As social media has become a part of daily life, new types of online opinion leaders are emerging, and in turn, changes in traditional fashion leaders and leadership are expected. Considering such changes, this study attempted to reexamine fashion leader types and influence characteristics from the perspective of college students as fashion followers. Students were asked to write an essay identifying their fashion leader and how and why they were influenced by him or her. Sixty essays entitled “My Fashion Leader” were collected and content-analyzed. A total of 78 fashion leaders were identified and categorized into four types including celebrities, social media influencers, friends/family/acquaintances, and people seen on the street in order of frequency. Influence characteristics of the identified fashion leaders included superiority, role model, similarity, and familiarity. Similarity was observed across all types of fashion leaders, while superiority and familiarity were identified for celebrities and friends/family/acquaintances, respectively. The results imply that celebrities, mostly those from the TV, movie, and music industries, are still important as fashion leaders in society regardless of their communication style, while friends/ family/acquaintances as opinion leaders within a consumer group are important to provide information, advice, and help. However, social media influencers between the two groups are expanding the influence.

The purpose of this study is to serve as a reference for creative fashion design by analyzing the types and aesthetic characteristics of trompe l’oeil in contemporary men’s fashion. This research is an empirical study that utilizes both qualitative and quantitative methods to analyze fashion design cases and research articles such as academic papers and professional books. The study covers four major men’s collections: Paris, Milan, New York, and London. The period being analyzed is from 2005 Spring/Summer, which is widely regarded as a turning point at which men’s collections began rapidly, to 2019 Spring/Summer. The study analyzes 471 photos from domestic and international websites, with the following results. Types of trompe l’oeil in contemporary male fashion are classified into four types: (1) the deconstruction of clothing forms or creation methods, (2) optical illusions that create the effect of multiple layers of clothing on a single article of clothing and the reproduction of apparel details and clothing using 2D printing or embroideries, (3) realistic patterns on garments to create a camouflage effect, and (4) articles of clothing containing body images such as the chest, trunk, or internal human anatomy. These aesthetic characteristics in men’s fashion design using types of trompe l’oeil are playful, deconstructive, and decorative features based on hyper-reality. This study aims to acknowledge trompe l’oeil as being widely used in contemporary men’s fashion as a type of formative art, playing a crucial role in creative fashion design.

This study investigates the effects of the type of advertisement, brand extension, and consumer innovativeness on the credibility of fashion advertisements. The factorial design is constructed as a 2(type of fashion advertisement: general vs. cross-media) × 2(consumer innovativeness: high vs. low) × 2(the type of fashion brand extension: similar vs. dissimilar) three-way mixed design in which consumer innovativeness is the between-subjects variable. Subjects of this study included 210 men and women in their 20s and 30s who resid in Seoul and had SNS experiences. Frequency analysis, credibility analysis, three-way ANOVA, and simple interaction analysis were conducted using the SPSS 20.0 statistics package. The results are as follows: First, the type of fashion advertisement had a significant effect on advertising credibility. Cross-media advertisements had a more positive effect than general advertisements on all of the dependent variables. Also, the type of brand extension and consumer innovativeness showed significant effect on advertising credibility and the interaction effect between the type of fashion advertisement and consumer innovativeness was significant. Lastly, the effect of different types of brand extensions on advertising credibility showed a significant difference according to consumer innovativeness. Thus, a marketing strategy using cross-media advertising is proven to be effective in gaining consumer trust for a fashion brand.

The purpose of this study is to analyze the characteristics and symbolism of peony, the traditional noble flower, create knit fashion designer applying the aesthetic beauty of flower, and suggest the various possibility of developing knit fashion design. As for the study method, the study conducted review on literature and previous studies to investigate on history, characteristics, symbolism of peony, and examined various expressive technique through previous studies about fashion design using flower images. To express characteristics of peony in three dimensions, the study investigated and reflected on crochet expressive technique to design 4 women’s knitwear. The results are as below. First, as shape of peony is big, voluminous, fancy and noble, it symbolizes wealth and beauty. Including red which is the generally known color of peony, there are yellow, white, pink, purple, green, blue, black, gray, white purple, white color. This study reflected characteristics and symbolism of peony and created knit fashion design applying abundant aesthetic characteristics of flower. Second, crochet method is advantageous as it is operable with thread and hooked crochet hook without time and space restriction, it can create unique fashion design. Crochet knitting on hand knit can diversity changes to express relief textures, and as there is no limit in size, it can be applied to small props to big pieces. This study suggested the various possibility of knit fashion design development and various expressive possibility on modern fashion design.

This study analyzed and discussed the competition relation between various media platforms, particularly fashion magazine, the Internet portal, and social networking (SNS) that provide fashion contents. The following results were obtained through this study. First, the Internet portal ranks the highest in all factors, followed by SNS, and fashion magazine as the lowest. Second, the Internet portal was competing with fashion magazine and SNS because there is an overlap between the two platforms. By contrast, SNS has a relatively low degree of overlap with fashion magazines, and they are complementary to each other. Third, the Internet portal has a strong advantage over fashion magazine and SNS in all factors. On the basis of the results of this study, we can summarize remarkable points in strategy formulation as follows. First, the Internet portal, which is popularized by “usage accessibility,” is expected to continue to dominate the competition over other media platforms while providing greater gratification to users of fashion contents. Second, the competitiveness of fashion magazines, which has been shrinking dramatically, lies in the diversity and quality of fashion contents. Innovating ways to develop creative fashion content and improve the quality through more in-depth analysis of the reader is essential. Third, SNS is slightly behind the Internet portal as a whole; however, it is one of the emerging platforms in the fashion content market because of its competitive advantage in terms of gratification opportunities.

The purpose of this study is to classify and analyze the deconstruction phenomena expressed in contemporary knit fashion design, and to analyze the inner meaning of deconstruction based on certain characteristics. As a method of study, literature data for theoretical backgrounds, prior studies, and internet data were analyzed. The scope of this study was restricted to knitwear published in the world’s four major collections (Milan, Paris, New York and London) from 2014 F/W to 2018 S/S. Based on prior studies, four concepts of deconstruction were derived: “Différeance”, “Intertextuality”, “Intermeaning of Meaning”, “Dis․De Phenomenon”. The results of the study were as follows: first, “Différeance” refers to a transcendence of time and space. These expressions are discursive, unrealistic, and convey freedom through intent that deviates from rules and norms. Second, “Intertextuality” indicates a mixture of different texts, such as styles, materials, and items. These expressions deliver novelty with amusement, and can be entertaining depending on audience expectations. Third, “Intermeaning of Meaning” is accidental category - depending on how the wearer wears the clothing. -; accordingly, free and spontaneous creativity is an emerging trend in fashion. Fourth, the clothing was expressed in deformed and distorted form by the construction and destruction of the structure, a technique we describe as the “Dis․De Phenomenon”. In this concept, the sense of free design of young emotion appears along with the sense of purity and shock due to intentional inconsistency.

This study selected fashion brands claiming to advocate feminism to analyze their characteristics and female images. For the study’s data, online foreign feminist fashion brands were sifted from March 2017 to January 2018 and 28 clothing brands were selected. The study’s results show that feminist fashion brands aim at the demassification and individualization of fashion products to be more inclusive of individuals’ physical characteristics and diversity. Additionally, feminist brands entice consumption through communication and participation in online communities and through the value of social coexistence. The essential female image produced by feminist fashion brands deconstructs a socially idealized female image and expresses a sense of self-body positivity. In turn, the concept of self-body positivity is communicated through natural images of independent women with distinct identities based on differences in race, culture, and sexual orientation. Moreover, feminist fashion brands produce social images featuring independent women using active wear to engage in social activities. Casual wear is also used to reflect active women, while mannish looks and power suits express women’s social status and professional abilities. Ultimately, these offer functionally active and rational images, combined with female images featuring long hair and makeup. Yet another type of female image seeks to create a new vision of women as diverse due to their various cultures, countries of origin, races, and individual tastes. These new images express women’s physical differences, distinct identities, and diversity while simultaneously deconstructing pre-existing forms of clothing.

This study examined the risk components and risk types perceived in the context of purchasing decisions of paper fashion products. This study also identified the levels of perceived risk by consumers and the differences between age groups in risk perception. First, qualitative data were collected through a focus group interview with 7 Korean females in their 20s to 50s. The interviewees were presented with two types of paper materials (undyed and dyed Jumchi-Hanji) and products (bags and wallets) made with the papers. The interviewees mentioned 11 risk components which were classified into five types of risks: performance (easily torn/lack of durableness, lint/pilling/wear-out, lack of water-resistant, no washability, and deformation and discoloration over time), social-psychological (old and traditional image), aesthetic (lack of design diversity, unsatisfactory appearance due to repair), financial (expensive price, lack of usability in daily life) and time/convenience (difficulty in handling) risks. Based on the results of the interview, a measurement for evaluating the risk perception of paper fashion products was developed. Second, quantitative data were collected from 64 Korean women in their 20s to 50s using the measurement. Respondents who were presented with the paper materials and the products perceived the performance risk more strongly than the social-psychological risk and aesthetic risk. In addition, differences between age groups were found: younger respondents perceived performance risk and social-psychological risk more strongly than older respondents, but older respondents perceived financial risk more than younger respondents. Based on this study, strategies for the risk reduction of paper fashion products were proposed.

This study explores the effect of moral identity on attitude toward and purchase intention of upcycled fashion products by comparing purchasers and non-purchasers. Data from 127 purchasers and 307 non-purchasers collected through a survey was analyzed using descriptive statistics, confirmatory factor analysis, model invariance check, and multiple-group comparison tests using Amos 23.0. Results indicate consumers with purchase experiences of upcycled fashion products showed a higher level of moral identity (internalization and symbolization), positive attitude toward upcycled fashion products, and purchase intention than did consumers with no purchase experience. In model tests, internalization affected attitude toward purchasing upcycled fashion products, whereas symbolization affected purchase intention, regardless of purchase experience. The effect of symbolization on purchase intention was consistent with prior studies focusing on charity behaviors that are highly visible to others. These findings demonstrate that fashion products are visible and symbolic, so it should be carefully considered in ethical consumption studies. From these results, researchers may obtain insights on the process of how consumers apply moral identity to their purchase intention regarding upcycled fashion products. Likewise, marketers may enhance satisfaction of consumers with a high level of symbolization by putting special tags and logos that clearly highlight the products’ upcycled nature.

The number of hand knitters has increased dramatically in the past few years. Recently, various hand knitted items have been seen in many fashion collections. The main purpose of this study is to analyze the design features of hand knitted items in the collections from Daniela Gregis. This brand was selected because it featured knitted items in its collections every season. An empirical analysis about form, material, color and knitting technique was done for hand knitted items from Daniela Gregis’ collections from 2012 S/S to 2018 S/S. The results can be summarized as follows: In terms of form, garments such as pullovers, cardigans, and shawls used basic components, and accessories such as bags, mufflers, hats, and decorative pieces had various shapes. In the material, there were many items that expressed unique textures by combining various materials such as a mix of fabric and yarn. With regards to color, orange, yellow, and red were mainly used as accent colors, and combinations of two or more colors were prominent in the items. In terms of knitting technique, the methods used in the collections were mostly simple and basic. Among various techniques, plain knitting, garter knitting, and single crochet methods were mainly used. While this study is limited to the characteristics of hand knitted items from a single brand, therefore cannot be generalized for all knit fashion, the study provides basic data that could facilitate the revitalization of the hand knitting industry and expand the application range of hand knitting techniques.

Consumer interest in eco-friendly fashion products has been consistent. While most relevant research emphasizes individual morals and environmental concern as the most crucial determinants to eco-friendly consumption behavior, more recent studies point out that in so doing there has been somewhat a neglectance on the importance of fundamental marketing strategies. More specifically, the crucial role of interior colors in fashion retail stores has been managerially considered something certain yet no empirical results have been found to support such a strong managerial assumption. For instance, colors such as green, blue, and brown are believed to represent natural images and are more appropriate to the eco-friendly marketing and the relevant research has been lacking. Therefore, this study attempts to explore the effect of in-store interior design colors (green versus non-green) on consumer perception of green store images. A total of 382 respondents were gathered for an online survey using differing store images as the stimulus and used for testing hypotheses. In the results, respondents exposed to store images using green interior colors reported a higher evaluation of green store image of the store. The effect is found to be significantly moderated by respondent’s environmental concern: to explain, respondents of high environmental concern are less influenced by green color interiors when they evaluate the brand’s eco-friendly image. In sum, the positive influence of green interior colors on green store image is found statistically significant, with its stronger effect for consumers of low concern. Managerial and academic discussions are provided.

This study analyzes characteristics related to Kineticism found in different kinds of displays and arts in order to contemplate modern window displays. The standard of analysis is based on kinetic arts pioneer George Rickey’s six display factors. Projection features and movements were categorized into “Direct movements,” “Indirect movements,” and “Relative movements.” Results were obtained through analysis of different examples of each category. First, the most observed form of Kineticism was direct movements on the window display. Along with the development of science and techniques, a variety of divergent motional methods has arisen. After that followed indirect movement, which uses visual media and lights for presentation. The third was relative movements, which provides communication in practical experience; users’ motion is used to provide modification in vision. Fourth, we observed that direct movements and indirect movements can express fluidity depending on materials, inducing a sense of tension within the window display through visual stimuli together with dynamism from mechanical exposure. Fifth, when direct movements pair with relative movements, it triggers customer participation; though it does not deliberately induce participation, the effects are beyond expectation. Sixth, if indirect movements meet relative movements, the motion of lights offers a major stimulation to the customers along with various expressions, thus achieving an interactive domain.

In this study, we analyzed the whole design of the necklace in detail, which reflects the artistic sense of handicraft in couture. The purpose of the study was to identify the characteristics of the design based on the analysis findings and to provide basic data to help fashion designers. The research method entailed analyzing trends in necklace design - viewed in fashion magazines and on websites - by year, season, brand, kind, material, color, and image. The identified necklace design characteristics were as follows. First, artistry and originality are dramatically expressed through the use of a broad range of materials. Second, due to the necklace’s role as an object of perfect beauty, in a number of images, the necklaces were presented in convergence and contrast with overall costumes. Third, the dramatic effects of layering revealed a strong presence and individualized styling. Necklaces are created with diverse sculptures by realizing the creative imagination of fashion designers. Even though they looked a little different every year, there were designs in the collections constantly. Round shape and princess length were preferred. In particular, the mix type was used to express dramatic effect by focusing neck part in entire styling which different length of necklaces were layered and worn. As a result, it meets the needs of consumers who emphasize brand differentiation and diversity, and it is believed that the role of necessities in fashion will continue and it creates economic demand in the fashion industry.

Government policy supporting the fashion industry in Korea has focused on the future development of rising fashion designer’s brands, and as a part of this support, several Fashion Creative Studios are presently operated. The purpose of this study is to identify the meaning of these facilities and suggest development strategies for their effective utilization. This paper presents a conceptual understanding based on a literature review, and deduces the direction of Fashion Creative Studios through an exploratory analysis of various case studies and in-depth interviews with five designers, who have graduated from the Seoul Fashion Creative Studio. The results are as follows. Firstly, fashion educational institutions have to provide sufficient information about the Fashion Creative Studios to students. They can also consider adding short-term residencies to the curriculum in which students prepare collections or portfolios for the studios. Secondly, Fashion Creative Studios are required to intensify business and marketing programs to increase real-world support. It would be helpful to provide 1:1 management programs with several segmented stages for the design brands, or connect them to investors who could provide financial support and business expansion. Thirdly, Fashion Creative Studios need to find a way to strengthen textile differentiation and craft characteristics to increase designer brand competitiveness. Broadening participation with textile designers, connecting with experts and ateliers, and promoting collaboration with artists and artisans in the Arts Creative Studios can be further examined to this end.

As mobile shopping has increased in the new media age, fashion consumers’ decision making and product consumption processes have changed. The volume of consumer-driven information has expanded since media and social networking sites have enabled consumers to share information they obtain. The purpose of this study was to determine the factors affecting information searching strategies and information sharing about fashion products. An online survey collected data from 466 respondents, relating to the influence of product price level and consumer SNS commitment level on information search and information sharing. Experimental design of three product price level and two consumer SNS commitment level was used. Analysis of the data identified factors in fashion information searching as ongoing searching, prepurchase web portal information search, and prepurchase marketing information search. For low-price fashion products, prepurchase product-detail influenced intention to share information. For mid-priced products, ongoing search significantly affected intention to share information. Both ongoing search and prepurchase marketing information search showed significant effects for high-price products. Consumers who are more committed to SNS engaged in significantly more searching in all aspects of information search factors. Significant interaction effect was detected for consumer SNS commitment level and product price level. When consumers with low consumer SNS commitment search for information on lower-priced fashion products, they are less likely do a prepurchase web portal information search.

This study examined images typical to this city and explored ways to develop cultural products using these images. Researchers reviewed literature about fashion cultural products and related previous research, and then conducted a closed-ended survey to analyze universal fashion preferences. For the examination material, such a way was used as information data base and network review inside and outside the country, dissertation screen, and published media including separate volumes. The following are considering points in the developing process. First, the study identified design, color, price, practicality and quality as factors that should be taken into consideration when using the image of Gangneung. In particular, it determined that the image needs to reflect a modern sensibility while maximizing its representation of local culture. Second, Gangneung’s symbolic image should incorporate the sea, Gyeongpo, and coffee. In other words, the sea, Gyeongpo, and coffee should receive top symbolic priority. Third, from a development perspective, the most appropriate items for displaying the image include t-shirts, keychains, umbrellas, or other accessories, since these items are easily available in terms of price. In sum, this study highlighted the necessity of reconsidering Gangneung’s currents ymbolic image, suggesting that a new image should be developed. Developing a typical fashion cultural product image will enrich Gangneung’s cultural industry and the distribution of newly designed products will improve the localeconomy.

The purpose of this study is to review and establish the three concepts of upcycling, zero-waste fashion design, and regional sustainability through a review of domestic and international case studies. Furthermore, it will provide the theoretical basis for using upcycling as a regional sustainability practice to create zero-waste fashion design. To conduct an empirical study, we systematized the stages of the survey on waste resources in Changsin-dong, the sourcing and utilization of waste resources, the design-planning stage, and the co-production with pattern and sewing masters as a suggested practice for regional sustainability. Through this study, we propose the possibility of regional sustainability by developing and sharing the method of zero-waste fashion design. The conclusion of the study as follows: First, upcycling fashion designs can be extended to a regional sustainability practice by taking the characteristics of social design into account. Second, by providing a design development process and methodology suitable for regional sustainability application, it is helpful to revitalize regional upcycling fashion brands and communities by providing data for upcycled fashion branding. Third, as part of the revitalization project for the Changshin and Soongin areas that started in 2014, using the region’s economic, cultural, and environmental characteristics to make and sell high-value, upcycled fashion products will contribute to social and economic achievements and aid in solving regional problems.

This study explores determinants of purchase intentions for vegan fashion products based on the modified planned behavior model. Survey data from 434 university students were subjected to an analysis using descriptive statistics, factor analysis, and structural equation modeling. The results showed that almost half of the consumers surveyed recognized vegan fashion products and a little more than a half of consumers surveyed had purchase experience for vegan fashion products. Clothing, bags, and shoes are the most frequently purchased vegan fashion product categories. From the results of the model test, purchase intentions on vegan fashion products were determined by attitude, subjective norms, ethical responsibility, and ethical identity of the consumers. When consumers have a more positive attitude, have higher subjective norms, stronger ethical responsibility, and stronger ethical identity regarding the purchase of vegan fashion products, they are likely to have a greater intention to purchase vegan fashion products. The findings contribute to the literature by adding test results for vegan fashion products among the ethical product categories, highlighting the importance of the consideration of product category, which can give somewhat different results when exploring ethical consumption. Based on these findings, marketers need to use special tags or signage highlighting the ethical values and meanings of vegan fashion products to better communicate with target consumers with a high level of ethical responsibility and to help increase consumers’ control over purchase behaviors through reducing barriers generated by insufficient product information.

As fashion and distribution companies have increasingly turned to implementing marketing activities that use omni-channel strategies, it is imperative to explore consumer-oriented evaluations of omni-channel shopping for fashion products. Through contributing to the growing research flow of consumer behavior within omni-channel contexts, the current study explores consumer motivations for omni-channel fashion shopping and their impacts on the decision-making stages of fashion products. The authors first performed in-depth interviews with six Korean consumers and confirmed the four types of consumer motivation for omni-channel shopping, and how decision- making processes react to fashion companies’ omni- channel marketing strategies. These findings were used to set survey items for the main study. Based on the results and findings of previous literature, an online survey was conducted with 300 participants who had actual experience with omni-channel shopping for fashion products. The statistic results from the survey revealed the following: First, the in-depth interviews allowed the authors to confirm four factors of omni-channel shopping motivation (ubiquity, efficiency, convenience, and impulsiveness). Second, the survey showed the authors that among the four factors of omni-channel shopping orientation, impulsiveness had the greatest effect on consumer behaviors at the preand on-purchase stages, while the ubiquity factor had the greatest effect at the post-purchase stage. As such, the study empirically tested the omni-channel-specific factors of shopping orientation and motivation. In addition, it showed the effect of omni-channel marketing on various stages of the decision- making process and the study’s limitations and implications were discussed.

As the number of SNS(Weibo) users in China is growing rapidly, Chinese fashion brands are heavily dependent on SNSs as a fashion marketing communication tool. For this reason, the characteristics of SNS accounts and their influences on SNS users’ responses need to be studied. Thus, the present study aimed to investigate the influences of the characteristics of Chinese fashion brands’ SNS accounts(Weibo) on the perceived usefulness of and satisfaction with the SNS acount, and brand loyalty. Data were collected via a questionnaire survey of men and women living in Beijing or Shanghai aged from 18 to 49 with experience of SNSs(Weibo). After a pilot survey of 70 subjects, the preliminary questionnaire was revised and then translated into Chinese. The questionnaire translated into Chinese was back-translated into Korean to ensure the translation was correct. The final questionnaire was administered to 600 subjects. Exploratory and confirmatory factor analyses, reliability analysis, and structural equation model analysis were conducted for data analysis. The results of this study were as follows: Five factors were extracted for Weibo characteristics: interaction, information provision, information recency, information reliability, and information playfulness. The information reliability, information playfulness, and interaction of SNS accounts(Weibo) had significant influences on perceived usefulness. The information playfulness, information reliability, and information recency showed significant influences on satisfaction. The perceived usefulness exerted significant influences on satisfaction and brand loyalty. The satisfaction also had statistically significant influences on brand loyalty.