Modern Hanbok tends to use new colors based on traditional colors and their symbolic meanings. In addition to the traditional colors, various expressions have been increased, it is necessary to consider the color and color trend used in modern clothing. This study focused on the period 2011–2020 and analyzed the main color and coloring method of top and skirt by year with 450 data from a total of 81 wedding magazines. The results of examining the characteristics of traditional colors during the target period are as follows. First, the main color of the Jeogori showed a distribution of various colors in the first half, but the main color of the skirt concentrated on black, white and light pink in the second half. Second, while the use of blue and green systems decreased, Dang-ui color changed to warm yellow, green, and red systems. The Baeja used plain dark white in the first half; however in the latter half, they changed to white or accented colors. The one-piece used various colors in the first half, but only black and white appeared in the second half. Third, in the upper and lower colors of Hanbok, the blue-red color, the traditional contrast color of the first half, decreased significantly in the second half. The appearance rate of proximity for the complementary color harmony of white-red color and the adjacent color harmony of white-blue increased.
The purpose of this study is to reveal and compare the differences in the types and characteristics of purchase channel journeys of MZ generation consumers. In this study a survey was conducted on the purchase channel journey of 20 women in the MZ generation using the ethnographic method of in-depth interviews and observations. As a result, three purchase channel journeys were identified: mobile, multi-channel, and offline. These were variously subdivided according to the characteristics of the MZ generations. Gen Z’s journey was categorized into types: fashion platform app, Youtube, multi-channel supplement, multi-channel non-planned store visit, offline loyalty store, and impulsive offline store. Gen M’s journey was categorized as: an online community bond, portal site, online loyalty store, multi-channel brand involvement, multi-channel efficiency, a multi-channel conversion, offline efficiency and offline task. The difference in mobile journey between generations was found in the time and length of the purchase. Gen M recognized both online and offline search processes to be tiring, while Gen Z enjoyed the search process using the online path. In the offline journey Gen Z began with their own intention to purchase, while Gen M sometimes recognized that purchasing fashion products necessary for work was a cumbersome task.
The purpose of this study is to analyze the body type characteristics of tall adult men aged 20 to 69 years to present base material on body dimensions for men’s clothing companies. The research method comprised statistical analysis of 3D measurements after selecting items from the 8th Korean human body size survey related to the torso body types of 495 adult men who were at least 178cm tall. As a result, six factors were extracted, and the total explanatory variable of the entire factor was shown to be 80.499%. As a result of cluster analysis using this as an independent variable, three types were derived: Type 1, “a normal body type with an oval cross-sectional shape” (37.6%), with a larger vertical size and an oval chest cross-sectional shape compared to other types; Type 2: a “cylindrical thick body shape” (31.1%), which is the first stage of BMI obesity, with narrow shoulders and a cylindrical shape with a round cross-section; Type 3, “a body shape with broad shoulders and developed chest parts” (31.3%), with a horizontal size similar to Type 2 above the waist, but similar to Type 1 below. The results of this study are expected to be used as a basis for a clothing dimension system and clothing development for tall men reflecting the characteristics of the torso.
Global fashion houses have recently incorporated traditional Korean motifs within their inspiration. This trend is an opportunity to showcase the colors of traditional Korean culture by investing in the new design content. Products specifically based on traditional Korean culture are lacking in brand awareness despite the success of Korean content. Accordingly, this study designs cultural products based on Korean folk painting that captures Korean people’s satirical sense of humor. Korean folk painting theories are analyzed, from which different types of folk paintings are classified based on research of bibliographies and online documents. Following classification, the results are dataized as different types of folk paintings and their meanings. Furthermore, images of folk paintings are categorized and scanned digitally. The digitized images of the folk paintings are processed through Adobe Photoshop CS for overall layout and Adobe Illustrator CS for detailed designs. Traditional categories of Korean folk paintings are used, including flowers and birds, letters, and study stationery. Using the main elements of the flower and birds category, designs with cultural products such as images of flowers, birds, animals, and fish are produced. The final designs are used to create fashion items that can easily be used for embellishment or self-presentation: a scarf and a necktie. The scarf and the necktie are not only merchandise; they also symbolize the story, humor, and hope that Korean folk paintings once symbolized.
This study was conducted with students who had experience in purchasing nail products asa result of by taking the nail design course of the department of beauty at a junior college. The purpose of this study was to provide useful information to nail companies, including the importance of product elements and effective media promotion, to support the planning and promoting of nail products for beauty major students. Means analysis, one-way ANOVA, and multiple regression analysis were conducted on detailed characteristics related to nail beauty (degree of nail management, degree of contact with nail beauty media) and considerations for the purchase of nail products. The results were as follows: For beauty major students, it was concluded that the greater the interest in nail beauty, such as degree of nail management and degree of contact with nail beauty media, the greater the interest in product quality, purpose, and safety, which are practical product elements considered when purchasing nail products. It was also confirmed that Instagram and YouTube advertising media have a significant effect on promoting nail product brands for beauty major students. As the subjects of this study comprise beauty major students in their early 20s, there is a limit to expanding and applying the conclusions of this study to general nail product consumers. Therefore, in subsequent studies, analysise of a wider range of nail product consumers should be conducted through an expanded sampling method.
The purpose of this study is to suggest effective online pedagogical strategies for a fashion design CAD course to enhance student learning and satisfaction. The study investigated student experience of online learning and compared online learning with a face-to-face learning experience. Student concentration, participation, perceptions of effectiveness of teaching, utilization of learning materials, and satisfaction were analyzed using a 5-point Likert scale. Advantages and disadvantages of online learning as well as advantages of face-to-face learning were also analyzed both quantitatively and qualitatively. Student concentration, participation, and perception of effectiveness of teaching were greater for face-to-face learning with significantly higher concentration on individual practice. Students utilized video recording of synchronous online lectures more actively than PDF lecture notes. The advantages of face-to-face learning were plentiful communication and feedback and easy questioning process as well as high levels of understanding and concentration. Meanwhile, major disadvantages of online learning were the speed of the lecture, lower levels of understanding and concentration, limited peer interaction, and technical problems. Major advantages of online learning were flexibility and convenience, repetitive learning through videos, and instant communication and feedback. Students preferred a blended learning approach for the fashion design CAD course. For effective online learning, it is suggested that instructors frequently question and check student practice through screen share in a private online meeting room and engage activities that are demanding of student interaction. The video recording of synchronous online lectures is also suggested as a supplemental learning material for repetitive learning.
In this study, we aimed to apply 3D digital printing to basic clothing production and to propose futuristic fashion design and production methods that correspond to contemporary trends. Literature on future trends, dynamism, mechanical aesthetics, and experimentalism were used to define the characteristics of “futurism.” Based on theoretical considerations about futurism, we created fashion designs using 3D digital printing methods. These designs were produced using the aesthetic characteristics of futurism; the 3D digital clothing program; and application of digital printing technologies to futuristic silhouettes, colors, and materials. The results were as follows: First, with the application of futurism as a fashion motif, we pursued collaboration between artistic work and fashion, and we then explored the possibility of creative expression. Second, harmony between achromatic and chromatic colors revealed even better dynamism and activeness, and the potential to express dynamism was observed. Third, with the development of fashion design processes based on 3D digital printing methodologies, it was found to be possible to eliminate the limitations of time and space, solve problems related to limited budget or communication, and positively influence the fashion industry by enhancing convenience and diversity. Fourth, with the development of fashion design that utilizes digital printing, it was found that problems related to time, space, or limited budget were able to be solved, as compared to the use of traditional printing and image reproduction.
Clothing, as a signsystem, implies many different meanings according to different circumstances. Korean fashion designers’ designs also imply various meanings. Therefore, the purpose of this study is the exploration of Korean fashion designers’ design characteristics through Greimas’ Semiotic Square. As sublimity is the most representative characteristic of modern fashion design, this study discusses the in-depth aesthetic meaning innated in Korean fashion design through the semiotic square proposed by Greimas. To fulfill this goal, Korean fashion designers were sought after on the internet; consequently, four Korean designers became subjects for the analysis. Their collections were analyzed according to predefined criteria adopted and modified from previous studies. Sublimity characteristics were applied to Greimas’ and Floch’s semiotic squares for further interpretation. Results of the study indicate that sublimity, which is typically found in Korean fashion designs, varies depending on different points of view. In terms of culture, this study discovered a relationship of contrariety between sublimity and beauty. This finding opposes the theory of Greimas’ semiotic square, in which sublimity stands as a contradictory of the technician. According to the culture industry theory, suggested by Held, the technician is an implication of sublimity. Through a technician, sublimity may pose as a complementarity or implication of beauty. Finally, sublimity might substitute beauty as well; furthermore, it constitutes practical valorization in the semiotic square of Floch. Moreover, the artist present as a ludic valorization stands as a contradictory, while art, serving as a utopian valorization, enacts as a contrary.
Image-oriented information is becoming increasingly important on social networking services (SNS); the background of this trend is the popularity of selfies. Currently, camera applications using augmented reality (AR) and artificial intelligence (AI) technologies are gaining traction. An AR camera app is a smartphone application that converts selfies into various interesting forms using filters. In this study, we investigated the change of keywords according to the time flow of selfies in Goolgle News articles through semantic network analysis. Additionally, we examined the effects of using an AR camera app on appearance satisfaction and self-esteem when taking a selfie. Semantic network analysis revealed that in 2013, postings of specific people were the most prominent selfie-related keywords. In 2019, keywords appeared regarding the launch of a new smartphone with a rear-facing camera for selfies; in 2020, keywords related to communication through selfies appeared. As a result of examining the effect of the degree of use of the AR camera app on appearance satisfaction, it was found that the higher the degree of use, the higher the user’s interest in appearance. As a result of examining the effect of the degree of use of the AR camera app on self-esteem, it was found that the higher the degree of use, the higher the user’s negative self-esteem.