The aims of this study are to explore the experiences of modern Korean women who experience childbirth and to examine the perceptions of body and appearance in everyday life and how fashion provides a means of self-expression. The study utilizes focused ethnography (a qualitative research method) of cultural technology magazines, conducted to observe women’s behavior and language, and to explore their life values, such as beliefs, attitudes, and behaviors in fashion style in everyday life. The purpose of this study is to reveal the actual meaning of childbirth, the resulting change in appearance, and patterns of specific style expression. This will enable a better understanding of the experiences of married women with children in Korea using vivid language, by which an in-depth understanding of their lives may be promoted. A survey of 24 women (aged 25~40) who had experienced pregnancy and childbirth were included in the study, categorized as early pregnancy, pre-birth, and post-birth parenting. Subcategories were derived as “unfeasible pregnancy,” “unpredictable and unprepared anxiety,” “self-awareness of changing bodies,” “pressure on healthy bodies,” “opportunity to let go of pressure on appearance management,” “pressure on hard parenting,” and “experience of change in unmanaged areas.” Pregnant women and women with children demonstrated tastes and preferences in style suitable for differentiated situations and roles, along with perceptions of appearance.

The study aims to define the Korean Wave as global attention to Korea’s unique culture and consider the specificity of traditional Korean fashion images in Korean Wave content. The research method of this study is a case study through literature research. In order to collect Korean Wave content on YouTube, 24 channels with the highest number of views were selected from among content uploaded from 2018 to the present through keyword search, and up to two channels with high views showing traditional Korean fashion images. As a result of selecting the analysis target, 41 Korean Wave videos and 368 costumes were selected and analyzed based on fashion style elements, including item, color, detail, motif, styling, silhouette, and accessory. As a result of the study, music, broadcast, fashion, and other content were found in the Korean Wave content fields in which Korean fashion style appeared, and the characteristics of each field were derived. Music content was characterized by fashion style excluding stereotypes about traditional Korean costume, broadcast and fashion content was characterized by fashion style inherited from traditional costume, and other content was characterized by symbolic fashion style of traditional culture. This study is meaningful in revealing the formative characteristics of traditional Korean design elements recently shared online through the study of Korean traditional fashion images in Korean Wave content.

This study analyzed the expression of hanbok in online fashion styling games, and examined the main themes of and user reactions to hanbok fashion styling games through semantic network analysis and sentiment analysis. KrKwic, Textom, and NodeXL were used for data collection and analysis. The findings of the study are as follows: First, depending on the designer’s expressive method, hanbok fashion styling games provide typical traditional hanbok, modern hanbok, and dress-like fusion hanbok, demonstrating contents with various themes for different sexes, classes, and situations. Second, as a result of analyzing the themes of hanbok-related styling game contents, it turned out that the main themes are tradition, color, historical drama, fusion hanbok, holiday, and love. Most of them produce modernized hanbok that reflect the situation and utility rather than strictly traditional ones. Third, as a result of analyzing user reviews of hanbok styling game contents, positive factors mostly turned out to be the satisfaction of the hanbok contents, with the users also showing positive intent to wear hanbok. Through this, it was found out that hanboks portrayed in game contents could potentially cause the user’s positive intent to wear hanbok. Negative factors turned out to be the discordance between the intrinsic image of hanbok and the game character’s image.

The present research examines how a CEO exposed to the public through social media (e.g., Facebook) influences the trustworthiness of the CEO and his/her firm. In particular, we focus on and measure the consistency of a CEO’s fashion style across different occasions, and test the impact of the ‘fashion’ consistency on respondents’ perception on the CEO’s trustworthiness. Based on the previous literature on impression management, we define the consistency of a CEO’s fashion style as how similar (rather than different) the style of his/her clothes across multiple media exposures. We then manipulate the similarity of a CEO’s fashion style, which is the focal independent variable, and measure the subjects’ trust toward the CEO, which is the focal dependent variable. Study 1 is a scenario-based study in which participants read the description of either a fashion-consistent or -inconsistent CEO, and indicated the CEO’s perceived trustworthiness. We find that perceived trust is higher for the fashion-consistent CEO. Study 2 is an experiment in which participants read four news articles of a CEO featured on a social media (i.e., Facebook). Unbeknown to participants, fashion consistency was manipulated such that half of participants saw the news on a fashion-consistent CEO whereas the other half saw the news on a fashion-inconsistent CEO. Interestingly, the interaction between CEO gender and fashion consistency becomes significant, suggesting that for a male CEO, fashion consistency increased trust whereas for a female CEO, fashion inconsistency increased trust. The present research complements to the literature on the roles of fashion of employees including top managers on impression management. We also discuss other interesting and important implications of the results on the mechanism of the ‘fashion consistency’ effects.

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women’s clothing collections perfectly covered up a woman’s body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women’s fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes’ colors and patterns, and the methods in which the decorative factors were utilized.

시대가 급속히 변화함에 따라 남성의 라이프 스타일, 개성, 가치관 등이 다양하며 과거에 비해 남성복에 대한 기호도 변하였을 뿐만 아니라 또 남성복 시장이 증대되었고 전에 없던 새로운 스타일이 많이 등장하였으나 활발한 여성복 감성 연구와 달리 남성복의 스타일에 따른 감성 연구는 미비한 실정이다. 이에 20대 남성들이 주로 착용하는 스타일을 7가지 대표 자극물로 선정하고 자극물로 제시하여 각 스타일에 대한 소비자의 감성을 조사하였다. 스타일 1 (정장), 스타일 2 (라이더재킷+스키니 팬츠), 스타일 3 (블루종+스트레이트 팬츠), 스타일 4 (박시한 가디건+하프 팬츠), 스타일 5 (야전상의+스트레이트 팬츠), 스타일 6 (루즈핏 재킷+스키니 팬츠), 스타일 7 (야구점퍼+스트레이트 팬츠) 등 남성복 스타일에 따른 감성의 차이를 조사하였으며 성별에 따른 남성복에 대한 관심과 지식정도 차이를 비교하였고 남성복의 선호와 실제착용 간에 차이가 있는지 분석하였고 라이프 스타일 유형에 따른 선호하는 스타일을 측정하였다. 그 결과는 다음과 같다. 첫째, 남성복은 다양하고 세분화되었고 남성복에 대한 관심과 지식은 남성이 여성보다 높게 나타났다. 둘째, 남성복에 대한 감성은 스타일에 따라 유의한 차이가 있었지만 이는 성별에 따라 다르지 않았다. 셋째, 20대가 가장 선호하는 선호스타일과 실제로 즐겨 입는 착장스타일 간에는 차이가 존재하였는데, 일치하는 비율은 66.1% 이었고, 불일치하는 경우는 33.9% 이였다. 선호도와 실제 착용도가 가장 높은 것은 스타일 3 이었으며, 가장 선호되지 않고 착용되지 않는 것은 스타일 5 이었다. 넷째, 내향적보다 외향적 라이프 스타일을 지닐수록 더 다양한 스타일에 대하여 선호도를 나타내었다.

사람들은 자신이 애정을 가지고 있는 중요 타인(예. 자녀, 배우자, 연인)을 또 다른 자기(extended self)라고 생각 하고 자신의 자기 개념에 부합하는 방향으로 이들의 패션 스타일을 통제하려는 경향이 있다. 본 연구는 개념적으로 통제하려는 사람이 지각한 간섭권한 정도와 패션감각 수준이 중요 타인의 패션 스타일 통제 행동에 독립적 또는 상호작용의 영향을 미칠 것이라고 제안하였다. 이를 검증하기 위해서 연애 중인 20대 여성을 대상으로 시나리오를 이용한 실험을 진행했다. 연구 결과, 20대 여성 실험 참가자가 지각한 남자친구에 대한 간섭권한 정도와 패션감각 수준은 남자친구의 패션 스타일 통제 행동에 독립적으로 영향을 미치지 않았다. 반면 간섭권한 정도와 패션감각 수준의 지각은 남자친구의 패션 스타일 통제 행동에 상호작용 효과를 미치는 것으로 밝혀졌다. 보다 구체적으로 지각한 간섭권한이 높은 경우는 패션감각 수준의 차이에 따른 남자친구의 패션 스타일 통제 행동의 차이가 없는 반면 지각한 간섭권한이 낮은 경우는 패션감각 수준을 높게 지각할수록 남자친구의 패션 스타일 통제를 더 많이 하는 것으로 나타났다.

The fashion industry has been dramatically transformed during the last 20 years with the introduction of fast fashion: a style of instant cutting edge fashion at affordable prices (Sheridan, Moore, & Nobbs, 2006). The term, fast fashion, describes a business model characterized by rapid supply chains, merchandising techniques and retail technology all developed to respond to increasingly fast changing consumer demands (Kim, Choo, & Yoon, 2013). In contrast to this business format, luxury fashion brands have always held a superior position in the fashion industry through their quality, limited release and pricing policies. The contemporary fashion industry is now highly competitive, with this additional pressure coming from fast fashion companies constantly delivering original and “fresh” products at affordable prices (Cholachatpinyo, Fletcher, Padgett, & Crocker, 2002). Despite the apparent price discrepancy between fast fashion and luxury fashion products, both these two fashion styles appear to cater to a consumer’s need for uniqueness. Through the consumption of fashion this uniqueness factor becomes evident in the way in which consumers convey their individual identity and self-image to society. Intuitively, as the two styles of fashion are distinctive, the type of uniqueness component desired by their consumer will differ. Therefore, we ask: “what aspects of uniqueness are motivating consumers to choose between fast fashion and luxury fashion brands?” The paper answers this important research question through evaluating (1) the predictively of fashion-brand attitude and self-congruency on fashion style preferences and (2) the moderating role of consumers’ need for uniqueness (CNFU) in these direct relationships. An online survey of 301 U.S. participants was conducted utilizing a quazi-experimental between-subjects design. All participants had experience with purchasing either fast fashion or luxury fashion clothing. Fashion-brand attitude and self-image congruency were treated as independent variable with preference for fashion style as the dependent variable. The three factors that constitute CNFU were treated as moderators. The results suggest that fashion style preference is determined more by the level of self-image congruency than positive attitudes towards fashion brands. More importantly, the different qualities of CNFU are capable of influencing individual consumers’ fashion preference within each fashion style. Collectively, the findings present strong supporting evidence that the differences in consumers’ need for uniqueness are likely to affect some fashion style preferences and not others. In particular, the majority of findings are consistent with the central argument that fashion consumers are uniqueness seekers and have their own ways of portraying their individuality to society (Workman & Caldwell, 2007). There was however inconsistent results obtained by treating CNFU as a single moderating construct, thus adding further support for Tain, Bearden and Hunter’s (2001) proposition that the consumers need for uniqueness consists of three distinct components, each specifying a unique personality trait.

The goals of this study are to analyze how fashion professionals' attitudes toward Grunge style have changed since the 1990s and to compare aesthetic features of 1990s Grunge style and the style since 2000. By searching Vogue and Women's Wear Daily articles from 1992 to 2014 according to the keyword "Grunge", three collections from the 1990s and 59 collections since 2000 were selected for analysis. Although Grunge collections of the 1990s were harshly criticized by critics and retailers as ugly, the more recent collections have been highly praised for both design and profitability. The common aesthetic features of Grunge style in the 1990s and beyond include loose silhouettes, mix-and-match layerings, plaid patterns, floral prints, and striped patterns. However, Grunge style since 2000 has new features such as ornate fabrics, handcrafted details, a formal and dressy look, and faux plaid flannel shirts in chiffon or organza. These features give the style a more luxurious, feminine, and refined appearance. The results of this study indicate that Grunge style of the 1990s changed high fashion beauty standards and today's designers and consumers prefer to mix various styles to create new ones. They typically do not consider the original spirit or identities of the varied styles.

Thanks to both developments in various media such as the internet and TV and China's economic growth, the fashion market in China has gain a lot of attention by global businesses as a newly-raised spending market. Fashion companies in Korea have entered into the china since the late 1990s. For them to get competitive edges, they have to differentiate their brand by creating new design based on the culture becoming mega-trend in fashion market. So in this research, I try to create fashion designs based on Hallyu Stars' fashion styles and images, who come on as a new culture code in China and other Asian. For this, I conducted theological consideration on what the Hallyu is, and looked into fashion styles in soft dramas which 5 Hallyu Stars started in and street fashion in Shanghai in China. Based on the outcomes of analysis, I figured out those star's fashion style and created products targeting young generation born after 1980s in China. The conclusion of this study is as follows. Firstly, the very definition of Hallyu which can be described as a phenomenon in which Korean movies, soap operas, and pop music have become immensely popular throughout Asia—has been expanding to signify the proliferation of Korean culture as a whole. Secondly, having selected the 5 female stars representing Hallyu, we were able to analyze and categorize their fashion styles on the basis of their music videos, movies, and soap-operas. Thirdly, In order to explore the level of influence of Hallyu fashion industry, we studied the street fashion of Shanghai The result was that we could observe both the slim and feminine cool casual style and the cute and affectionate pretty casual style simultaneously.

As the selective role model for the public and the creators of fashion style, the characters of homme fatale image presented in the Korean ‘trendy’ teleplays have significant influence on the audience. In this study, the concept of homme fatale, is defined, and the inherent meaning of this recent coinage(homme fatale) and the characteristics of the image are discussed. And then, the fashion styles classified into homme fatale image are exhaustively analyzed to find out the recent trends of men's fashion which represent the new masculine image and its meaning. According to the result of this analysis, the fashion styles of homme fatale image, which expresses the new image reflecting the traits of contemporary men, can be subdivided into traditional classic style, modern dandy style, easy casual style, and glam sexy style. Traditional classic style represents perfect masculine image with its dignity and formality, while modern dandy style expresses the modern, urban, elegant, and refined images. Easy casual style emphasizes the active and liberal image of men, and the glam sexy style tries to stress the sexual attractiveness of men. These fashion styles are important elements which express not only the characteristics, the social status, the jobs but also the psychology of the characters, and they present the various fashion styles expressing the masculine sexuality.

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich Wölfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which Wölfflin directly dealt. As for the theoretical literature review, I used Wölfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

Japanism represents a Japanese sense presented in Collections by many world-class western designers who are inspired by Japanese Kimonos. This study analyzes how the traditional Japanese costumes were applied to the modern clothing and the mix and match style appeared at the Japanism fashion based on the Fashion Collections during the three years from the spring of 2006 to the winter of 2008. The analysis was performed based on preceding studies, literature, fashion magazines such as Vogue, Elle, Marie Claire, and the Collections during the three years. The results of this study on Japanism covers: the application of Kimono design, Kimono sleeves, Kimono neck line to coats, jackets, one-pieces, and blouses; the application of traditional geometrical patterns, flower patterns, and natural patterns. These patterns were presented by print, dyeing, and embroidery; lastly, the employment, utilization, function, and adjustment of Obi(belt) to Japanese style clothing and also to modern clothing. Japanism fashion presented sportism, feminism, and eroticism by using mix and match. This analysis can contribute to the application of the ethnic clothing to modern clothing

The purpose of this study is to comprehend western style in fashion and to contemplate the hybrid tendency reflected on western style, thereby to analyze the aesthetic characteristics of the hybrid tendency of western style. For such purposes, this study first examines western style historically, in order to analyze hybrid tendency reflected on western style, and conduct a case study by analyzing photographic materials of prêt-à-porter collection since 1980s. The result of this study is as follows: the hybrid tendency reflected on western style are modification and fusion of regional culture, adaptation and composition of subcultures, and appropriation of sexual minority culture. (1) Modification and fusion of regional culture is expressed in ethnic items and patterns of embroidery, mixing Mexican and Spanish, American Indian and American cultural references. (2) Adaptation and composition of subcultures emphasize traditional or vintage western style by mixing characteristics of western and other subcultures. (3) Appropriation of sexual minority culture is expressed in rhinestone chaps and fetish corset, glitter rodeo suit, reminiscent of drag or queer cultural references. The result of this study will provide basis which can be utilized in the development and educational background of fashion design.

The past Romanticism, which emphasized loveful, womanish property, has changed into new-concept Romanticism as it was harmonized with various emotional cultures and trends in the 21st century. New-concept romanticism is found in various fields ranging from personality, diversity and discrimination to emotion. It is appearing as a new style searching for taste as it is mixed and matched with other fields. In fashion, Romanticism and mix-and-match trend provide womanish feeling through the match with romantic chiffon, high-waisted pants and cashmere cardigan and show modern emotion through vest and short blazer. Therefore, it is necessary to reconsider the method to analyze and express fashion emotion style on the basis of mix-and-match trend of Romanticism. The purpose of this study is to analyze how Romanticism is expressed in the mix and match with other emotional style, predict direction of Romanticism style and establish the ground to find changing fashion trend accurately. The researcher expects that design development will be focused on the fashion, which is more various and characteristic and search for convenient, healthy life, on the basis of the analysis on mix and match shown in Romanticism fashion of the study. The researcher tried to provide the base of design development and assist design activation by using mix and match, which can create various new styles, accurately and understanding and predicting the fashion trend of the 21st century.

As the global trend of Retro combined with the tendency of individualism which respects dramatic change and diversity in the 21st century, Goth subculture of Korea developed into various popular styles. This study, noticing the influences of Goth to the Korean youth culture and fashion trends, intends to examine the current fashion trends to analyze the various aspects of the influences of Goth to the Korean youth culture. To do this, various documents and numerous Internet materials on the Korean Goth culture are comprehensively reviewed, and the Goth look images of popular stars, photographs from fashion magazines and fashion collections are gathered, analysed, and classified into types, and the specific characteristics of these types are comprehensively analysed. According to the result of this research, Punk Goth look, departing from the sensational and aggressive style of Punk look, expresses sexy and luxurious images, while Romantic Goth look shows the brilliant and cheerful style by mixing the cute girlish image and the elegant feminine image of exaggerated details and voluminous silhouette. Avant garde Goth look parodies Goth image by using the dramatic effects of Goth images or is expressed in performances. Sexy Goth look, which reveals the sexual attractiveness of men and women much more assertively, tries to do suggestive representation and excessive exposure of human body. Dandy Goth look, which has the simple and modern line, expresses the calm and chic feeling by employing basic items with minimized details and coordinating unique accessories for accent.

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.