image materials between Dunhuang murals and other murals in Xinjiang province. In Cave 79, female donor wears red robe with tight sleeve, whose collar is crescent-shaped decorated. Two different opinions are upheld for this decoration. One regards this as the turn-down collar, while the other believes this as decoration on V-neckline. Red robe is quite common in female donors of Xinjiang and Dunhuang murals and a female in fresco is wearing a crown in a triangle red headwear style, regarded as red silk and drooping at head. Female donors wear an extra coat, kame hair clasp, red jacket, light-colored high-waist skirt with a long-tail waistband, and tangerine Pibo (silk ribbon) with scattered small flowers. All these costume styles are commonly-used by Han females. The kame headwear is also the common ornament for Han females and the female's hairstyle is in cone shape on head by a white kame. Current costumes are similar but not completely same.

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A Study of the Formative Characteristics and Meanings in Fashion Design Applying The Principles of Shape-Transformation (형태변형 원리를 적용한 현대 패션디자인의 조형적 특징 및 의미 연구)

  • Kwon, Gi-Young
    • Journal of the Korean Home Economics Association
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    • v.44 no.12
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    • pp.167-178
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    • 2006
  • The purpose of this study is to analyze the transformed fashion design based on the principles of visual design. Wucius Wong classified the kinds of transformation techniques as internal variation, external variation, extension, superimposition, transfiguration, dislocation, and distortion, which create and modify the shape. And the kinds of shape grammar for transformation are rule deletion, rule addition, and rule transformation, which are applied to interpretate for the change of wearing, the specialization & development of clothes, and the avant-garde styles in subculture groups. The formative meanings of the transformed fashion design are multi-transformation with complexity, formal beauty pretending confusion, and the basis for new trend.

A Study on Asymmetry Design Represented in Modern Fashion (현대복식(現代服飾)에 나타난 비대칭(非對稱) 디자인 연구(硏究))

  • Choi, Kyung-Hee
    • Journal of Fashion Business
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    • v.5 no.3
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    • pp.129-143
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    • 2001
  • The purpose of this study is to pigeonhole theoretical notions of asymmetry and historical flow of asymmetry designed dresses, understand the trend of asymmetry design in modern fashion and find out its plastic character. The result of this study is as follows. The asymmetry is un-harmony artistic structure that unbalanced left and right in designing. The asymmetry fashion were seen that drapery dress of Egypt, Greece, Rome in ancient times and design by strong color contrast in heraldry and hose, accessory in the middle ages. In modern times, it was seen as complicated and mixed appearance by the influence of post-modernism. The asymmetry designs in modern fashion are shown varied styles by asymmetry of silhouette, detail, fabric, wearing method. The characters of these are a sense of de-construction, formative sense, and exaggeration The asymmetry design must be made by cutting, sewing, and high degree of technique through the latest skill and study.

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Fashion Changes in Subcultural Styles (2) -Focus on the Teddy Boys Style- (하위문화맥락에서 본 패션형태의 변화(2) -Teddy Boys를 중심으로-)

  • 양미경
    • Journal of the Korea Fashion and Costume Design Association
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    • v.4 no.1
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    • pp.61-72
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    • 2002
  • This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.

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A study on the transitional process of clothes in modern Korean women (한국현대여성복식제도(韓國現代女性服飾制度)의 변천과정연구(變遷過程硏究))

  • Nam, Yun-Suk
    • Journal of the Korean Society of Costume
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    • v.14
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    • pp.99-117
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    • 1990
  • The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

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A Study on the Pop Music and Fashion (팝 음악과 패션에 관한 연구)

  • 김미정;이상례
    • Journal of the Korean Society of Costume
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    • v.53 no.2
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    • pp.101-118
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    • 2003
  • This paper describes pop stars' fashion style by the changes of pop music from the 1950's of the formative Period of a rock-n-roll to the 1990's. The author could examine the features of pop music as follows : the 1950's rock-n-roll, the 1960's rock and Psychedelic rock. the 1970's punk rock, the 1980's new wave and the 1990's reggae·hip-hop. Based on the examination, the author could do sampling of the fashion style, on which current pop music had influence, by rock style, new wave style, and reggae hip-hop style. The rock style makes appearance again as a new style when it is recently accepted to be a fashion. The 1960's hippie, which contains long-cherished desire of antiwar and peace after September 11, 2001 Attack on America and the Afghan War. reappeared as luxurious hippie, and the hybrid punk has been made because barriers between cultures have been collapsed to mix items and combine contradicting components at fashion field. The new wave style destroys sex difference of clothes. and men's clothes style has introduced women's dress style, so that androgynous style, which has handsome boy image with womanlike hair style and makeup, and the lingerie style without distinction of underwear and outer garment has made appearance through new cloth wearing ways and overexposure. The reggae and hip-hop style makes appearance to overcome social strata, groups, ages, regions and gender, etc and become one of the 21s1 century culture codes. In conclusion, pop music have played very important roles until expansion and popularity of new fashion style, and has been quickly expanded by mass media development. When the pop music fashion styles are introduced to high fashion, fashion styles have become more polished and high-qualify to expand them at main fashion world again.