Government policy supporting the fashion industry in Korea has focused on the future development of rising fashion designer’s brands, and as a part of this support, several Fashion Creative Studios are presently operated. The purpose of this study is to identify the meaning of these facilities and suggest development strategies for their effective utilization. This paper presents a conceptual understanding based on a literature review, and deduces the direction of Fashion Creative Studios through an exploratory analysis of various case studies and in-depth interviews with five designers, who have graduated from the Seoul Fashion Creative Studio. The results are as follows. Firstly, fashion educational institutions have to provide sufficient information about the Fashion Creative Studios to students. They can also consider adding short-term residencies to the curriculum in which students prepare collections or portfolios for the studios. Secondly, Fashion Creative Studios are required to intensify business and marketing programs to increase real-world support. It would be helpful to provide 1:1 management programs with several segmented stages for the design brands, or connect them to investors who could provide financial support and business expansion. Thirdly, Fashion Creative Studios need to find a way to strengthen textile differentiation and craft characteristics to increase designer brand competitiveness. Broadening participation with textile designers, connecting with experts and ateliers, and promoting collaboration with artists and artisans in the Arts Creative Studios can be further examined to this end.
Hair style allows consumers to express their aesthetic sense and individual beauty. However, due to the attributes of hairdressing services and the high expectations of consumers, complaints are increasing rapidly. This study examined the complaint behavior, compensation and hair salon patronage of consumers. Then, a model is presented that explains the complaint behavior for hairstyling, forms of compensation, and hair salon patronage through empirical analysis. This study was conducted by a survey method. A total of 399 questionnaires were used for the analysis. The data were analyzed using SPSS 23.0 and AMOS 23.0 statistical software. The dimension of complaint behavior for hair style included verbal complaints, non-verbal complaints in the salon and private complaints outside the salon. The forms of compensation included re-procedure, psychological, and material compensation. Hair salon patronage was one-dimensional. These results were obtained through exploratory and confirmatory factor analysis. Then the conceptual model was empirically analyzed by covariance structure analysis and obtained in final form through model modification. Verbal complaint behavior positively influenced re-procedure compensation. In addition, non-verbal complaint behavior had positive effects on psychological and material compensation. Hair salon patronage was positively affected by re-procedure and psychological compensation. However, private complaint behavior had a negative effect on hair salon patronage. The direct and indirect effects of the paths among variables were verified by analyzing the mediating effects of different forms of compensations. It is possible to establish differentiated marketing strategies with these findings for consumers with complaint behaviors by considering the forms of compensation.
In this study, we analyzed the whole design of the necklace in detail, which reflects the artistic sense of handicraft in couture. The purpose of the study was to identify the characteristics of the design based on the analysis findings and to provide basic data to help fashion designers. The research method entailed analyzing trends in necklace design - viewed in fashion magazines and on websites - by year, season, brand, kind, material, color, and image. The identified necklace design characteristics were as follows. First, artistry and originality are dramatically expressed through the use of a broad range of materials. Second, due to the necklace’s role as an object of perfect beauty, in a number of images, the necklaces were presented in convergence and contrast with overall costumes. Third, the dramatic effects of layering revealed a strong presence and individualized styling. Necklaces are created with diverse sculptures by realizing the creative imagination of fashion designers. Even though they looked a little different every year, there were designs in the collections constantly. Round shape and princess length were preferred. In particular, the mix type was used to express dramatic effect by focusing neck part in entire styling which different length of necklaces were layered and worn. As a result, it meets the needs of consumers who emphasize brand differentiation and diversity, and it is believed that the role of necessities in fashion will continue and it creates economic demand in the fashion industry.
Over the past few years, companies have started moving into specific niches in plus-size fashion. The purpose of this study was to verify the marketability of young plus-size clothes in the USA. Data were collected from female consumers aged from 20 to 39 who have experience of purchasing plus-size items. A total of 282 responses were used for statistical analysis. The research result is as follows. First, the obesity stress is affected more by the subjective obesity level than by the objective obesity level and by how people recognize their body types. Second, from an analysis of the factors affecting the shopping orientation of plus-size consumers, style consciousness, pursuing reasonable, emphasizing comfort, and body consciousness are found to be important factors. Third, even if responders are aware of their exact body size, they actively look for the correct size. Fourth, fit evaluation of plus-size products is based on the factors of size fit and movement fit. The respondents were unsatisfied with chest and arm measurements, which deviate widely by body type for tops. Fifth, the overall dissatisfaction with the plus-size market is attributed to the fact that the product assortment range from which to select styles is narrow, and trend reflection is low. Sixth, the respondents tended to avoid fabrics that make their body type more obvious, textures that give the impression of a larger body size, or stiff textures. These results show that the psychological and physical characteristics of obese consumers should be considered to develop products for the young plus-size market.
This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey’s six display factors. Projection features and movements were categorized into “Direct movements,” “Indirect movements,” and “Relative movements.” Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users’ motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.
Currently, dramatic change had led to the growth of the distribution environment and the retailer’s distribution channel. This change had shifted the ‘single channel’ to ‘multi channel’, and from ‘cross channel’ to ‘omni channel’. While fashion companies using omni channel are rapidly growing, few research regarding omni channel had been done in academic field. In this study, we examined the influence of omni channel characteristics on consumers’ perceived risk as well as consumers’ perceived risk toward attitude and intention to use omni channel. We surveyed 696 male and female respondents aged 20 to 40 who lived in Seoul and the metropolitan area. Using AMOS 20.0, factor analysis, reliability analysis, and structural equation model analysis were performed to verify the model of this study. The results were as follows. First, omni channel’s instant connectivity, location-based provability, interactivity, and entertainment factors did not decrease impacts on the perceived risk related to privacy and annoyance. Second, omni channel’s instant connectivity and entertainment did not increase effects on the perceived financial risk, and location-based provability and interactivity did not increase effect on perceived financial risk. Third, the perceived risk concerning omni channel did not decrease on consumer attitude toward omni channel. Fourth, consumer attitude toward omni channel influenced the intention to use omni channel significantly.
The purpose of this study was to make a pants pattern suitable for women 70 to 85 years of age, then analyze that- pattern’s shape, size, appearance, fit, allowance and air gap. Participants made the pattern using 3D simulation program DC Suite version 5.1. The results suggest a design method suitable for the lower-body shapes of elderly women. In external appearance, the A-type earned the highest evaluation in all items except the allowance of the back waist and back hip. The L type earned the highest evaluation in the allowance of back waist and hips. The A-type’s, back waist appeared set at an angle that did not match the body shape of an old-old aged woman in the center-back-line setting. Therefore, the pattern method of A-type combined with L-type’s method of center back, produces an excellent pants pattern. Evaluation of the air gaps among patterns revealed that; the A-type showed the largest air gap in waist and hip circumference and the smallest air gap in thigh circumference. The waists, abdomen, and hip circumferences of older women often become larger while their legs become slimmer. This study accounted for those factors in determining a pattern suitable for the lower-body shape of old-old aged women. However, participants only analyzed four patterns and compared them with women 70 to 85, years of age. Therefore, it is necessary to develop industrial patterns applicable to a wide age group.
Consumer interest in eco-friendly fashion products has been consistent. While most relevant research emphasizes individual morals and environmental concern as the most crucial determinants to eco-friendly consumption behavior, more recent studies point out that in so doing there has been somewhat a neglectance on the importance of fundamental marketing strategies. More specifically, the crucial role of interior colors in fashion retail stores has been managerially considered something certain yet no empirical results have been found to support such a strong managerial assumption. For instance, colors such as green, blue, and brown are believed to represent natural images and are more appropriate to the eco-friendly marketing and the relevant research has been lacking. Therefore, this study attempts to explore the effect of in-store interior design colors (green versus non-green) on consumer perception of green store images. A total of 382 respondents were gathered for an online survey using differing store images as the stimulus and used for testing hypotheses. In the results, respondents exposed to store images using green interior colors reported a higher evaluation of green store image of the store. The effect is found to be significantly moderated by respondent’s environmental concern: to explain, respondents of high environmental concern are less influenced by green color interiors when they evaluate the brand’s eco-friendly image. In sum, the positive influence of green interior colors on green store image is found statistically significant, with its stronger effect for consumers of low concern. Managerial and academic discussions are provided.
The number of hand knitters has increased dramatically in the past few years. Recently, various hand knitted items have been seen in many fashion collections. The main purpose of this study is to analyze the design features of hand knitted items in the collections from Daniela Gregis. This brand was selected because it featured knitted items in its collections every season. An empirical analysis about form, material, color and knitting technique was done for hand knitted items from Daniela Gregis’ collections from 2012 S/S to 2018 S/S. The results can be summarized as follows: In terms of form, garments such as pullovers, cardigans, and shawls used basic components, and accessories such as bags, mufflers, hats, and decorative pieces had various shapes. In the material, there were many items that expressed unique textures by combining various materials such as a mix of fabric and yarn. With regards to color, orange, yellow, and red were mainly used as accent colors, and combinations of two or more colors were prominent in the items. In terms of knitting technique, the methods used in the collections were mostly simple and basic. Among various techniques, plain knitting, garter knitting, and single crochet methods were mainly used. While this study is limited to the characteristics of hand knitted items from a single brand, therefore cannot be generalized for all knit fashion, the study provides basic data that could facilitate the revitalization of the hand knitting industry and expand the application range of hand knitting techniques.
This study explores the effect of moral identity on attitude toward and purchase intention of upcycled fashion products by comparing purchasers and non-purchasers. Data from 127 purchasers and 307 non-purchasers collected through a survey was analyzed using descriptive statistics, confirmatory factor analysis, model invariance check, and multiple-group comparison tests using Amos 23.0. Results indicate consumers with purchase experiences of upcycled fashion products showed a higher level of moral identity (internalization and symbolization), positive attitude toward upcycled fashion products, and purchase intention than did consumers with no purchase experience. In model tests, internalization affected attitude toward purchasing upcycled fashion products, whereas symbolization affected purchase intention, regardless of purchase experience. The effect of symbolization on purchase intention was consistent with prior studies focusing on charity behaviors that are highly visible to others. These findings demonstrate that fashion products are visible and symbolic, so it should be carefully considered in ethical consumption studies. From these results, researchers may obtain insights on the process of how consumers apply moral identity to their purchase intention regarding upcycled fashion products. Likewise, marketers may enhance satisfaction of consumers with a high level of symbolization by putting special tags and logos that clearly highlight the products’ upcycled nature.
The current study aimed to segment Mongolian female consumers based on luxury consumption values and to compare lifestyle, demographic characteristics, purchase behavior, and perceived brand personality among the segments. The survey was administered to consumers who had purchased luxury products in Ulaanbaatar, Mongolia. A total of 184 surveys were used for data analysis. Exploratory factor analysis revealed five luxury values: quality value, hedonic value, conspicuous value, social value, and unique value. Using the five luxury values, clustering analysis was conducted, showing that there were four distinct segments: passive shoppers, showoffs, rational value groups, and hedonists. ANOVAs and chi-square analyses revealed that these four segments differed in consumption values, demographic characteristics, lifestyle dimensions (including appearance consciousness, leisure orientation, life enjoyment, and achievement orientation), and purchase behavior (including purchase frequency, price of products purchased, and product selection criteria). Moreover, value segments showed differences in five dimensions of luxury brand personality: sincerity, professionalism/attractiveness, excitement, materialism, and sophistication. The results suggest that consumption values serve as a significant basis for segmentation. Furthermore, the current study indicates that value segments can be described as consumers’ perceived brand personality. The study concludes with a discussion of the results, theoretical and practical implications, and limitations.
This study examined the risk components and risk types perceived in the context of purchasing decisions of paper fashion products. This study also identified the levels of perceived risk by consumers and the differences between age groups in risk perception. First, qualitative data were collected through a focus group interview with 7 Korean females in their 20s to 50s. The interviewees were presented with two types of paper materials (undyed and dyed Jumchi-Hanji) and products (bags and wallets) made with the papers. The interviewees mentioned 11 risk components which were classified into five types of risks: performance (easily torn/lack of durableness, lint/pilling/wear-out, lack of water-resistant, no washability, and deformation and discoloration over time), social-psychological (old and traditional image), aesthetic (lack of design diversity, unsatisfactory appearance due to repair), financial (expensive price, lack of usability in daily life) and time/convenience (difficulty in handling) risks. Based on the results of the interview, a measurement for evaluating the risk perception of paper fashion products was developed. Second, quantitative data were collected from 64 Korean women in their 20s to 50s using the measurement. Respondents who were presented with the paper materials and the products perceived the performance risk more strongly than the social-psychological risk and aesthetic risk. In addition, differences between age groups were found: younger respondents perceived performance risk and social-psychological risk more strongly than older respondents, but older respondents perceived financial risk more than younger respondents. Based on this study, strategies for the risk reduction of paper fashion products were proposed.
This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study’s data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study’s results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals’ physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women’s social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women’s physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.