Building on Technology Readiness and Acceptance Model(TRAM), the study aimed to examine how technology readiness affects consumers’ perceptions of ease of use, usefulness, and risk, which in turn predict their intention to use retail service robots. Specifically, the study proposed that technology readiness motivators (optimism and innovativeness) would influence perceived ease of use and usefulness, while technology readiness inhibitors (discomfort and insecurity) would affect perceived risk. The study further examined if the perception factors (ease of use, usefulness, and risk) contribute to intention to use retail service robots. A survey method was used with data collected from Korean consumers. The final sample size was 418. The data was analyzed using structural equation modeling. Findings of the study revealed that technology readiness motivators positively affected perceived ease of use and usefulness while innovativeness had no impact on usefulness. All the inhibitors increased perceived risk. Lastly, as hypothesized, perceptions of ease of use, usefulness, and risk predicted intention to use retail service robots. This study extended the retail technology literature by applying and validating TRAM to the context of consumer acceptance of retail service robots. The study further helped marketers and retailers by highlighting the importance of technology readiness in improving consumer perceptions and responses towards retail service robots.
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 purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.
The objectives of this study are to explore the information source, assessment, and preferred styles of 3D virtual influencers(VI), to investigate the expected impact of advertisements with 3D VIs on brands, and to explore ways of expanding the use of 3D VIs. In-depth interviews with 40 males and females in their 20s and 30s were conducted and qualitative data were analyzed. The study results are summarized as follows. First, the information source of the 3D VI was SNS, acquaintances, and broadcasting. Second, 3D VIs were considered positively due to their attractive appearance, wide utilization, innovative use, freshness, separation from private identity, and time and cost savings, while considered negatively due to their unrealistic appearance and antipathy against replacing a person’s role. Third, the preferred appearance styles of the 3D VI differed according to the level of virtuality although the majority of interviewees preferred similar looks to real people with low virtuality. Fourth, diverse image qualities such as innovative, differentiated, trendy, high-value, professional, and future-oriented were considered as transferred to the brand advertised by 3D VIs. Fifth, advertisements with 3D VIs may help build positive perceptions of advertised brands that may lead to purchase behaviors for some consumers. Lastly, to expand the use of 3D VIs, the specific advantages of virtual models should be maximized with consideration of how to implement a variety of body types and images of models. Findings present an important foundation to generate strategies to better apply 3D VIs to the fashion market.
The purpose of this study identify the types and characteristics of Hanbok worn in lunar new year parade and Korean parade in New York over the past three years. As for the research method, I first collected domestic news articles, overseas Korean news articles, and literature reviews about the history of the Korean parade in New York and the events of each year. Second, I conducted a case study on Hanbok worn in the six parades from 2017 to 2019 using photo data collected through direct surveys, ‘YouTube’ video footage and news article photos. Third, I interviewed people related to the New York parade about the route of buying and renting the Hanbok in the New York area. The types of Hanbok shown in the Korean parade in New York can be largely classified as ceremonial, performance, and daily costume. There were 65 ceremonial costumes in all, with men wearing Dallyeong (official’s robe) and Gorlyongpo (dragon robe) and women wearing Dangui (woman’s semi-formal jacket), Wonsam (woman’s ceremonial robe), and Hwarot (princess’s ceremonial robe). A number of performance costumes were also worn by the Chwitasu bands, Nongak ensembles and fan dancers. Finally, of the 210 daily Hanbok, most men wore Baji (pants) and Jeogori (jacket), and women wore Chima (skirts) and Jeogori. The parade attempts to showcase the beauty of Hanbok, but the costumes repeat year after year, which can feel monotonous to onlookers. This research can be used as a reference to effectively utilize Hanbok in future Korean cultural events.
The purpose of this study was to explore how consumer traits(technology anxiety and need for interaction) explain attitude toward self-service technologies in fashion retail stores. We examined if technology anxiety influences perceived productivity and attitude toward self-service technologies, and if so, how the need for interaction with employees moderates the impact of technology anxiety on perceived productivity and attitude. For the purpose of the study, a web-based survey with Korean consumers was conducted. The final sample size was 214. Structural Equation Modeling Analysis and PROCESS in SPSS were employed to test the proposed hypotheses. The findings indicated that technology anxiety negatively affected perceived productivity and attitude toward self-service technologies in which perceived productivity affected attitude positively. Need for interaction with employees was found to moderate the relationship between technology anxiety and perceived productivity. It also moderated the relationship between technology anxiety and attitude. This study contributes to the self-service technology literature by identifying two antecedents of consumer attitude toward selfservice technologies: technology anxiety and the need for interaction. The findings further provide valuable insights to retailers and marketers as to how technology anxiety, perceived productivity, and the need for interaction work in enhancing consumer attitude toward self-service technologies in the context of fashion retail.
This study aims to develop fashion designs that combine atlas fabric with the characteristics of Uygur costume to modernize the costume of the Xinjiang Uygur. Research contents and methods are as follows. First, based on previous studies, research analysis was conducted on the cultural background, clothing characteristics, and material of Uygur clothing. Second, based on such research contents, designs combining the characteristics of Uygur costume and atlas fabric were presented. Third, to analyze the utilization of atlas fabric and examine fabric characteristics, material was gathered from collections on domestic and foreign web sites. Through field explorations of local museums in the Xinjiang area, minority group culture was observed in more detail. Based on collection of traditional clothing and analysis of its characteristics, fashion designs that apply contemporary trends were developed. General silhouettes without any restrictions to the waist and decorations made using embroidery were often used. Atlas silk, developed in China using Ikat weaving methods, is an important traditional clothing fabric of the minority group Xinjiang. Based on such data collection analysis, the produced works highlighted traditional ethnic characteristics by extracting classical patterns of atlas fabric, modifying or partially expanding them, combining them with hand knitting, and adding contemporary sensations, thus providing confirmations of the possibility of popularizing classic patterns in more practical manners.
This study has established a fashion illustration education plan using the contour drawing that fosters observational ability and enables creative drawing. This study developed two illustration curriculum proposals consisting of 15 weeks, combining literature and case studies. The researchers organized a step-by-step teaching plan that utilizes contour drawing according to the three stages of fashion illustration classes: foundation courses, general courses, and intensive courses. When the contour drawing is used at the beginning stage of the foundation courses of fashion illustration, it can be used as a technique to reduce the fear of students about practical skills, induce interest in illustration, and cultivate observation ability about objects. In general process, it is combined with various tools and coloring materials to strengthen expression power, and it is possible to produce detailed expressions and illustrations about human body and clothing. In intensive courses, it is expanded to the production of creative works with new aesthetics through digital techniques and mixed materials. As such, the contour drawing is expanded in various ways according to the learning contents and goals of each step, and is flexibly adjusted according to the learning content. Contour drawing has the effect of acquiring observation and expression ability, and it is analyzed as a technique that enables the production of creative illustration of students.
The aim of this study is develop a state-funded education and training curriculum to contribute to the development of the fashion industry infrastructure. This will be achieved based on the service sector by the competitive clothing sales personnel and fashion startups. The study was conducted using a qualitative research method. The participants were 20 representatives of fashion-related companies and employees from one traditional market and two fashion outlets in Seogu, Gwangju. Data was collected from September 2015 to January 2017 by demand surveys and in-depth interviews. These were conducted on the same day at each clothing store office. In addition, existing literature was also reviewed. The collected data were first summarized into 64 meaning units from which three themes were derived by arranging, classifying, and analyzing the data. The findings of the study are as follows. First, the education and training curriculum for fashion job creation is aimed at job-oriented field-types with the objective of cultivating professional skills for online to offline fashion professionals. Second, the curriculum for fashion advisors was developed to consisted of 8 courses of 150 hours, including job knowledge, a foreign language, fashionspecific knowledge, fashion marketing & VMD, store management know-how, clothing repair, field trip, and internship. Third, the curriculum for fashion entrepreneurs consisted of 8 courses of 106 hours, including entrepreneurship, fashion practice, startup, field trip, finance & taxation accounting, marketing, social enterprise course, and internship.
Goldwork embroidery is the art of embroidery using metal threads. As well as being used as a decorative element of religious clothing, flags, performing costumes, uniforms, and badges, goldwork embroidery is also used in many current designer collections. Therefore, this study aimed to examine the techniques and materials of goldwork embroidery and the formative characteristics and socio-cultural values of goldwork embroidery from its beginning to the early 20th century. For this study, various embroidery works, costumes, museum portraits, and literature were analyzed. The results are as follows. First, the transition of goldwork embroidery was divided into 4 categories: The beginning of goldwork embroidery; the golden age of goldwork embroidery; the maturity of goldwork embroidery; and various goldwork embroidery (depending on the materials used, usage, and design features). The earliest extant example is the “Maaseik fragments” in Belgium dating from the late 8th to early 9th centuries. Until the 15th century, the Church was the most important patron of goldwork embroidery; however, after the 15th century, goldwork embroidery was produced on costumes. Second, the social-cultural values of goldwork embroidery (based on transition and formative features) were classified as expression of divinity, instrument of governance, desire to be approved, and tools of self-expression. Through this study, it is evident that there have been many advances in both technique and technology over time. Furthermore, patterns of usage and social-cultural values of goldwork embroidery have changed significantly.
Intermedia refers to the convergence of media. The advance of intermedia has not only facilitated the delivery of brand messages in contemporary fashion shows but also facilitated interactive communication. This study investigated the mediating roles played by various media in fashion and fashion shows, focusing on the phenomenon of intermedia in contemporary fashion shows. To investigate the impact of intermedia on contemporary fashion shows, we conducted a social network analysis—a promising approach for research into fashion trends. Analyzing 159 fashion-related articles published in the 2000s, we extracted intermedia-related words (n=253). The relationships between keywords made an analysis of between centrality, and cluster variables applied Clauset-Newman-Moore by using KrKwic and NodeXL programs. The results of the between centrality analysis indicated that the most important factors in contemporary fashion shows are “models” and “stages.” We found that the impacts of intermedia on contemporary fashion shows can be divided into four categories: “model performance,” “symbolic stage management,” “new media utilization,” and “convergence in arts.” Our analysis thus identified considerable synergy between the characteristics of intermedia and contemporary fashion shows. These results have found intermediarelated commonalities in intermedia and fashion show, and this might increase customer interest in fashion, a positive outcome for the fashion industry.