The purpose of this study is to identify mobile commerce characteristics and their influence on consumer’s purchase intention in mobile fashion shopping mall. To figure out the path of influence, TAM (Technology Acceptance Model) was applied. This model explained attitudes and behaviors of users toward acceptance of innovation technology like information technology. Davis (1989) proposed perceived ease of use (PEOU) and perceived usefulness (PU) as belief variables affected attitudes of users and the attitudes in turn affected the intention of acceptance in acceptance of information technology. However it is necessary to incorporate additional constructs to the original model in the quest for increased predictive power to explain consumer’s purchase intention (PI) in mobile shopping mall. Clarke (2001) suggested constructs of mobile commerce characteristics as ubiquity, convenience, localization, personalization and so on differentiated from internet commerce. Therefore, ubiquity, personalization and enjoyment were included as external variables to explain mobile commerce characteristics besides PEOU and PU in this study. 436 adults in their twenties and thirties which were included in panels of specialized Internet research institutions nationwide were answered on questionnaires about mobile commerce characteristics, PEOU, PU, PI (Purchase Intention) and demographics. Structural equation model was made to examine the entire pattern of inter-correlations among the constructs and the hypothesis of each path was verified using AMOS 16.0 package. As a result, the fitness of the extended TAM to explain the influence of mobile commerce characteristics on consumer’s purchase intention in mobile fashion shopping mall was proven.

The Hanbok has changed over time. It previously had a curved Barae, but has transformed into a straight one that provides a more modern and sophisticated style. The development of the staining technique has resulted in more varied colors and designs that have become more luxurious. I analyzed the Dolbok of the past and present and suggested a Dolbok design that considers functionality, practicality and economy. My design is a fusion Hanbok based on a traditional Hanbok for baby boys and a Dolbok for girls. Contemporary society does not reuse or hand down clothes due to the abundance of resources. This study created some functional and economical methods to adjust the size of Hanboks and allow children to wear them for a longer time. First, I made it possible to adjust the length of the skirt by slip stitching or catch stitching with Seurandan (ornate lower band) and by putting a button on the shoulder part of the skirt for baby girls. The width of the skirt is designed for a 4 year old instead of a 1 year old in order to adjust for children growing up and maintain a stylish look, despite having an overlapped area. Second, I made a baby boy's vest with a belt in a traditional that was not uncomfortable for width variation. Third, I made Geodeulji (sleeve-ends trimmed with wide bias) to enable sleeves to be long or short. The Geodeulji will enhance decorative effect if it is made with a variety of fabric colors. Fourth, I made the width of clothes adjustable by adding a Korum (tie) On-Jeogori for baby boys and girls. There are many study cases on Hanboks but few cases on modern Dolboks. I believe that many designers should continue to study a fusion Hanbok within the framework of a traditional Hanbok to develop a garment that is comfortable to wear.

Global interest in smart-wear has risen rapidly in the 21stcentury. “Smart-wear” is one application of intelligent textiles and refers to all clothes made with intelligent textiles (or those that are a convergence). New developments represent a positive opportunity for the fashion industry to integrate new technologies to evolve. Smart-wear also includes wearable computers or digital clothing defined as “garment-integrated devices which augment the functionality of clothing, or which impart information-processing functionality to a garment”. The garment is an ideal interface medium between humans and electronic products due to interaction and technologies in the fashion industry. Smart-wear represents the future of both the textile/clothing industry and electronic industry. Smart-wear for transformable garments allow the conversion of aesthetics and functionality into multiple looks and functions that satisfy various user needs and wants. Smart-wear offers a potential paradigm shift. Precedent studies have focused on the role of transformation to understand the relationship and interaction between humans and new digital technologies (Petersen, Iversen, Krogh, & Ludvigsen, 2004). Hussein Chalayan created aa transformer dress that can twitch and reconfigure. The long Victorian dress hemline contracts into a flapper style dress. Berzowska created dresses that use shape memory alloys to move and change in continuous motions (Ariyatum & Holland, 2003).Perocich used a pneumatic approach to lift garments and change the appearance of clothes (von Radziewsky, Krüger, & Löchtefeld, 2015).Lee & Kim(2014) built a shape-changing dress which apply fabric properties and illuminance sensor to fold pleats. The idea of changing the overall appearance of clothes seems promising. Contemporary smart-wear has various functions that include sensing, actuating, powering, generating, storing, communicating, data processing and connecting. Technologies to develop digital applications can be easily controlled by smart-wear using an Arduino (Na & Cho, 2009). An embedded system for using Arduino can be worn like clothing or an accessory that is a favorable for shop window display. Shop window displays of fashion products have cultural consumption and fashioned identities that have developed into forms of art themselves and produce interesting imagery within fashion culture. In recent decades store window displays have become a unique form of advertising and are the first point of contact between the shop and the shopper (Crewe, 2015). The shop window display design might not instantly attract attention until the shopper realizes its interactive aspects. Such an interaction visually reveals a relationship between the store window and shopper's reaction. In order to connect these shop window displays with an interactive fashion design, this paper aims to illustrate how these concepts fit into the prototype. This paper develops a prototype of Wearable Shape-Changing (WSC) that deforms the fabric for pleat making on clothing for a store window dummy. Data processing is created by the motion of a shopper for the input functionality to discriminate between different shopper motions using the Microsoft Kinect sensor. A concealed Kinetic system scans every part of shopper’s joint for skeleton extraction when the shopper is outside the shop window. It is able to detect the shopper’s simple motion and simultaneously deliver information to the Arduino in the system. The prospective fashion display system needs to be devised based on a more serious technical method that utilizes information on the physical properties of fabrics to facilitate development in the store window. There has been some discussion on how fabrics could create foldable clothing items; in addition, a range folding techniques has been extended to e-textile due to useful characteristics (Perovich, Mothersill, & Farah, 2014). The experiments performed in this paper allows observers to examine basic fabric characteristics and physical properties. The behavior changes during fold deformation and the recovery process as well as identifies correlations between stiffness and recovery rate. As an experimental sample, this paper selects 2 types of fabric that have relatively stiff characteristics of a organza (one is 100% silk and the other is 100% polyester). The pleats type selects a diamond-pattern and the pleats finishing process employs a heat-setting method commonly used in the fashion industry. The results were as follows: The Silk organza has 66 weight(g/㎡) and 0.17 nominal thickness (㎜) and the Polyester organza has 39.6 weight(g/㎡) and 0.11 nominal thickness (㎜). Both silk and polyester samples have the large stiffness value in the weft direction. Tensile properties resulted in similar values in both the warp and in the weft directions. Polyester has a great thermothermos plasticity, unique resilience, providing good pleats retention and crease recovery while silk has a low wrinkle recovery. However, silk has identical recovery rate in first and second elongation deformations for diamond-pattern pleats. The diamond-pattern also has a significant correlation with the warp and bias directions. Thus, folding composition should consider the directions of the fabric according to folding technique. Based on the experiment’s results among fabric samples’ physical properties of silk were chosen for the prototype. In the prototype, the shop window displaying dummy wears a long dress, but it is designed to become shorter when the shopper lifts the arm. The mechanism by the operating design pulls the hemline in the front up to the lower thigh when the kinetic sensor detects motion. As a means of visual communications or expression of the shopper’s mood, illuminance may be attached according to the shopper’s discretion. The advantage of the WSC dress compared to a traditional static dress is that the transforming shape occurs immediately by means of interaction. Future studies, different approaches were proposed to clothing both hand and finger movements in a mobile environment. This paper focuses on a set of alliances between technology and fashion/textiles, with the WSC designed as an interface to be used for both purposes. This study represents a bridge between fashionable technologies and informative material properties. It represents a small first step from static dynamic fashion to dynamic interactive fashion.

Three categories of basic consumer needs are functional, symbolic, or experiential (Shimp, 2010). Functional climbing wear is specially designed garment for outdoor activity and climbing movement using optimized textiles and garment making engineering process. Therefore, visible feature such as color and design could not provide sufficient information of products for proper communication between company and consumer. Product information of functional wear can be delivered to the consumers via Hang-Tag or advertising but the contents of Hang-Tag are too difficult for the consumers to understandfunctional performance of the product (Lee, Bang, & Yoo, 2014). As to advertisements of functional clothing, its contents and appeal types do not much differ from those of fashion apparel providing no functional information with celebrity models; percentage of no functional information ads were the highest (Liu & Yoo, 2014). This study stared to answer the question, ‘is functional information essential in the ads of functional clothing?’ and ‘is it successful?’ The aim of this study, therefore, was to examine the effects of functional information in the advertisements of functional climbing wear. The advertising effectiveness was measured by ‘communicability’, ‘reliability’,‘favorability’ of the advertisement and ‘awareness and reliability of product’, and ‘purchasing related influence’. For the stimulus,10 different types of advertisements were prepared by combining of the following factors: functional information (whether or not to include), appeal type (rational/emotional), and model type (celebrity/non-celebrity/no-human). For the survey, 388 adults in their 20-50’s were participated. The results showed that regardless ofappeal type or model type, functional information enhanced ‘communicability’, ‘reliability’, ‘favorability’ of the advertisement and ‘awareness and reliability of product’, and ‘purchasing related influence’. It implied the importance andnecessity of functional information in the functional climbing wear advertisement.When other variables were controlled, emotional appeal with human models,especially celebrity model, enhanced the advertising effects. Meanwhile, advertisement with rationalappeal and functional information resulted in better ‘favorability’ of ads even without celebritymodels.The finding from this study could be useful information for the functional clothing company to planstrategies for effective advertisement of their products.

Art Deco, a style of luxury, opulence and modernity in the 20th century, was popular from 1909 to 1930s.The definition of Art Deco tends to be either over simplistic or bafflingly complex (Hillier &Escritt, 1997) because Art Deco covers such a wide range of design.Consequently, it creates some confusion in regard to the history of art, industrial design and fashion because this era was a transition period between handcraft-work and machine-work. Therefore, this study examines a complex definition of Art Deco by comparing the differences of Art Deco style that were shown in Chanel designs which reflected the suitable imagery of machine age and Paul Poiret designs which had both modern imagery and simplified traditional ornamental characteristics. Chanel designs have been regarded as a representative sample of modernism fashion(De La Haye & Tobin, 1994). However, Chanel applied the principles of Art Deco style as well as modernism because the golden age of Art Deco overlapped with modernism. Yet, Chanel designs have never been studied from the view point of Art Deco style. Meanwhile, Paul Poiret was well known as the first designer who translated the spirit of the modern times into revolutionary garments. His interest in the simplicity of traditional garments led him to establish the foundation of Art Deco fashion(Lussier, 2003). This study was conducted by a review of the literature. Theoretical studies about the historical background of Art Deco period, characteristics of Art Deco fashion and Poiret & Chanel design analysis were preceded. Art Deco was influenced by various factors such as Orientalism, Ballets Russes, Fauvism, Cubism, Futurism Constructivism, Purism, Bauhaus and De Stijl(Robinson & Ormiston, 2008). The characteristics of Art Decostyle can be summarized as simplified shapes &silhouettes, bold, strong& practical colours, motives and patterns of simplified forms of nature& geometric forms, various details& trimmings, and flashy& artificial jewelries(Cho & Park, 1991; Klein, McClelland, & Haslam, 1986; Lussier, 2003). In this study, the differences in Poiret and Chanel designs were examined by five elements; silhouette, colour, pattern & motif, decoration and jewelry. The results were as follows: 1. Differences in silhouette: narrow-long shapes with high waists and streamline silhouettes by hobble skirts were mostly shown in Poiret designs while straight box and tubular silhouettes with law waists were mostly used in Chanel designs. 2. Differences in colour: strong& rich colours, glittering metallic colours and sharp colour contrast were shown frequently in Poiret designs, while black and neutral colours such as brown, beige were often used in Chanel designs. Poiret’s clothings introduced a riot of bold colours into fashion and Chanel made the black as a popular working outfit colour. 3. Differences in pattern & motif: simplified motives and patterns adapted from nature were used more than geometric patterns in Poiret designs while geometric patterns made with various lines and shapes were mostly used in Chanel designs. 4. Differences in decoration: Poiret still used various details and trimmings such as decorating gems, furs, tassels, flounces, frill, drapes, beads and embroidery which made costumes luxurious and exclusive. However, Chanel tried not to use any decorations which are at risk for transforming straight silhouette to curvy silhouette, but she decorated surface of the clothing by tucks, pleats, beads, fringes, embroideries, frills, pockets and ribbons of various sizes. 5. Differences in jewelries: precious genuine jewelries and were used to make Poiret's garments look more gorgeous, while Chanel created artificial jewelry to decorate simple and straight clothing. The results of this study show that significant differences can be made by adapting different design elements under the same style. Both Chanel and Poiret applied principles of Art Deco style but they created quite different fashion designs because one tried more of modernistic approach and the other still made frequent use of traditional decorative characteristics.

London collection is one of the four dominant fashion weeks in the world, and particularly, it is influencing the world fashion as the center that leads the 21st world fashion with experimental, creative, and unique design. One of the designers that are highly noteworthy among the new designers of fashion in England is Christopher Kane. He studied in Central Saint Martins, England and is famous as a designer that well reflects the characteristics of fashion education in England and also the characteristics of London collection with his own experimental and unique design. The purposes of this study are to examine the current trends of fashion in England with fashion designer Christopher Kane who is receiving attention in England these days and practicing the most English-like design and provide support to vitalize Seoul collection in Korea. This study has analyzed collection images and reviews from the S/S season of 2010 until the F/W season of 2015 and investigated the actual cases mainly. Christopher Kane’s design shows largely four characteristics, and this works as the keyword of current trends in English. The first is to use new technology such as digital printing technology and laser cutting which have been recently introduced. With the collections issued from 2010, we can see that he designed with either digital printing or laser cutting for five wears at the smallest up to for thirteen wears at the largest. With this tendency, we can see that Christopher Kane tries to accept newly introduced technology to apply it to his collection. Second, he is freed from stereotypes and tries experimental design that feel free of the formality. Especially in 2015 FW Ready-To-Wear Collection, we can see that he was inspired by the bags not with zippers or buttons and introduced unique design by applying bags’ accessories or unique closing patterns to clothes. Third, he pursues classiness by using handcraft techniques like embroidery or appliqué. He introduces classy design combining new materials and new technologies with handcraft techniques as well as sensuous design reflecting England’s unique Old & New properly. The last one is to develop unique textile design. In each season, he uses natural elements like splendid flowers up to geometric, unique textile designs to contain the philosophy that the designer intends to show in them. Like this, Christopher Kane can be said to be a designer who expresses his own design by exquisitely combining various techniques well harmonizing the past, present, and the future as one of the fashion designers representing England. Also, he is a designer representing England as he is constantly applying new technology based on his own philosophy and making experiments restlessly. Seoul collection in Korea which has already become a field of competition among fashion brands in the world also should be equipped with its own unique sense differentiated with Korean designers’ unique identity in order to be one of the fashion collections that is recognizable in the world fashion market, and it is needed to make creative design based on the restless combination of new technologies and the spirit of challenge and experiment. Also, it is necessary to establish a creative fashion education system connected with industries to cultivate competent persons, and it is needed to provide much support and pay attention to design and fashion in the entire society recognizing fashion as a high value-added industry to create national brand image.

The rapid development of digital technology makes it possible for fashion to combine new materials and technologies that maximize visual effects. In particular, the development of various fashionable technologies, which advocate a strong experimental nature of forward-looking images, have appeared in various ways by varying costumes with multi-functional concepts which have never seen so far, or interactive fashions. This study identifies formative features and the implicative meaning of inflatable fashion by escaping from traditional methods and function of costumes to analyze various types of inflatable wear that have function and form vary depending on the situation. Since the 1960s, new PVC and polyurethane materials and the development of high-frequency sewing technique enabled the mass production of inflatable products in rides and household goods that produced inflatable costumes to trigger a new visual interest in fashion. Inflatable wear, launched from a space look, has combined with digital technologies since 2000. Inflatable wear, one of various concepts of shifting wear, can transform function and form using a sensor in given circumstances that enable a focus on transformation. Therefore, it has been changed using multi-functionalities that can cope with a varying environment. The first type of inflatable wear, which represents an expansive simple costume image, is expressed as a swollen and expanded type such as part of skirt or jacket or dress. The representative work is ‘Kinship Journeys’ (2003-4 A/W Collection) published by Hussein Chalayan, which expresses the extension of simple forms and the extension of concepts. The second type of inflatable wear is a form conversion by remote control where the form was expanded by air insertion. However, this type has been produced by performance costumes that focus on immediate variability through digital technology. Diana Eng’s ‘Inflatable Dress’ is a work that shows a visual form conversion that highlights soft silk chiffon materials to plastic-looking materials with improvements in a flat silhouette to an extended three-dimensional structure. The third type of inflatable wear is the usage conversion type of multifunction concept. It is expressed by a function shifting design that uses a multipurpose concept through a conversion of usage and form. A sleeping bag, the representative work developed by C.P Company, can be used for multiple purposes such as a parka that wraps the full body or also acts as an up-and-down separable jumper; a sleeping bag form at bedtime and a bag form when moving. An analysis of inflatable wear types showed the following results. First, inflatable wear is an enlarged concept of costume different from traditional conventional costume stereotypes that creates an expanded communication and exchange space to express the garment of wrapping human bodies in liberal and various ways. Second, fashion combined with technology acts as a multifunction that actively introduces mobility and variability in costumes and expands the meaning and concept of fashion. Third, inflatable wear fashion is expressed as a performance arena moving forward from an experimental fashion show form that shows a distinctive difference before and after air insertion. Fashion design is identified as a method to stimulate human emotion and exchange mutual feelings and as a multi-purpose device that allows the protection and concealment; consequently, it is the best method to create visual stories that express the socio-cultural trends and conditions.

Fresh attention is being paid to lifestyle brands offering differentiated contents and value such that the 21st century is now being called the age of global lifestyle. Recently national income has been increasing and a broad lifestyle culture has been established. Thus, brands with Scandinavian (Sweden, Denmark, or Norway), culture sensitivity, and design have deeply permeated the domestic market which has led to a domestic consumers' lifestyle trend (Chung& Park, 2004; Kwon, 2013; Magnus & Chrystin, 2003). In particular, such global lifestyle brands as Marimekko (Finland), CathKidston (UK), and Muji (Japan) have secured competitiveness in the global market as textile products which reflect its country's cultural identity (Lee& Park, 2014). Meanwhile, a new word, Hanban (韓版)which refers to Korean brands or products that were created from the Korean wave (韓流), which refers to Korean dramas or songs. Korean culture has been commercialized and grafted into various industries. In particular, a strong wind of Hanban in fashion cultural products not only has spread the Korean lifestyle to the world, but has enhanced its influence on related industries as well as fashion. Although certain major Korean companies launched lifestyle brands such as Jaju, Modern House, Butter, and Pum to help realize a Korean lifestyle brand business, most products sold in Korean lifestyle brands focus on overseas imported goods,so it is difficult to find Korean images on these products(Bang, 2004; Lee & Chung, 2013). The size of the lifestyle market is growing as a high value-added industry that can lead consumers' lifestyle trends, and there is a growing interest for Korean fashion cultural products. Therefore, the purpose of this study is to attempt to develop textile designs for Korean-made high value-added products with the improvement of Korean brand values. For study methodology, the status of lifestyle brands at home and abroad was examined and textile designs were developed for lifestyle brand B. For the development of the textile designs, demand required by brand B was researched and a textile design concept was established based on fashion and interior decoration trends. Then, a textile was designed using a motive that can effectively represent the identity of brand B and the Korean image. Adobe Photoshop 6.0 and Adobe Illustrator CC programs were used for the standardized textile design motif, pattern development, and colorway. The results were as follows. First, global lifestyle brands such as Marimekko, CathKidston, and Muji sell differentiated lifestyle products from other brands by applying motifs and colors which symbolize their country's and city's cultural image on textile products and displaying their own identity and peculiarity. On the other hand, Korean lifestyle brands such as Casamia, Hanssem, Kosney, and Art Box do not plan or produce their own design, but will import and sell foreign textile fabric or textile products with high recognition, or copy imported fabric. Thus, their textile design is unsatisfactory to express their own identity and satisfy consumers' needs. Second, as to the development direction required by brand B, a Korean lifestyle brand, the focus was to first, 'design American and European products using colors and techniques which reflect Korean image trends', Second, to create a 'design with Scandinavia's peculiar simplified line and sensitive color', and finally, to make a 'flower pattern design with good sustainable market feasibility'. Based on the direction and 2015 S/S color and textile trends, three concepts were established: Global Tribe, Bunny in the Wonderland, and Beyond Nature. Global Tribe is a folk paintin g(Minhwa) representing the Korean image well, and was reinterpreted in a modern sense. Bunny in the Wonderland is a modern Scandinavian style design using a rabbit, a symbol of brand B, as the main motif. Beyond Nature used a flower motif in various expression techniques and images. A textile design was developed by extracting from a folk painting, a rabbit, and a flower motif and standardizing a motif in watercolor, pen, and graphic techniques. It was digitalized by a scanner and a pattern was made via the steps of color adjustment and repetition. Three kinds of textile designs were developed according to three concepts and four kinds of colorways were made for each design. This study attempted to develop a textile design as Korean-made high value-added textile products. It is meaningful to suggest textile design with Korean cultural images and brand identity. Further study will focus on the development of fashion cultural products and DIY products to commercialize developed textile design.

‘Well-being’ is an important trend and issue that requires consumers to be satisfied with various functional fabrics; subsequently, functional fabrics that are highly sensible, functional, and environmentally friendly have a competitive edge (O’Mahony & Braddock, 2002; Hui, Lau & Ng, 2004). Recent interest in environmental protection due to global warming has led to various energy reduction campaigns. Fabric research has focused on developing cool summer fabrics and warm winter fabrics. The selection of a correct textile material is important to form a pleasant clothing climate. New fabric development requires new measurement methods. Warm/cool touch is a major factor that influences thermal clothing comfort. Current measurements of warm/cool touch is mainly assessed by Q-max using Thermo-LaboⅡ. The potential of using an infrared thermography camera (widely used because of its relatively cheap price) on warm/cool touch research has increased because it can visually show changes in clothing surface temperature. Skin temperature is a factor that influences heat exchange between the body and environment. It also indicates the effectiveness of the heat transfer process. It is an important standard to evaluate thermal comfort in thermal physiology. The techniques to measure skin temperature have been investigated to find more accurate data (Min, Chung, Sung, Jeon, & Kim, 2001). A thermometer is generally used to measure body temperature; however, there are some difficulties to accurately measure skin temperature using a thermometer. First, skin temperature was determined by only a few points on the body. Second, heat occurs during exercising due to fabric and thermometer friction that creates difficulties for the accurate measurement of skin temperature. A previous study by Choi & Lee (2008) indicated that it would be possible to evaluate the thermal properties of clothing using infrared thermal images. This study used a garment with different triacetate and PET high absorbance quick dry filament blending ratios and chose three healthy female subjects in their twenties to evaluate wear comfort sensations. They walked at 3.3 km/h for 20 minutes under conditions of 29±2℃ and 75±5% R.H. Subjective assessments of wear coolness, microclimate, and the thermogram image under the clothing were measured before and after exercising. We compared the results of the microclimate and subjective assessments with the results of the thermogram analyses. Clothing, high blended with triacetate, had a small average temperature difference as indicated by infrared thermal image. This result corresponded to subjective thermal sensation, microclimate humidity, and subjective wear comfort.

The present study aimed to figure out current situation and consumer perception on the advertising of functional climbing wear in Korea. Advertising is about showing consumers how products meet their needs. In case of functional clothing, the most basic need of consumer should be a functional need (Lee, 2014;Shimp, 2010). However, research on advertisement of functional clothing, especially focused on the functional information, has not carried out in Korea. Recently research by Liu and Yoo (2014) investigated changing patterns of magazine advertising of functional climbing wear from 2008 to 2013. It is found that advertisements of professional climbing wear had been changed like fashion apparel ads in terms of functional information, celebrity model dependence, and appeal type (Liu&Yoo,2014). On 2013, over 70% of functional climbing wear ads did not provide any functional information and percentage of celebrity model dependence was dramatically increased from 1.48%to35.30%. In this study, 388 adults in their 20-50’s were surveyed in order to figure out general satisfaction on advertisements of functional climbing wear. The survey consisted of eight questions including satisfaction with reliability, communicability, type of expression, model, and contents of functional climbing wear advertisement. For analysis of characteristics of respondents, years of climbing experience, frequency of climbing, average expenses per single purchase, and frequently exposed advertising media types were asked as well as demographic characteristics. Most of respondents (83.85%) were in their 30-50’s and had 3-5 years climbing experience (29.50%).Frequency of climbing was ‘once every two months’ (35.70%) and ‘1~2 times every month’ (25.26%), and the most frequent average expenses per single purchase was ‘100~300 thousand won’ (65.25%). Frequently exposed advertising media types were TV commercials (33.60%), magazine (23.10%), and internet (9.50%). Purchase frequency was ‘once every two tears’ (31.14%), ‘3~4 times in a year’ (29.11%), ‘1~2 times in a year’ (25.06%). Results showed respondents want ‘more precise information for better understanding of performance of functional climbing wears’ (4.22point out of 5.00). Significant differences in ‘advertisement of functional climbing wear is reliable’ were observed across age and gender; male rather than female group and ages 30 are than other age groups showed higher average value. Age 40’s significantly more wanted to be informed precise information via advertisement and preferred celebrity model than other age groups. Overall, ages 20-30’s were more satisfied with the advertisement of functional climbing wear than age 50’s. The results from this study could provide practical insights to establish guidelines for providing product information in the functional clothing industry.

Korean society is aging at a fast rate and the ratio of elderly population is expected to increase by 38.2% in 2050 (Statistics Korea, 2011). The extension of average life expectancy of the elderly generation leads to various problems and the most important issue is the mental health of the elderly. The suicide rate of the elderly is increasing every year and is the highest rate among OECD nations (OECD, 2014). The primary reason for the rapidly increasing suicide rate is psychological hardship caused by personal, social, and environmental factors such as a generation gap from nuclearization, decreased social position, retirement, economic hardship, spousal bereavement, and separation. The importance of education to improve quality of life through the mental stability of the elderly generation is emphasized. Continued education has a positive effect on the physical, social, and psychological health of the elderly generation (Kim, 2011), successful aging (Jee, 2010), and quality of life (Kim &An, 2008). Arts and crafts education can achieve development in visual perception, sense of touch, and continued elderly education (Mo, 2011). Arts and crafts education improves accomplishments and creative thinking ability through analogue behavior of making by hand. This study conducted 12 hours of education for 3 days from 1pm to 5 pm at 1 week intervals on 5 elderly women between 55 and 70 years of age to investigate physical and psychological effects on elderly women through natural wool craft activity. Before the education, the anxiety degree of subjects of the past week was measured with the Beck Anxiety Inventory (BAI) to verify the effect of sensibility education by conducting electroencephalogram(EEG) and PortaLite before after conducting education on subjects. As a result of analyzing the before and after numerical mean value through brainwave test, the increasing phenomenon of an alpha waves appeared and showed that the psychology of subjects is stable and secure. The result of this study showed that wool craft education decreased anxiety, increased alpha waves and improved the psychological stability of elderly women.

Measuring body size with a 3D scanner can reduce inter-measurer variability and provide better accuracy compared to using a traditional methods of measurement (Park, Nam, & Park, 2009). Many size measurement projects (or studies) that measure body size established a size measurement method prior to the development of a 3D scanner and automatic size measurement programs that produce 3D virtual body size measurements (Park, &Nam, 2012). Size data measured through an automatic size measurement program are more accurate and have a lower variability that is more appropriate for body measurements (Han, & Nam, 2004; Nam, Choi, Jung, & Yun, 2004). However, this method is limited to healthy subjects who can maintain a correct posture in a 3D scanner. It is difficult for the elderly to maintain the correct posture for body measurements in ‘Basic Human Body Measurements for Technological Design’ of ISO 7250(1997). Body measurement definitions are based on vertical and horizontal directions consequently, it is hard to measure those with a bent body type even if they stand in a correct posture. Most body measurement items are automatically measured in vertical and horizontal directions because current automatic size measurement programs utilize algorithms based on typical body measurement definitions. The size measurement method based on a vertical and horizontal directions tends to have a problem for elderly individuals with a bent body type who have difficulty maintaining a correct posture for 3D scanning as defined in ISO 7250(1997)(Ashdown, & Na, 2008).This study analyzes the problem of present auto-measurement programs that use elderly’s 3D body scan data. We conducted a comparative analysis of elderly’s body sizes using an auto-measurement program from virtual 3D body scan data and direct measurement with traditional measurement methods. We establish 34 typical body size measurements for the use of data from 464 males and 472 females (total 936) between the ages of 70 to 85. For error analysis, data separated to normal values and outliers compared with ISO 20655(2003). ISO 20685 defines the accuracy of extracted measurements by classification and measurement type (segment lengths, body height/breaths/depth, large/small circumferences, and head/hand/foot dimensions). The majority of outliers for the male and female body height type was “height”. Total number of persons with outliers for Height’s data was 603; consequently, 64.4% of subjects (elderly group of 70-85 yrs.) could not maintain a correct posture when scanning. Other data also had many errors from inaccurate measurement postures. A total of 72.3% of males and 70% of females have incorrect values in small circumferences. The segment lengths’ error data was 76.5% of males and 75% of females; in addition, the head dimension’ outliers were 87% for both male and female subjects. Especially 57.46% of males had incorrect data, while 74.67% of females had a type of large circumference. Female chest circumference had significant errors due to sagging breasts. The differences identify with a correlation between type of large circumference (chest, hip, under bust, waist, waist of omphalion) and gender. There were several correlations between the many measurement errors because values over 70% of data have outliers; however, each measurement type has properties in regards to correlation. A substantial positive correlation was found between all measurements (except hip circumference) in the type of large circumference; in addition, one-way ANOVA indicated that the measurements influenced height and were statistically significant. Outliers found in height data for the elderly’s were more likely to have errors in the type of large circumference. The type of body height indicated a strong correlation and statistical significance between the axilla height and other measurements (height, waist, crotch, lateral malleolus). Axilla height with more outliers indicated that other type of body height measurements had a higher potential for errors. The posture for body measurement was standardized as standing erect; however, this study indicated that many measurement errors were possible between using an auto-measurement program and direct measurement. The value of outlier about a particular measurement item can expect increased errors about any group (height: large circumference group/ axilla height: body height group). We have to study the relation in measurements in these types ‘large circumference’ because ‘head dimensions’ types correlate between measurements in each group. We need a more detailed analysis about outliers to find the major factors for measurement errors in regards to the elderly as well as discuss the possibility of ISO measurement-standard’s application for the elderly.

A flight suit worn by fighter pilots in the Korea Air Force is in the form of coveralls and can be donned/doffed with a slide fastener located on the center front of the body. This all-in-one styled garment encompasses the easy movement of an Air Force pilot in the cockpit (Choi, 2012) as well as protects from flames in an emergency. The standard Korean flight suit was designed based on a modulated American flight suit (Jeon, Park, You, & Kim, 2010); however, it is necessary to develop a new Korean flight suit with a Korean pilot-centered design. This study investigates wearing conditions and satisfaction of Korean flight suit wearers and provides basic data for a user-centered Korean flight suit design. Researchers visited two Korea Air Force wings and interviewed the fighter pilots. The results of the interview were derived through a questionnaire. The main topics of the questionnaire were: demographics, actual wearing conditions, size/fit, subjective perceptions of comfort on mobility, satisfaction of appearance, frequency of pocket usage, improvement requirements and fabric satisfaction. A total 439 questionnaires were collected in January 2015 and 428 used for analysis analyzed (except for 11 female responders).The average age of respondents was 29.12±4.67 years old and their mean work experience was 5.96±4.46 years. Over half of those questioned were captains(52.6%).The results of the questionnaires are summarized as follows. First, only 45.8% of respondents filled their chest size; however, most of them completed their height and weight. There were 52.8% who referred to their height (or used eye measurement)when selecting the flight suit size, even though the actual sizing system for Korean flight suits suggests a height and chest size by choice. It is necessary to offer new guidelines in which the wearer could select their size easier. Second, the summer flight suit appearance satisfaction was significantly lower(p<0.01) than winter flight suits and could infer (based on the pre-interview responses) that the air- summer suit vents might be a factor that lowered the appearance satisfaction. Third, the responders felt crotch and shoulder inconvenience during body motions; therefore, it is important to set quantitative standard of ease based upon the extension of skin surface and anthropometric properties of pilots. Forth, questions on suit fabric indicated that they were generally satisfied with protection characteristics such as anti-electrostatic qualities (3.27±0.78, 5-point Likert scale) while comfort characteristics such as thermal insulation, absorbency and elasticity indicated a relatively low satisfaction (2.39±0.794, 2.99±0.87 and 2.65±0.83 respectively, 5-point Likert scale). Therefore, fabric development is also needed to improve user satisfaction. Fifth, survey respondents had a negative opinion on changing flight sites. They preferred improvements in quality or better ease of length and width. Therefore, we have to find a way to improve flight suit function with respect to current designs rather than pursuing a dramatic change of appearance.

This paper presents the case study of the Tuscan growers pasta, an example of linkage between people, territory, environment and food. The use of new technologies for agronomic management, cultivation protocols, and a food supply chain agreement guarantee high quality, traceability and sustainability from field to package, representing an innovative marketing strategy.

A fashion social platform is a system that leverages the power of social connectivity to enable individuals to interact, accumulate information and create social values in fashion marketing. Fashion social platform participants, through their collective intelligence, give social platforms essential competence to solve economic and social issues, gather social capital, and create customer value. This study highlights the critical value of fashion social platforms and explains the relationships between knowledge sharing, social capital, and sustainable customer value. They examine (1) the effects of social network properties on knowledge sharing in fashion social platforms, (2) the effects of knowledge sharing on social capital, and (3) the effects of social capital on customer value in fashion social platforms. In the context of social platforms, this study clarifies the concept of customer value, the role of knowledge sharing, and the relationships between social capital and customer value. The study constructs a theoretical model regarding fashion social platforms and sustainable customer value that offers possible implications for fashion marketing practitioners.

Backed by the rapidly-growing economy, China sends the most tourists to Korea. Accordingly, growing consumption of Chinese tourists is strongly drawing attention of the Korean retail industry. Academia has conducted more relevant researches, such as effective branding of Korean Wave, and services to attract tourists. Despite a series of efforts, including specialized tour products and language services, there have been an increasing number of Chinese visitors complaining about their experience in Korea and Chinese tourists are urgently demanding improvements. Hence, comprehending sophisticated consumption behavior of Chinese tourists is becoming more important than ever before. Also, it needs to explore how shopping experiential value that they experience while purchasing fashion goods in Korea affects their satisfaction of the store and product. Previous literature has shown that perceived shopping value has a positive effect on customer satisfaction and behavioral intention (Mathwick et al., 2001). Previous domestic studies that targeted Chinese tourists have focused on investigating the shopping motivation and satisfaction (Ko, 2011) and market segmentation of Chinese tourist shoppers (Oh, 2014). Previous studies have approached this problem mainly from its cognitive aspect and few studies have focused on the emotional aspect during shopping. This study suggests that emotional behavior mediates the relationship between shopping experiential value and consumer attitude toward products and stores. According to the Korea Tourism Organization, the ratio of male to female Chinese tourists visiting Korea changed from 69:31 in 1995 to 59:41 in 2005. In 2013, female Chinese tourists outnumbered males at a ratio of 41:59. The number of Chinese female tourists continues to increase. Females are known to be more involved in fashion consumption. Hence, this study is conducted on 550 Chinese female tourists who have shopping experiences during their visit to Korea. The ages of the respondents range from 20 to over 50 years old, with a mean age of 33.5 years. Their shopping experiential value is measured by visual appeal, crowding, economic benefits, and service excellence, and is expected to trigger emotions of entertainment and escapism. Variables including entertainment and escapism are measured using the Experiential Value Scale developed by Mathwick et al. (2001). This study finds that three experiential values (visual appeal, crowding, and service excellence) have positive influences on entertainment. For example, customers feel greater entertainment when visual appeal, service excellence and/or the number of customers in the store is greater. The emotion of entertainment turns out to have positive impacts on both store satisfaction and product satisfaction. According to the examination of how shopping experiential values affect escapism, crowding and economic benefits have a positive impact, whereas visual appeal and service excellence have a negative impact on escapism. Previous studies define escapism as an emotion of which customers are absorbed by entertaining activities and satisfied with shopping. This study assumes that all the shopping experiential values may have a positive impact on escapism. Escapism is a status where customers are deeply occupied with shopping without thinking of anything as if they were in another world, and a much stronger emotion of entertainment than usual pleasure from shopping. This study finds that the higher visual appeal and service excellence tends to generate the lower the escapism. This may be attributable to the fact that the survey was examined only on Chinese tourists. The respondents were asked to recall the most memorable item among the fashion products that they purchased during their visit to Korea. Their shopping experiences varied widely from well-organized malls, like department stores and duty free shops, to crowded environments, like Dongdaemun, traditional markets and subway stores. As a result, different experiential values have different impacts on escapism. Economic benefits and crowding which are experienced during shopping help to absorb in shopping, and these are likely to have positive impacts on escapism. On the other hand, visual appeal and service excellence may have different influences on escapism according to the shopping environment that Chinese consumers experienced. For example, Dongdaemun or subway stores are less visually appealing than department stores or duty free shops, but trigger stronger sense of escapism. Because survey questions to measure service excellence include Chinese (language) proficiency of sales staff, it is expected that higher language proficiency level of sales staff tends to generate lower degree of escapism, the sense of feeling that one is indeed in foreign country like Korea, for customers. Escapism has negative impacts on both product and store attitudes. Escapism is a status of absorption in which customers are emotionally occupied with pleasant feelings, and purchases along with a high escapism are likely to be less rational and more impulsive. In particular, this study examines tourist shoppers, and the respondents evaluate products they purchased in another country after they return home, and this may have caused the negative attitude toward products and shops. In fact, some previous studies found that overly positive emotions have negative impacts on purchase behavior (Liljander &Standvik, 1997; Andrade, 2005). This study confirms that the shopping experiential values perceived by Chinese tourists affect their product and store attitudes through the emotions of entertainment and escapism. It is particularly notable that this study verifies diverse roles of different emotions such as entertainment and escapism in the context of tourist shopping. This study employs empirical analysis on tourists, and provides practical implications including the importance of shopping experiential values for developing retail strategies.

This paper examines the phenomenon of co-branding in the context of luxury lifestyle co-brands. Specifically, it seeks to understand the viability of co-branding as a market strategy for prototypical luxury brands launching co-branded lifestyle products with other luxury brands. This study contributes to the co-branding literature by providing a perspective on the use of co-branding as a brand strategy for prototypical luxury brands.

Research aim and objectives Fashion blogs are personal online diaries created in order to collect and spread information about fashion trends, products and brands for a community of followers. Since their advent, fashion bloggers became key players in the field of fashion (Rocamora, 2011). Some fashion blogs achieved so much fame and notoriety to establish themselves as crucial reference points for consumers, fundamental spaces for “the production and circulation of fashion discourse” (ibidem, p.409). This exponentially growing phenomenon revolutionized the world of fashion and the concept of fashion industry itself: fashion bloggers have been included in the institutional system of fashion, beside the traditional media industry and considered together with the fashion journalism (Pedroni, 2014). The relevance of this research field is proved by the fashion bloggers’ copious and promising revenue. It is estimated that the most successful bloggers have incomes which soar into the million-dollar range annually (Blalock, 2014). According to Forbes (2015), Chiara Ferragni, the owner of ‘The Blonde Salad’ which became the Harvard’s Business School case study, is on track to take in $8 million in revenues this year. The most of the revenue comes not only from website advertisement but from celebrity appearances, partnership with luxury brands and bloggers’ handbag, shoes and clothes line collections (Keinan et al., 2015). However, despite it constitutes an extremely appealing domain for marketing studies (Kim & Jin, 2006), research on fashion blogging is still incipient (Rocamora, 2011). As the bloggers are brands themselves, the aim of this research is to deepen the fragmentary understanding of this phenomenon through the adoption of a personal brand perspective, i.e. personal branding. In order to achieve this aim, the following objectives have been set: - How do the fashion bloggers develop and turn their personal identity and value into a personal brand? - What are their communication strategy? - What are their interaction strategies? Personal Branding: an overview The expression “personal branding” was introduced for the first time by Tom Peters (1997) in his article emblematically entitled “The brand called you”. In his contribution, considered to be the manifesto of personal branding, Peters points out the dramatic changes that affected the labour market, suggesting that the only way for people to succeed in a highly competitive scenario is to transform themselves into Chief Executive Officers of their own company and promote themselves learning from some of the most successful brands as Nike, Coke, Pepsi (ibidem). Personal branding (also known as self-branding, cf. Kaputa, 2003) is based on the idea that it is possible to apply to people the same marketing and branding principles originally developed for products and companies (Sheperd, 2005). It can be defined as a process by which individuals recognize their strengths and uniqueness and promote themselves to a target audience. In other words, building a personal brand means to identify what makes a person unique and different from their competitors or peers, but it also refers to the ability to communicate, in an effective way, your own source of competitive advantage (Centenaro and Sorchiotti, 2013; Kaputa, 2012; Labrecque, Markos & Milne, 2011; Shepherd, 2005). Although Peter’s (1997) original idea of personal branding was more generally based on individuals facing the “off-line” labour market, this approach can be used also to explain some “on-line” phenomenon. New technologies, in fact, created computer mediated environments, resulting in virtual spaces where people can present and express themselves using digital traces (Schau and Gilly, 2003). Research Methodology Using in-depth interviews and netnography, this work examines how a group of popular Italian fashion bloggers managed to build their personal brands and grow their value. A multi-methods research based on the combination of no-structured interviews (conducted both face-to-face and through Instant Messaging channels) and a netnographic approach1 was used to analyze the fashion blogging phenomenon. The in-depth interviews involved four Italian fashion bloggers selected with a snowball sampling. These interviews, performed in the explorative phase of the research, in addition to provide a preliminary exploration of the fashion blogging scenario and first empirical evidence, favoured the development of categories of analysis that have been successively deepened through the netnographic approach. The netnographic analysis, started in April and still in progress, has been applied to fifteen Italian fashion blogs, selected among the 100 most followed blogs indicated by Les Cahiers Fashion Marketing, an online fashion marketing magazine. Among them, the blogs selection was performed following the criteria suggested by the literature about netnography (Kozinets, 2010): the presence of relevant information related to the research focus and questions; the presence of recent and regular communication and a large interactivity between the blogger and other participants2; the occurrence of detailed and descriptively rich data. Drawing lessons from the literature (ibidem)3, data collection was performed trough a non-participant observation approach, that has allowed researchers to collect data in a completely unobtrusive manner and work on naturally occurring texts, not distorted in any way by the analyst’s presence. The collected data included both bloggers’ posts and audience’s comments. Moreover, in addition to textual material, visual and audiovisual data have been collected and analyzed. During the analysis, two different processes of netnographic analysis, analytical coding and hermeneutic interpretation, have been usefully combined and performed. In the following paragraph, the first results obtained, until now, through a combined analysis of excerpts of interviews and netnography will be shown. Results Preliminary research evidence shows that the success of a fashion blogger depends mainly on: • A clear definition and development of a personal identity; • The effort to coherently convey the personal identity through an effective management of different communication and interaction tools; • The development of a network that can maximize blogger’s visibility and notoriety. Identity and value dimension: self-presentation strategies Blogs are usually presented as spaces in which an authentic personal style can be expressed. Analyzing the bloggers’ entries, it is possible to recognize how the concept of personal style plays a fundamental role, representing the main element on which the blogger’s identity is based (Kulmala, Mesiranta and Tuominen, 2013). The most important tool for the expression of the blogger’s personal style is posting the outfit of the day: i.e. an outfit worn on a particular day or during a particular event or occasion, based on the combination of different brands and products. As bloggers and readers’ attention is not focused on specific products and brands, but, rather, on how single pieces of clothing are assembled and combined together, every daily outfit works as a style statement expressing and reinforcing the blogger’s personal identity and, at the same time, provides inspiration and identification by his followers (Pihl, 2014). Communication strategy: style and tools The netnographic analysis shows how the starting level of the published contents is very amateur, where the bloggers usually lack a well-defined communication strategy. However, observing the sampled blogs through a diachronic netnographic approach, it is possible to recognize a gradual change involving both the writing style and the visual elements. Texts became better-finished, effective, studied in detail, with continuous intertextual references to older posts about similar or related topics. The products or brands presentation and description are never de- contextualized, but always inserted within a narrative structure. In other words, fashion bloggers make use of the potentials offered by visual storytelling, presenting products as a part of bloggers’ daily life, always intertwined with bloggers’ autobiographical information (Rocamora, 2011). Simple and interesting personal stories are displayed in order to allow readers to identify themselves with the blogger and his core values. Moreover, pictures are taken in a very professional way, paying close attention to every element as light, colours, and locations. In addition to the daily update of the blog, bloggers’ communication strategy embraces the logics of a pervasive personal branding by managing different platforms like Facebook, LinkedIn, Pinterest and Instagram in order to build a strong and coherent diffused identity on the net. Interaction strategies: network and partnerships The relational dimension involves three main types of relations. First, with readers: bloggers try to ensure audience’s engagement and loyalty, encouraging readers to express their opinions about the proposed outfit; provide customised advice and suggestions; promote their active participation through contests and giveaways. On the other hand, users use comments to support the blogger’s activity, show their approval for the proposed outfits or suggest modifications and variations to the blogger’s proposal. Secondly, the relational dimension concerns the connections with other bloggers: fashion blogs define together a community of style (Pihl , 2014), a real network characterized by continual mutual references among its nodes. It is especially through the tools of comments that bloggers promote each other, posing at the bottom of the comments links to their blog and inviting other readers to visit it. Finally, the relational dimension concerns the relationships between bloggers and fashion brands. The analysis of the in-depth interviews puts in evidence that collaboration dynamics frequently established between fashion brands and bloggers can take different forms: from inviting the blogger to choose specific brand products and give them visibility through a review on the blog, to invite the blogger to take part as a guest or model in a fashion parade or new collection presentation or in a brand photo shoot. These forms of cooperation can take more structured forms and transform into more complex co- branding strategies: there many examples of bloggers that, in partnership with well- known brands, realize and launch limited or special products edition. Implications and limitations According to our preliminary results, the success of a fashion blogger depends mainly on his ability to transform the blogging activity into a personal brand. In some cases, the branding process reaches its highest fulfilment when the blogger launches and promotes a personal collection resulting in an independent fashion brand. The interest in the phenomenon for marketers mainly derives from the different forms of collaboration that can be established between bloggers and fashion companies. For bloggers, those partnerships represent important occasions to enrich their portfolio and increase their reputation and credibility by the target audience. On the other hand, fashion companies can use blogs as a tool to collect decisive information about consumers (cf. Kulmala et al., 2013), exploit the visibility and reputation of fashion bloggers and benefit of an extremely powerful communication means. In fact, as bloggers use their own language, their messages are considered to be more direct, intimate and authentic by readers. As this study has an explorative nature, it is not aimed at generalizing its results, but rather at deepening the knowledge about a still underdeveloped and uncertain phenomenon, i.e. the Italian fashion blogging. However, the research has been performed following the evaluative criteria proposed by literature about netnography (Kozinets, 2010), i.e. coherence, rigour, verisimilitude and innovation.

With limited intellectual property protection of fashion products, copying is a pervasive trade practice in the US fashion industry. Fashion majored undergraduates’ evaluative judgment on similar fashion products, their future intentions to purchase copied products and to copy others’ design were examined. Evaluative judgment significantly related to retail work experiences.